2013 Environmental Scan

Ontario Arts Council: 2013 Environmental Scan

29 April 2013

Prepared for the Ontario Arts Council by Robyn Jeffrey & Elizabeth MacKinnon Ontario Arts Council: 2013 Environmental Scan

Ontario Arts Council 151 Bloor Street West, 5th Floor Toronto, Ontario, M5S 1T6 416-961-1660 Toll-free in Ontario: 1-800-387-0058 [email protected]/www.arts.on.ca

Ce document est aussi disponible en français.

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TABLE OF CONTENTS

EXECUTIVE SUMMARY 4

INTRODUCTION 8

I. DEMOGRAPHIC TRENDS 8

II. THE ECONOMIC ENVIRONMENT FOR THE ARTS 15

III. THE FUTURE OF ORGANIZATIONAL MODELS 20

IV. TRENDS IN ARTS PARTICIPATION AND ENGAGEMENT 23

V. TECHNOLOGY AND THE ARTS SECTOR 31

VI. ARTISTIC PRACTICE: ISSUES, APPROACHES, AND TRENDS 35

VII. STRATEGIC PLANS AND RELATED DOCUMENTS 39

CONCLUSION 48

APPENDIX 49

ANNOTATED BIBLIOGRAPHY 52

3 Ontario Arts Council: 2013 Environmental Scan

EXECUTIVE SUMMARY

This environmental scan provides a portrait of the external issues and trends affecting the Ontario arts sector, today and in the future. As an initial step in the Ontario Arts Council’s strategic planning process, it is intended to foster conversation between the OAC and its stakeholders, and support subsequent steps in the planning process.

This scan was researched and written by Robyn Jeffrey and Elizabeth MacKinnon between March 25 and April 29, 2013. Findings are based on a review and analysis of secondary source literature, particularly strategic plans and related planning documents from key arts councils, as well as other arts-related research. Those findings are supplemented by research and analysis of pertinent blogs, newspapers and periodicals.

SUMMARY OF KEY FINDINGS

There are three major drivers affecting the arts in Ontario—demographic change, economic uncertainty, and technology. These issues, along with more sector-specific trends, are impacting how the arts are created, produced, disseminated and promoted, as well as how people participate in and engage with the arts.

Demographic trends The demographic trends indicate that Ontario is likely to see an overall increase in seniors, and an increasingly diverse younger generation, including Aboriginal youth:

 While Canada’s rate of population growth is the highest among G8 countries, Ontario’s population is experiencing some of its slowest growth in a century.  Ontario is the province with the second-highest percentage of its labour force in arts occupations.  By 2031, the number of seniors aged 65 and over is projected to more than double.  Ontario’s visible minority communities are growing much faster than the overall population. As with the rest of the population, the Franco-Ontarian population is also increasingly diverse.  Demographic trends show that younger Canadians are more culturally diverse than older generations. Aboriginal youth make up an increasing proportion of the younger generation.  There is increasing evidence that despite high levels of educational attainment, the younger generation is struggling financially due to a retraction of the job market and high levels of student debt.  Ontario’s population continues to be predominantly urban; however, the “creative economy” is becoming part of the discussion in rural communities, where arts and culture are seen as a potential response to youth out-migration and the downturn of traditional employment sectors.

Studies indicate that increasing diversity could translate into greater and potentially different forms of arts engagement and participation, and overall, Ontario’s demographic trends present fantastic potential in a blossoming of art forms, activities and services. The downside, however, is a risk of disconnection and fragmentation, as limited resources are distributed among an ever-widening range of activities and artists.

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The economic environment The economy remains fragile and forecasts indicate that economic growth will be restricted for the next few years. The literature suggests that some arts organizations are having difficulty keeping pace with operating costs, and this is having a negative effect on programming resources in some disciplines. Shifts in ticket-buying practices, and the loss in revenue stemming from the move toward digital distribution, are also concerns for some sectors.

Artists’ earnings continue to be well below the overall labour force average. The low earnings and precarious financial situation of individual creators is particularly disconcerting given that the role of the creator is fundamental to the definition of culture and the “creative chain,” as described by Statistics Canada.

Public arts funding has remained relatively stable in recent years, despite some decreases and increases. In 2012, Ontario cut millions of dollars from its culture budget, including a $3.5 million (23%) reduction in funding over two years to Toronto’s Luminato festival; a $500,000 reduction to Canada’s National Ballet School; and modest decreases in operating assistance to the Royal Ontario Museum, Art Gallery of Ontario, and McMichael Canadian Art Collection.

The Canada Council for the Arts was not subject to major cuts in the 2013 federal budget, although its parliamentary allocation did not increase and will remain at just over $180 million in 2013–14. Program reviews at the Canada Council may have an impact on the arts in Ontario. The Canada Council is currently in the midst of reviewing its operating grant program, which represented $94.8 million or approximately 65%, of the Council’s grants budget in 2011–12.

Some municipal arts councils and funders have seen budgetary increases. For example, the Toronto Arts Council will see a $17.5 million budget increase for arts funding over four years, with the first six million to be allocated this year. Nevertheless, lack of confidence in the reliability of public funding is challenging the sector. Overall, as government funding and other revenue sources come under increasing pressure, the arts sector continues to explore alternate revenue sources.

The future of organizational models There is a sense that the sector is leaner than ever and operating without much of a cushion. Although the current not-for-profit model enables organizations to apply for government funding, some (particularly new generation arts organizations) are questioning whether or not the “cost” is worth it. Amendments in federal and provincial legislation, for example, are all increasing compliance pressures on not-for-profit organizations. This, along with trends in social innovation—which emphasize the importance of diversity, cross-sectoral and cross-disciplinary collaboration, shared resources, and adaptation to change—are giving rise to new organizational models, including Indigenous governance models.

Like other trends, this shift presents both opportunities and challenges for the sector. For funders, for example, new not-for-profit models may not fit within existing structures and assessment/reporting practices that emphasize and encourage signs of stability.

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Technology The transition to a digital society has had a significant impact on the arts sector, shifting and even transforming how the arts are created, produced, disseminated and promoted. This has led to exciting possibilities for creation and greater experimentation, enabled artists to distribute their own work to audiences directly, and opened up the potential for artists and arts organizations to diversify revenue streams and reach niche markets.

However, new modes of digital distribution often expect artists to provide their content for free, and many of the traditional business models underlying production and distribution have changed, leading to a significant loss of revenue in some sectors. Some remain skeptical about the potential for new business models in the arts, arguing that digital distribution favours only a few arts organizations that have leading brands, strong niches, and the resources to secure market share.

Participation and engagement in the arts Technology has also had a significant impact on how people participate in and engage with the arts. A significant number of Canadians are using the Internet to engage in arts and culture-related activities online, and there is a widespread sense that digital technologies are critical to the spread of the arts, helping to make art a more participatory experience, and audiences more diverse. As well, people who consume art via the Internet and electronic media are nearly three times as likely to attend live arts events.

The capacity for interactivity associated with digital technologies is also altering the artist-audience relationship as people want to do more than passively experience arts content, and increasingly expect to contribute to, comment on, and alter arts content for their own creative purposes. It is also changing how and where arts experiences take place.

Against this backdrop of change is a discourse that takes a broad view of arts engagement and activity—such as inventive and interpretive activities, community-based arts events, and media consumption—and is revealing its multifaceted and pervasive nature. Expanding the notion of arts activity suggests there is a greater appetite for the arts and arts participation, and presents opportunities for the arts sector to engage new, more diverse audiences through active participation in non-traditional settings. However, it simultaneously presents challenges for a sector, which may not have historically engaged its communities in these ways—or have the funds to do so—and for funders, who are already responding to a broad range of priorities.

Arts Practice: Issues, Approaches and Trends While demographic and technological change, and the prevailing economic instability, are the main drivers in the external environment, there are other factors impacting the arts sector as well, including the high cost of production and touring in some sectors; the need for adequate, safe, accessible and affordable space; and the need for succession planning, mentorships, and training (particularly technical training in digital business skills, such as intellectual property and IP rights management).

As well, some equity-seeking groups in the arts sector continue to lack an appropriate infrastructure to support their practice. This is a particular challenge for Aboriginal artists and artists with disabilities. New generation artists and arts organizations are unable to access the same levels of stable funding as their predecessors, and the growth in community-engaged art has led to calls for funders to validate their practice and fund a range of socially conscious arts activities. All of this will continue to put pressure on a funding system that is also feeling the effects of the economic slowdown and the

6 Ontario Arts Council: 2013 Environmental Scan challenge of diminishing resources while addressing increased demands for funding from a wider range of players.

How funders are responding – strategic plans and global trends in arts funding As part of this scan, the authors also analyzed the strategic plans and related documents from approximately a dozen key arts councils in Canada and internationally. That analysis indicates that several funders are starting to broaden their priorities.

Whereas emphasis on supporting artistic excellence and professional arts practice continues to be central for the majority of funders, some are increasingly focusing on how to increase demand for the arts. For some funders, this entails a focus on public engagement, and exploring ways to help artists and arts organizations deepen their relationship with audiences. Others have made it a priority to focus on people and places with the least engagement. And while many funders have long prioritized arts education, the understanding of what arts education entails is widening, as some are adopting the language of lifelong learning and the continuum of arts experience, from “receptive to participatory.” Others have indicated that, going forward, they will also emphasize city building and community revitalization, in addition to artistic excellence.

Advocating for the arts continues to be a priority for most funders. There are, however, a growing number that are focusing on ways to maximize private sector revenue for the sector, particularly by helping arts organizations and individual artists to diversify and increase their revenue streams. Technology and innovation are also relatively new priorities for funders, though “innovation” isn’t always well-defined and its meaning varies across funding agencies. Equity and diversity continue to be priorities for funders—particularly Aboriginal artists, culturally diverse artists, regional artists, and youth. As well, disability arts is an area of growing interest.

The overall challenges facing the sector has led some thinkers and commentators to call for shifts in the current funding models and a “rebalancing” of funding. Depending on who you talk to, that rebalancing might entail a shift toward an emphasis on “adaptive capacity,” “decreasing supply of the arts,” “increasing demand for the arts,” or “increased equity in arts funding.” What is clear is that the challenges are many, but the opportunities—to see a more diverse range of arts practice and arts participation thrive—are great.

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INTRODUCTION

This scan was researched and written by Robyn Jeffrey and Elizabeth MacKinnon between March 25 and April 28, 2013. Findings are based on a review and analysis of secondary source literature, particularly strategic plans and related planning documents from key arts councils, as well as other arts-related research. Those findings are supplemented by research and analysis of pertinent blogs, newspapers and periodicals.

The main components to this document are the findings, grouped by theme, from Sections One through Six. These findings are complemented by an analysis of strategic plans and related documents, which provides insight into how key arts councils in Canada and internationally are responding to change in the external environment. Woven throughout the document are “perspectives from the field”—voices that weigh in on some of the current trends and issues in arts funding. Finally, an annotated bibliography of sources is included at the end of this document.

I. DEMOGRAPHIC TRENDS

This scan begins by taking a high-level look at demographic trends1 affecting the arts, including arts participation and artists themselves. It focuses on three key trends: aging, diversity and urbanization, and how these intersect with demographic trends in youth and Franco-Ontarian populations. These trends will have profound impacts over the next decade, representing opportunities for growth and expansion of the arts, but also risks of fragmentation and disconnection in some areas.

1. MORE POPULOUS, BUT LESS POPULAR? Between 2006 and 2011, Canada had the highest percentage population increase among G8 countries, an increase driven largely by immigration (Statistics Canada 2012). While Ontario is Canada’s most populated province at 13 million inhabitants (or 37% of the population), the province is experiencing its slowest growth in a century, due to lower immigration levels and population outflows to other provinces (Butler 2013). This drop in population growth—linked to the loss of jobs in manufacturing and other traditional employment sectors—has the government turning to the cultural sector as a potential engine for economic growth (Ministry of Tourism and Culture 2010), while recognizing the intense global competition for talent.

Ontario is the province with the second-highest percentage of its labour force in arts occupations. The latest figures on the number of artists2 indicate that with almost 57,000 artists, Ontario had nearly twice

1 Note that due to changes in Census methodology, the most recent available detailed data on ethnicity and language come from analysis and population of the 2006 Census. 2011 Census data has been used where possible. 2 Drawn from the 2006 Census and generally defined as those who work more hours (in the census reference week) in an arts occupation than in any other occupation, and likely understates the total.

8 Ontario Arts Council: 2013 Environmental Scan as many artists as any other province. While the number of artists in the labour force grew at double the rate of the overall labour force between 1971 and 2006, analysis of the more recent period shows that the percentage of artists in the labour force slowed between 2001 and 2006 to less than the overall growth rate (Hill Strategies 2009).

2. AGING POPULATION – PREPARING FOR OLDER ARTISTS AND ARTS PARTICIPANTS Ontario, like other developed economies, is facing an aging bubble in the next 20 years as more of the baby boom generation turns 65. By 2031, the number of seniors aged 65 and over is projected to more than double from 14.2% of population in 2011, to 23.6% by 2036. During the same time period, other population shares (children and 15–64 age group) will stay roughly the same, or grow only slightly (Ministry of Finance 2012).

Ontario’s aging population may represent an important demographic for the arts sector. As their time frees up, older Ontarians who already have an interest in the arts may become more involved—as artists, volunteers, participants, cultural tourists and audience members—at least for some specific art forms or genres. For example, older adults are more likely to attend classical musical performances, and less likely to attend popular music concerts and arts festivals than younger Canadians (Hill Strategies 2012). However, studies to date seem to indicate that while overall levels of arts attendance remain fairly constant with age, active arts engagement—such as personal practice (e.g., playing instruments)—tends to decline with age, and technology-based engagement is also much lower among older Ontarians (WolfBrown 2011; Australia Council 2010).

In addition, Mark J. Stern, in his report for the National Endowment for the Arts, notes that age as a predictor of arts attendance is significant, but relatively weak in comparison with education. He also suggests being wary of assumptions with regards to what older audiences might be interested in:

The middle of the 20th century represented the high point of processes that standardized the life- course of individuals. After 1970, this uniformity gave way to a new diversity of personal decision-making. The transition to adulthood became more protracted and characterized by diversity and autonomy. Models for growing old also varied; workers no longer retired in their early and mid-sixties, and the “empty nest” life-cycle stage went from an exceptional to a typical household form for older adults. This same pursuit of flexibility and informality has influenced the art world as well.... Cultural participants were no longer willing to let their social status define what cultural tastes were acceptable for them (Stern 2011).

While there is limited data on whether tastes and interests change with age (i.e., as we get older our activities will change), some of the differences in arts participation by younger and older Canadians may represent a sea change in patterns of engagement that could become more pronounced with time. For example, younger Canadians’ use of technology to access and experience the arts, and their mixing of live and virtual experiences via smartphone cameras and social media (Johnston 2012) may remain key activities for these individuals as they age.

As society responds to the aging population, the role of arts and culture in healthy aging is becoming somewhat more recognized, although at a slower rate of integration than in other countries (Cox et al. 2010). Notably, Arts Council England recently announced ₤1 million to provide access to quality arts experiences for older people in residential care, as both participants and audiences (Arts Council England 2013, Arts and Older People). In Canada, there are many individual pilot projects across the

9 Ontario Arts Council: 2013 Environmental Scan country, such as the Vancouver-based Healthy Aging Through the Arts project (City of Vancouver 2012), and a number of research studies, such as the one by the Royal Conservatory of Music and Baycrest, which is measuring how taking part in arts-based programs affects the health and well-being of older adults (Patteson et al. 2013).

This older population of the future will also contain its share of professional artists, who—unlike other Ontarians—do not expect to retire. A 2009 national survey of senior artists over the age of 55, found that only 5% said they were no longer working on their art; 76% expect they will never stop working; and only 12% said they would probably retire after age 80. Senior artists report low earnings from their work and many have experienced age discrimination, as well as significant risks associated with finances, housing and health. On the more positive side, many also report that they are doing the best work of their careers and have clear goals for their professional development (Hill 2010).

3. MORE DIVERSE, MORE DIVERSITY Canada is a country of increasing diversity. Ontario’s visible minority3 communities are growing much faster than the overall population. Between 2001 and 2006, the number of people identifying as a visible minority grew more than four times the provincial population rate (Ontario Trillium Foundation 2011). In 2006, Ontario was home to almost 2.8 million visible minorities, more than half (54.2%) of Canada’s total visible minority population, and 22.8% of the province’s total population (compared to only 6.4% 20 years prior) (Chui 2008). Ontario’s visible minority population is concentrated in urban areas, particularly the GTA. For example, 43% of Ontario’s visible minority population (15 years and older) live in Toronto, while only 0.4% live in the North (2006 Census of Canada, based on custom data request commissioned by OAC).

In total, by 2031, between 29% and 32% of Canada’s population—between 11.4 and 14.4 million people—could belong to a visible minority group (Malenfant et al. 2010). Not only will the proportion of visible minorities be higher, but the number of people belonging to more than one ethnic background will also be much higher.

Statistics Canada projections indicate that by 2031, at least one person in four living in Canada could be foreign-born, the highest proportion since Confederation. While immigration is the biggest source of population growth, it is important to note that more than half (55.4%) of all immigrants came to Canada prior to 1991, and three out of 10 members of visible minority groups were born in Canada (Ontario Trillium Foundation 2011).

Increasing diversity will also be reflected in language and religion. By 2031, the proportion of allophones (people whose mother tongue is neither English nor French) could reach 32%, and the number of people having a non-Christian religion is expected to almost double from 8% (in 2006) to 14% by 2031 (Malenfant et al. 2010).

Studies indicate that this increasing diversity could translate into greater and potentially different forms of arts engagement and participation. The Ontario Arts Engagement study found that visible minorities overall are more engaged than the rest of the population in making art and participating in

3 “Visible minority” is the term used by Statistics Canada and is used for clarity in citations from Statistics Canada and other sources using Statistics Canada data. However, “people of colour” and “culturally diverse” are terms more typically used by the Ontario Arts Council. For the purposes of this analysis, these terms are essentially interchangeable.

10 Ontario Arts Council: 2013 Environmental Scan arts activities and lessons. Also of note, respondents to the study who were more connected to their own cultural heritage and interested in other cultures are more likely to be engaged in arts activities overall (attendance and participation) (WolfBrown 2011).

In terms of artists of colour, the most recent available data is from a custom analysis of 2006 Census data, which indicates that visible minority artists were slightly underrepresented in the Canadian arts labour force (14% versus 21%), but, as with other artists, the labour-force count likely underrepresents the actual figures (2006 Census of Canada, based on custom data request commissioned by OAC).

Aboriginal Peoples – a growing and active arts population Ontario is home to more than one-fifth of the Aboriginal population in Canada (Ministry of Aboriginal Affairs 2012). According to Statistics Canada demographic projections released in 2011, Aboriginal people could make up more than 10% of the populations of Thunder Bay and the Greater Sudbury area in 2031 (Malenfant and Morency 2011).

In the WolfBrown study, Aboriginal respondents reported significantly higher levels of engagement in inventive activities (e.g., writing fiction), arts learning (e.g., taking music classes), and community-based arts events (e.g., social dancing), as compared to non-Aboriginal people (WolfBrown 2011). In terms of the arts labour force, the proportion of Ontario Aboriginal artists in 2006 was almost the same as Aboriginal participation in the labour force as a whole (1.1% to 1.7%), although once again this could be underreported due to Census methodology (2006 Census of Canada, based on custom data request commissioned by OAC). Aboriginal artists are more often visual artists and craftspeople, and more likely to live outside of urban areas (Hill Strategies 2005) compared with the rest of the arts labour force.

4. EDUCATION, YOUNG PEOPLE AND YOUTH Artists in general have higher levels of education. In 2006, the percentage of artists with a bachelor’s degree or higher (39%) was nearly double the rate in the overall labour force (21%) (Hill Strategies 2009). While specific information on younger artists is not available, the trend towards higher levels of education is clear. According to Statistics Canada, the population with a bachelor’s degree or higher increased 10.7% between 2008 and 2011 (Coates 2012).

There is increasing evidence, however, that the link between higher education and the guarantee of a good paying job and middle class lifestyle is fraying, and that despite high levels of educational attainment, the younger generation is struggling financially due to a retraction of the job market and high levels of student debt (Sorensen 2013). The value of higher education in terms of future earning potential is increasingly in question as “underemployment” (i.e., working at jobs below one's educational qualifications) is on the rise (Coates 2012). This is perhaps more “business as usual” for the arts sector, where alternative employment in service industries and teaching to pay the bills while engaged in artistic work has long been a reality. However, the implications of unemployment or underemployment becoming the norm for young people trained in all kinds of professions could mean increased competition for the “day jobs” that artists typically rely upon. At the same time, the opportunities for arts entrepreneurship and freelancing will likely continue or even increase in popularity.

Youth – through a lens of cultural identity and diversity Demographic trends show that younger Canadians as a group are more culturally diverse than older generations, and this difference will increase over the next couple of decades. In 2006, an estimated

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22.6% of the visible minority population were children aged 14 years and under, compared to 17.9% of the total population in this category, and 46.5% of visible minorities were in the 25 to 54 year old age bracket (vs. 44% of the total population) (Chui 2008). Projecting ahead to 2031, 36% of the population under 15 years of age in 2031 will belong to a visible minority group, compared to 18% of persons aged 65 and over (Malenfant et al. 2010).

Over the last decade, there has been an explosion of youth arts activity, ranging from in-the-school initiatives (both curriculum-based and independent), and under the aegis of external organizations such as the Arts Network for Children and Youth, Arts Smarts, the Michaëlle Jean Foundation, and others. An interesting feature of many initiatives—and an important component of many other groups working in youth arts (e.g., Laidlaw Foundation)—is the emphasis on supporting youth-led initiatives. While an analysis or even a full description of the breadth and depth of youth arts engagement and participation is well beyond the scope of this scan, the increasing diversity and self-organization of the youth arts sector is a dynamic trend that is likely to continue to be important.

The younger generation is also increasingly Aboriginal. Roughly half of Canada’s Aboriginal population is under the age of 25, and the proportion of Canada’s population that is Aboriginal is likely to continue to increase over the coming decades (Townsend and Wernick 2008). Arts and cultural expression are a central part of the young Aboriginal voice in Canadian society (Jérôme 2008), as evidenced most recently by the artistic expression of the Idle No More movement, where music, particularly urban music, featured prominently (Revolutions Per Minute 2013).

5. FRANCO-ONTARIANS – CHANGING DEFINITIONS, INCREASING DIVERSITY In 2009, the Government of Ontario expanded its definition of the province’s Francophone population to include those whose mother tongue is neither French nor English, but who have a knowledge of French and use French at home.

Making up approximately 4.8% of Ontario’s population, the majority of the Francophone population is in the Northeast, Central and Eastern Ontario. Francophones are a predominantly urban population and tend to be older than the overall population of Ontario (Ontario Office of Francophone Affairs 2013).

As with the rest of the population, the Franco-Ontarian population is increasingly diverse. According to analysis of 2006 data, one in 10 Francophones identifies as a member of a visible minority group. Francophone visible minorities are much younger than the Francophone population as a whole, which tends to be older than average (Ontario Office of Francophone Affairs 2013). Overall, age, cultural background and geographic differences are more pronounced among Ontario Francophones than other minority-language communities and add a different dimension to the Franco-Ontarian identity (Senate Standing Committee 2009).

6. ONTARIANS WITH DISABILITIES It is estimated that roughly 15.5% of Ontarians live with one or more disabilities, a number that will grow with the aging population (Ministry of Community and Social Services 2005). According to the 2006 Census, approximately one in seven Canadians has a disability. In terms of the Canadian arts labour force, 5% or 6,300 artists indicate they are “often” limited in the activities they can do at work or school, and 10% (13,500 artists) indicate they are “sometimes” limited (Hill Strategies 2009). The practices and

12 Ontario Arts Council: 2013 Environmental Scan needs of artists with disabilities is an issue of increasing importance in the arts sector and will be discussed later in this scan.

7. INCREASING URBANIZATION AND THE CREATIVE ECONOMY Ontario's population continues to be increasingly urban. According to the 2006 Census, Ontario’s population growth since 2001 occurred mainly in urban areas. Urban centres with populations of more than 500,000 inhabitants (namely Toronto, Ottawa and Hamilton) grew 7.4% as a group between 2001 and 2006. This is faster than the provincial average and collectively accounts for 55.8% of all growth in Ontario over this period. The 10 urban centres with populations of 100,000 to 499,000 inhabitants accounted for almost one-fifth of provincial growth over this period (18.5%), while the smallest urban centres (less than 10,000 people) grew at only 2.4% over this period (Ministry of Finance 2009).

By 2036, the population of the GTA is estimated to reach almost 9.2 million, or 51.6% of Ontario’s population, and the population of Ottawa is expected to reach 1.3 million. Other regions are predicted to grow more slowly, and will see a gradual decline in their share of the provincial population (Ministry of Finance 2012).

Rural and Northern Ontario Rural areas4 accounted for 14.9% of Ontario’s population in 2006, down from 15.3% in 2001. They recorded population growth of 5.1% between 2001 and 2006, accounting for 11.6% of total provincial growth (Ministry of Finance 2009).

In 2006, a quarter of northern Ontarians lived in urban areas of 100,000 to 499,000 people, namely Greater Sudbury and Thunder Bay. As with the South, growth was greater in larger urban areas than in smaller towns. However, unlike the rest of the province, the rural population of the North grew slightly between 2001 and 2006 (Ministry of Finance 2009).

While the “creative economy” dialogue continues to percolate in various urban centres, it is also increasingly part of the discussion in rural communities, where arts and culture are seen as a potential response to youth out-migration and the downturn of traditional employment sectors, such as natural resources, agriculture and manufacturing. Some areas, such as Prince Edward County, are actively recruiting members of the “creative class” (cultural workers and entrepreneurs) to their regions to leverage regional amenities to attract new residents and tourists to the area (Stolarick et al. 2010). In the North, Sudbury is home to a small but growing film, TV and animation industry (Hall 2009).

8. MEETING DEMOGRAPHIC CHANGE – INTERSECTIONS The demographic trends outlined in this section indicate that the arts sector, like the rest of the province, will be experiencing an aging population, and an increasingly diverse younger generation, including Aboriginal youth, in addition to increased urbanization. This presents fantastic potential in a blossoming of art forms, activities and services. The downside, however, is a risk of disconnection and fragmentation, as limited resources are distributed among an ever-widening range of activities and artists/individuals.

4 While the Ministry of Finance fact sheet doesn’t specifically define “rural areas” it does define “urban areas” as follows: an urban area has a minimum population concentration of 1,000 persons and a population density of at least 400 persons per square kilometre, based on the 2006 Census count (Ministry of Finance 2009). This is consistent with Statistics Canada’s (2007) definition of “rural area”, which refers to the population living outside settlements of 1,000 or more inhabitants.

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Perspectives from the field: Equity in arts funding

In her report, Fusing Arts, Culture and Social Change: High Impact Strategies for Philanthropy, Holly Sidford makes the case for rebalancing the distribution of arts funding, based on the premise that current grantmaking disregards large segments of cultural practice, and by extension, large segments of society.

While Sidford’s research is based on American data and focused on granting by private foundations, her findings may nevertheless resonate with public arts funders in Canada. She notes that,

…the majority of arts funding supports large organizations with budgets greater than $5 million. Such organizations, which comprise less than 2 percent of the universe of arts and cultural nonprofits, receive more than half of the sector’s total revenue. These institutions focus primarily on Western European arts forms, and their programs serve audiences that are predominantly white and upper income. Only 10 percent of grant dollars made with a primary or secondary purpose of supporting the arts explicitly benefit underserved communities, including lower-income populations, communities of color and other disadvantaged groups (Sidford 2011).

In light of this finding, Sidford calls for greater equity in funding for small organizations and for the artistic practices of “marginalized communities.”

Some have agreed there are merits to increasing grant funding for marginalized groups, and have also suggested it could be equally productive for funders and arts organizations to help cultivate more relationships and practices among different arts organizations and communities (Eyring 2011). Others, however, have taken issue with Sidford’s report for not recognizing the progress made by those “large organizations” to broaden and diversify their audiences and programming, and for reinforcing outdated stereotypes regarding “elite” arts organizations (McGuirk 2011).

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II. THE ECONOMIC ENVIRONMENT FOR THE ARTS

In the current economic environment, the arts sector remains concerned about sustainability and the future of public arts funding (CAPACOA 2012), despite the fact that public support and individual giving have both remained relatively stable, and the federal government has announced initiatives to encourage more private sector giving. Although funding is seemingly stable at a high level, some disciplines indicate that difficulty keeping pace with increases in operating costs is having a negative effect on programming resources (MDR Burgess 2012, ARCs, Dance Mapping), and individual artists continue to struggle financially.

1. THE ECONOMY REMAINS FRAGILE Despite Canada's much-touted quick recovery following the 2007–08 global recession, forecasts indicate that economic growth will be restricted for the next few years, as governments, both federal and provincial, attempt to curb deficits swollen by stimulus spending. The combination of uncertainty and instability in Europe and the United States, as well as the high Canadian dollar, continue to restrain export and tourism revenues. At the same time, consumers are deeply in debt, following 11 consecutive years in which household spending has exceeded disposable income (Economist 2013).

This general climate of financial fragility, particularly at the consumer level, is directly reflected in ticket sales, where some arts organizations report a shift in ticket-buying practices, with higher price sensitivity at upper ends of the scale as patrons choose lower-priced options and increasingly make last minute decisions to purchase. Some large organizations attribute lowered audience levels to the introduction of the HST in 2010, and historically low levels of US tourism, which are attributed to the high value of the Canadian vs. US dollar, new US government passport regulations, the still troubled US economy, and the lingering effects of the 2003 SARS crisis in Toronto (OAC 2012, Scan).

Individual giving has increased slightly Between 2007 and 2010, the average donation to arts and culture organizations in Canada went up slightly, from $132 to $141 (not adjusted for inflation). During the same period, total donations to arts and culture organizations also showed a small increase from $101 to $108 million. While not a big shift, it at least indicates that anticipated declines in giving—in the aftermath of the recession—did not occur (Hill Strategies 2013).

Education, household income, and age are important factors in arts and culture donating. University graduates are much more likely than other Canadians to donate to an arts and culture organization (4.7% compared with 2.7% of all Canadians), as are those with household incomes of $100,000 or more (3.4%), and those 65 years or older (4.5%). Women (3.0%) are also more likely than men (2.4%) to donate to arts and culture organizations (Hill Strategies 2013).

The federal government is encouraging private sector giving In its 2013 budget, the federal government announced a “super credit” to encourage first-time donors. It also extended the Endowment Incentive Component of Canada Cultural Investment Fund,5 and increased the Fund’s benefit cap for arts organizations from $10 million to $15 million. This may present an opportunity for organizations that benefit from individual donations to reach out to new donors, and

5 The Endowment Incentive component of the Canada Cultural Investment Fund provides government grants to match private- sector donations (Sandals 2013).

15 Ontario Arts Council: 2013 Environmental Scan push to build their endowment funds (Sandals 2013). This is welcome news as the arts sector continues to recover from investment losses during the recession. Earlier this year, the federal government also announced a new investment of $2 million in Business for the Arts, to stimulate corporate sponsorship in the arts and culture. The investment is intended to help small and medium-sized organizations (Canadian Heritage 2013).

2. PUBLIC ARTS FUNDING – RELATIVELY STABLE, DESPITE SOME DECREASES AND INCREASES The Canada Council for the Arts was not subject to major cuts in the 2013 federal budget,6 although its parliamentary allocation did not increase and will remain relatively stable in 2013–14 at just over $180 million (Sandals 2013).

The 2012 federal budget saw no major cuts to national museums, local museums or galleries. However Canadian Heritage, the CBC, Libraries and Archives Canada, Telefilm Canada and the National Film Board did see significant cuts, the effects of which are still playing out. It is anticipated that this will impact their programming and production activities and support, which in turn, will have repercussions for individual artists, including musicians, actors and filmmakers (OAC 2012, Scan).

Also in 2012, Ontario cut millions of dollars from its culture budget, including a $3.5 million (23%) reduction in funding over two years to Toronto’s Luminato festival; a $500,000 reduction to Canada’s National Ballet School; as well as modest decreases in operating assistance to the Royal Ontario Museum, Art Gallery of Ontario, and McMichael Canadian Art Collection7 (Adams 2012 and Wright 2012).

In Canada and worldwide, public arts funders continue to express concern about how best to serve the arts sector when the demand for funding is expected to increase, but funders’ budgets aren’t expected to keep pace. The Canada Council for the Arts has identified this as a “major issue” (Canada Council 2011) and has said that the current operating grant model is “unsustainable.” (Sirman 2012) In 2011–12, the Canada Council invested $94.8 million or approximately 65% of its grants budget in operating grants.8 The Council has suggested that a new approach is needed if its investments are to have a significant impact going forward.

Changes in arts funding – program reviews and cuts The Canada Council is currently in the midst of three major program reviews, the outcomes of which may have an impact on the arts in Ontario: the Concerted Approach to Operating Funding review; a comprehensive review of the Flying Squad program; and a review of the Public Lending Right program. Canada Council CEO Robert Sirman has discussed these reviews in the context of demographic, technological, economic and generational change, noting that the Canada Council “has chosen to embark on a proactive journey to transform itself and its work as a public funder to remain as impactful as possible in fulfilling its legislated mandate.” (Sirman 2012) Other Canada Council initiatives of note

6 The Canada Council's funding is projected to drop by $1.5 million in 2013–14, changing from $181,760,816 last fiscal year to $180,260,816, a cut of less than 1%. 7 These three institutions, along with four other science-based cultural institutions, were expected to receive a 1% cut to their annual provincial operating grant in 2013, rising to a permanent 2% reduction by 2014. The total savings are estimated at about $4.7-million (Wright 2012). 8 In 2011–12, the Canada Council for the Arts provided grants totaling approximately $144.2 million to individual artists and arts organizations. Of that approximately $94.8 million, or $65%, was allocated to operating funding (Canada Council 2012, Annual Report).

16 Ontario Arts Council: 2013 Environmental Scan include a focus on national and international market access; and the end in 2014–15 of the Canada Council’s Equity Office’s Capacity Building Initiative program, which may make it more difficult for some culturally diverse companies to access general operating funds (OAC 2012, Scan).

At the Department of Canadian Heritage, programs that support artistic creation and experimental work have seen cuts in recent years. The elimination of the Canada Interactive Fund9 and the Creators’ Assistance Component of the Canada Music Fund 2012–1310 may impact the sector in ways that are unclear at present. As well, small literary and art magazines are continuing to adjust to the implications of the redesign of the Canada Periodical Fund, which means that many are no longer eligible for this important source of project funding (OAC 2012, Scan).11

Some municipal arts councils and funders have seen budgetary increases. For example, the Toronto Arts Council will see a $17.5 million budget increase for arts funding over four years, with the first $6 million to be allocated this year. This was the result of over ten years of advocating for a billboard tax with revenues to be directed to arts support. Young artists and activists in particular helped TAC achieve this objective by creating a Beautiful City billboard fee campaign (Toronto Arts Council 2013, Historic). Of note, the City of Ottawa also added an additional $1 million to its arts budget (Watson 2013). Nevertheless, there continues to be a general concern in the arts sector about low and/or unpredictable levels of municipal arts support in Ontario (OAC 2012, Scan).

3. ARTISTS’ EARNINGS Artists’ earnings are well below the overall labour force average in every province. In Ontario, the earnings gap is 38%. The average earnings of Ontario artists is $24,500, as compared to $39,400 in average earnings for the overall provincial labour force (Hill Strategies 2009). Michael Maranda’s 2008 study of the socio-economic status of Canadian visual artists and Shannon Litzenberger’s 2010 study of mid-career dance creators also uncovered similar findings.

As well, artists are more likely to be self-employed and not as likely to work full time. The percentage of artists who are self-employed (40%) is nearly six times the self-employment rate in the overall labour force (7%). Only 47% of artists worked full-time in 2005, compared with 63% of the overall labour force (Hill Strategies 2009).

The low earnings and precarious financial situation of individual creators is particularly disconcerting, given that artists are central to the “creative chain,” as described by Statistics Canada in its Conceptual Framework for Culture Statistics:

9 The Canada Interactive Fund supported the creation of digital and interactive Canadian cultural content, developed by official- language minority communities Aboriginal and ethnocultural organizations, and other non-profit organizations. 10 The Creators' Assistance Component assists Canadian composers, lyricists, and songwriters in developing their craft and business knowledge. The component enables Canadian performing artists and producers to have access to high-quality Canadian compositions. 11 This scan did not identify any other major program reviews of note, although the Manitoba Arts Council identifies implementing innovative, effective, and responsive grantmaking practices as one of its strategic directions in its 2012–16 strategic plan. The Australia Council itself was the focus of a review in 2012. Among other things the review recommended that the Council focus on funding and promoting artistic excellence in all its forms, leaving responsibility for programs supporting broad access to the arts to the government; replace its standing Artform Board structure with a general stream for grant applications across all artforms; and enhance its role as a “funding generator” through the addition of a ‘commercial’ funding program allowing the Council to develop new models of funding for the sector, such as micro-loans and matching programs (Trainor and James 2012).

17 Ontario Arts Council: 2013 Environmental Scan

The role of the creator is fundamental to the definition of culture and the creative chain. The creator drives the entire creative chain; without the role of the creator, there would be no culture (Waltman Daschko 2011).

Some of the key thinkers cited in Anisef’s 2010 study of the crafts sector suggested that arts funders should encourage “self-sufficiency” among practitioners, and practice that is “geared toward financial sustainability,” given that grant funding is limited and artists cannot depend on public funding for their livelihood. As well, some sectors have expressed interest in developing new business models, but require additional forms of expertise to succeed with these models (MDR Burgess 2012, ARCs).

4. WHAT’S IT ALL MEAN FOR THE NOT-FOR-PROFIT ARTS SECTOR? Overall, in this mix of good news/bad news, there is a palpable sense of a sector that is leaner than ever and operating without much of a cushion. Adding to these economic pressures, are the challenges of responding to the demographic changes discussed in Section One, as well as legislative changes, changes in arts participation, and the impact of rapid technological change—all of which present challenges for Ontario’s arts sector. However, the following sections of this scan will explore in greater detail how these changes are also ushering in a number of new opportunities for artistic creation, engagement, and revenue generation.

Perspectives from the field – Growth capacity and adaptive capacity

Some of the literature questions whether or not the funding system, as currently structured, can respond to the external challenges facing the sector. Richard Evans, for example, has argued that the present model, which has been in place for over 50 years, is intentionally structured for growth: investing in professionally run organizations, which are then rewarded for expanding their operations over time. Evans has suggested that future success for the sector will mean replacing “growth capacity” as a measure of success with “adaptive capacity.” Evans continues to recognize operating funding as the “bedrock of a sustainable funding ecology,” but also posits that that innovative change rarely happens of its own accord, and requires policy underpinning, financial incentives, risk capital, and metrics for success that reward “discontinuous change” (Evans 2010).

In a move that seems to echo some of Evans’ thinking, Philadelphia’s Pew Center for Arts and Heritage is phasing out its program of operating support by the end of 2015. It will instead add 20% to each of its project grants as unrestricted operating support, and will also introduce a new line of funding called Advancement Grants. Available in amounts up to $500,000, Advancement Grants will enable organizations to make “fundamental changes to ensure a robust future,” supporting not only the direct costs of programming, but also capital and infrastructure needs, technology upgrades, and audience engagement strategies (PEW Trusts 2013).

However, some of the literature suggests that general operating funding—particularly in a time of economic uncertainty—is still the best way of enabling organizations to address environmental factors, such as changing demographics, technological innovations, and shifts in consumer preferences (Ragin 2010). In its 2012 study, Is Grantmaking Getting Smarter?, the Grantmakers for Effective Organizations (GEO) suggest that:

18 Ontario Arts Council: 2013 Environmental Scan

Organizations with strong adaptive capacity have financial resources that are sustainable and flexible. General operating and multiyear support allow nonprofits to maintain programs at the same time that they are investing in ways to innovate, adapt and learn. Multiyear support allows nonprofits to craft approaches appropriate to the scale of the problem they are trying to solve and means they can concentrate their efforts on fulfilling their mission rather than fundraising (McCray 2012).

Furthermore, in the Canadian-based literature, CAPACOA’s study of presenting notes that “performing arts have rarely had long-term, secure foundations on which to plan and build,” suggesting that not all in the arts sector would agree that current system has fostered growth capacity (CAPACOA 2012).

19 Ontario Arts Council: 2013 Environmental Scan

III. THE FUTURE OF ORGANIZATIONAL MODELS

The current pressures on not-for-profit organizations are not new, and were in reality only accelerated by the economic downturn, not caused by it. However, in the not-for-profit sector at large, there is a growing realization that existing models and systems of financing and governance are in the midst of fundamental change—brought on by larger demographic, social, political and economic changes—and an awareness of limits to growth (Broadhead 2010). These pressures and changes have helped to spark an ongoing discussion about how to organize to achieve social outcomes.

1. EMERGING ORGANIZATIONAL MODELS The lines between traditional concepts of commercial and not-for-profit organizations—where commercial organizations were solely interested in making money, and not-for-profits in promoting public good—are gradually becoming less definitive. The organizational landscape now includes concepts such as social entrepreneurship (profit-making organizations which aim to achieve social goals); social innovation (organizations with social objectives which may be public, for profit, or not-for- profit); and independent organizations focused on financing social benefits. Due in part to the pressures and changes outlined above, hubs, networks and cross-sectoral partnerships dedicated to innovation in the social sphere are emphasizing the importance of diversity, cross-sectoral and cross-disciplinary collaboration, shared resources, and continuous adaptation to change. Interestingly, while a quick review of the field indicates that the arts are on the periphery of many of these developments, discussion of the arts and social innovation does arise in youth-focused efforts (Public Policy Forum 2012, Youth).

The potential exists—now more than previously—for the arts to break out of traditional organizing structures and experiment with new models. Although not-for-profit status enables organizations to apply for government funding, some are starting to question whether or not the “cost” is worth it (CAPACOA 2012). Many younger artists, for example, feel the amount of administration required to create a company that is eligible for operating grants is a burden that detracts from producing work (Taylor 2013). Dunning and McDaniel (2012) also note there is a growing awareness among certain arts professionals that the not-for-profit model is no longer effective for some entities:

The old notion that each artist or group of artists must build their own institution that would attract all the resources needed while keeping competing interests out (what [Arts Action Research] refers to as the “castle/island mindset” in which each artist/entity has their own castle on their own island) is not only philosophically and culturally at odds with the way arts professionals choose to work today, but it represents an unsustainable economic model (Dunning and McDaniel 2012).

The emergence of new models presents both opportunities and challenges for the sector. Research is starting to show that hybrid organizational structures often improve nonprofit governance and create access to diverse forms of revenue (Struthers 2011, citing Rathgeb Smith).12 For funders, however, new models may not fit within existing structures, assessment practices, and reporting requirements that

12 Steven Rathgeb Smith. 2010. “Hybridization and nonprofit organizations: the governance challenge.” ScienceDirect, Policy and Society 29 (2010) 219–229.

20 Ontario Arts Council: 2013 Environmental Scan emphasize and encourage signs of stability, such as regular funding, strong boards, good financial controls and stable audiences (Struthers 2011).

Of note, Trépanier and Creighton-Kelly (2009) have found that Aboriginal arts organizations are researching and starting to use Indigenous governance models as alternatives to the mainstream. They suggest that this represents an opportunity for Aboriginal artists to “re-claim, re-appropriate and re- imagine their own ways of being in the world.”

2. LEGISLATIVE CHANGE Conversations about new organizational models in the arts are taking place against a backdrop of significant legislative change. Both the federal and provincial governments are in the process of amending the laws that govern not-for-profits, updating legislation that had not been significantly amended in 96 years, in the case of the Canada Corporations Act, and 60 years for the Ontario Corporations Act.

The federal changes came into force in October 2011 and require all federally-incorporated not-for- profits to review and update their bylaws no later than October 2014. Failure to do so could result in possible dissolution. The federal legislative changes simplify the incorporation process and clarify some of the internal governance of existing not-for-profits, in addition to adding greater financial reporting requirements for soliciting corporations (those receiving more than $10,000 per year in grants or donations).

The changes in Ontario—which will apply to provincially incorporated not-for-profits—were expected to come into force in the spring of 2013, with changes to be fully implemented by 2017. However, it was announced at the end of March 2013 that proclamation will be delayed until at least January 2014, and that the legislation is being reviewed in light of concerns raised by the sector (Ontario Nonprofit Network 2013).

While some specific elements may now not be as previously articulated, the general direction of the changes to the provincial legislation is also towards greater ease of incorporation and enhancing governance and accountability. A key difference is that the provincial legislation is being changed to allow inclusion of commercial purposes if these are intended only to advance or support one or more of the non-profit purposes of the corporation (Hilborn 2011). These changes will require more of not-for- profit boards and staff in the form of greater attention to memberships, board management and financial oversight, all of which increase the burden on not-for-profits in the short-term.

Along with updates to their by-laws to conform with changes to not-for-profit legislation, arts organizations that are registered charities or intend to become registered charities have new guidance from the Canada Revenue Agency against which to measure their compliance with the Income Tax Act. This new guidance, issued in December 2012, provides greater specificity on which activities are considered to be charitable, and what evidence is required to meet the requirements. Both those arts organizations seeking charitable status, along with existing charities, will need to be familiar with the guidance to ensure they maintain their charitable status going forward—and will likely need to seek legal advice in this regard.

21 Ontario Arts Council: 2013 Environmental Scan

Other recent or upcoming legislative changes that are, in various ways, increasing compliance pressures on not-for-profit arts organizations are the Accessibility for Ontarians with Disabilities Act (2005), which addresses accessibility in a range of areas such as customer service, employment, and built environment, with compliance dates ranging from 2010 to 2021; and Federal Government Anti-Spam legislation, which requires an existing relationship/consent to receive solicitation or other emails (Hilborn 2013).

22 Ontario Arts Council: 2013 Environmental Scan

IV. TRENDS IN ARTS PARTICIPATION AND ENGAGEMENT

1. SHIFTING DEFINITIONS – ALL THE WORLD’S A STAGE Concurrent with the policy dialogue regarding the social impacts of the arts are the continuously shifting definitions of what constitutes arts attendance and participation. The previously mentioned Ontario Arts Engagement Study (WolfBrown 2011) takes a broad view of arts engagement in order to reveal its multifaceted and pervasive nature. In this study, virtually all Ontarians take part in arts and cultural activities of some sort. Overall frequency of participation is highest for activities such as reading articles in newspapers; watching movies on a computer, TV or DVD; listening to recorded music anywhere; and reading paperbacks or other books for pleasure.

The perceived value of the arts While this media-based participation is more widespread in comparison to other, more “traditional” arts activities, such as attendance at galleries, museums and performing arts events, respondents to the WolfBrown survey indicated that live events and experiences have a high value to them personally, even if they engage in them less frequently.

The OAC’s study on The Arts and the Quality of Life echoes this finding, noting that the arts are seen as important to the quality of life for a large majority of Ontarians. Approximately nine in ten Ontarians believe that arts activities help enrich the quality of our lives (95%); if their community lost its arts activities, people living there would lose something of value (89%); and the success of Canadian artists like singers, writers, actors and painters, gives people a sense of pride in Canadian achievement (95%) (Environics 2010). Research also continues to show a correlation between arts participation and various indicators of health and well-being (Smale et al. 2010, Well-Being).

2. TRENDS IN ARTS PARTICIPATION: INCREASING OR DECLINING? Hill Strategies’ analysis of Statistics Canada’s General Social Survey (GSS) data (Hill Strategies 2012, Canadians) found there was an increase in participation in many arts, culture and heritage activities between 1992 and 2010, including the percentage of Canadians:

 Visiting an art gallery: from 19.6% in 1992 to 35.7% in 2010.  Visiting a museum: from 32.7% in 1992 to 47.8% in 2010.  Attending a cultural festival: from 24.6% in 1998 to 37.2% in 2010. (This question was not asked in 1992.)  Attending a cultural or heritage performance: from 11.8% in 1992 to 23.0% in 2010.  Reading at least one book: from 66.8% in 1992 to 75.7% in 2010.  Listening to downloaded music: from 28.6% in 2005 to 50.9% in 2010. (This question was not asked in 1992 or 1998.) The percentage of Canadians listening to music on CDs, however, decreased from 81.7% in 1992 to 75.8% in 2010.

23 Ontario Arts Council: 2013 Environmental Scan

Chart 1: Highlights of Canadians’ arts, culture and heritage activities Percentage of Canadians 15 or older participating at least once during the years. Source: (Hill Strategies 2012, Canadians – based on General Social Survey (GSS), 2010).

Previous Years (1992, 1998 or 2005) 2010

80% 76% 67% 60%

51% 48% 40% 36% 37% 33% 29% 20% 25% 23% 20% 12% 0% y l e k c r m a c i e u iv o s ll e t n o u a s s a B u e m M G F r d t M l fo e r ra r d A u e a lt P lo u e n C g w ta o ri e D H l/ ra u lt u C

The study also found that 60.4% of Canadians 15 or older (16.9 million people) attended at least one theatre, popular music, or classical music performance in 2010. However, given changes in the GSS questionnaire, the theatre, pop music and classical music attendance statistics in 2010 are not comparable to previous years’ data.13

More recent findings from an arts attendance and participation survey conducted for the Department of Canadian Heritage (Phoenix 2012) show that a majority Canadians (83%) attend some sort of cultural, heritage, or arts activity at least once a year (not including activities like reading for pleasure and watching movies). However, the study found that—while clearly still popular—all categories of arts attendance were slightly down over previous years, with the biggest difference being a decline in the visual arts, from a high of 59% in 2004 to 39% in 2012. As for participation, although more than half (57%) said they were personally involved in an artistic activity, this figure had decreased from 63% in 2004.

13 The 2005 and 2010 GSS did not contain specific questions about dance or opera; or about participatory arts activities.

24 Ontario Arts Council: 2013 Environmental Scan

Chart 2: Arts and Cultural Events Attended in 2004 and 2012 % Canadians attending each event Source: (Phoenix 2012) 2004 2012

70% 67% 63% 59% 53% 54% 52%

35% 39%

28% 28% 24% 18% 20% 19% 16%

0% l t a s g e a i i t c v b s n n i i d i i a t h e t d s x r a m e m a e r f e f r l t o h o a r t y f r i r r a e t e u l s w lt a u e p n o t u u s c s io p r i e t a r V k c r a o e o a v r y i s m e L t t t r r a a In r A h e t t t i r L A

Internationally, some studies have suggested that arts participation is on the rise in some countries and declining in others. In the UK, the most recent Taking Part survey reveals that 78% of adults had attended or participated in the arts in the previous year, a significant increase reported since 2005–06 (76%) and 2010–11 (76%) (Department of Culture, Media and Sport 2013). In its 2010 study of participation in the arts, the Australia Council for the Arts found that levels of engagement with the arts were high. In the year leading up to the research, nine in ten Australians aged 15 and older had creatively participated in the arts (by making something themselves), or receptively participated (by attending a live event, an exhibition or reading literature) (Australia Council 2010).

Using a definition of participation that includes a full variety of artistic genres, participation via electronic media, and personal arts creation, the National Endowment for the Arts found that three out of four Americans participate in arts activities (National Endowment for the Arts 2011). In comparison, the NEA found that just 35% of American adults attend what it defines as “benchmark” arts activities, including live attendance at jazz or classical music concerts, operas, plays, ballets, or visits to art museums or galleries, and that this percentage has been declining over time (National Endowment for the Arts 2009).14

14 These two reports both use data from the same source (the Survey of Public Participation in the Arts 2008). The 2011 report is a later analysis, but is based on the same data used in the 2009 report.

25 Ontario Arts Council: 2013 Environmental Scan

Based on the range of findings in Canada and internationally, it would be difficult to definitively conclude that arts participation is on the rise or decline. What it does suggest, however, is an opportunity for the arts sector and funders to better understand how patterns of participation in the arts may be changing, particularly in light of other societal trends and factors.

3. TIME CRUNCH – THE ARTS ARE COMPETING FOR TIME AND ATTENTION Regardless of whether or not arts participation and attendance is on the rise, competition for people’s increasingly limited time and attention is a recognized challenge for the arts sector, as demonstrated by this example from theatre:

While theatre still strives to reflect the culture and morals of the day, it faces several major challenges in reaching out and appealing to today’s audiences. It must compete with a multitude of other forms of entertainment—concerts, movies, sporting events, gaming, television, the web and social media—all of which demand more of our free time, which is increasingly in short supply (Ballinran 2012).

Evidence from the Wallace Foundation (Harlow et al. 2011) also suggests that the traditional subscription model is falling out of favour, in part because people’s schedules are no longer predictable or flexible enough to accommodate season subscriptions, a finding echoed in a recent Wall Street Journal article:

Some subscribers got too busy, or too old, to commit in advance to five shows on specific dates. Some of them couldn't afford to buy all five in one pop anymore. And young people never have gotten in the habit of subscribing to anything. On demand, that's their motto (Teachout 2013).

Many former subscribers are now “single-ticket buyers,” a shift that has serious implications for arts organizations that depend on subscribers for ticket revenue (Harlow et al. 2011).

And whereas new technologies may have originally been seen as time-savers that would help free up people’s time, the ubiquity of technological devices now seems to be contributing to the time crunch by blurring the boundaries between work and play (Tabachnick 2013). Nevertheless, the spread of technological devices is also impacting people’s social and participative experiences, and opening up opportunities for the arts sector, as discussed below.

4. THE BROADER DIGITAL ENVIRONMENT – MORE ACCESS, MORE DEVICES When the OAC launched its last strategic plan, Kickstarter didn’t exist (2009), the iPad hadn’t debuted (2010), and Facebook had yet to reach 1 billion users (2012). Today’s digital environment is fast changing and its technologies are increasingly part of the everyday. According to a 2012 Ipsos Reid report:

 86% of Canadians have Internet access from any location and 80% have access from home, a figure that has remained relatively unchanged over the past five years.  However, mobile access continues its growth among online Canadians: 37% now have mobile Internet access, a significant increase from 5% in 2011. Although 95% of Canadians under the age of 55 have Internet access, and 47% have mobile access, the rate of access drops

26 Ontario Arts Council: 2013 Environmental Scan

significantly among older Canadians: 68% over the age of 55 have internet access and 16%, mobile access.  The majority of online Canadians are using social networking sites, with 30% doing so daily, up from 19% in 2010. A large portion (31%) consider themselves “active users,” posting and replying to others’ posts.  Smartphone ownership among online Canadians has “skyrocketed,” with 31% now owning one, compared to 19% two years ago. Among Canadians aged 18–34, almost half (46%) currently own a smartphone. Although only 7% of online Canadians currently own a tablet computer, 24% say they are likely to purchase one in the next 12 months, and 11% in the next six months (Ipsos Reid 2012).

These trends present a number of potential opportunities for the arts. The increasing use of computers means that some art forms are more accessible than ever before. Artists can now interact more directly with audiences through blogs, podcasts, Facebook, YouTube, and Twitter (Horne 2011). As well, the arts sector could benefit from the spread of smartphones and peoples’ desire to maximize their capabilities, given that 81% of smartphone owners feel they do not take advantage of the full functionality of their phones (Ipsos Reid 2012).

In the US, a study conducted by the PewResearch Center finds that smartphone ownership among American teens aged 12–17 has grown substantially since 2011. Teens are just as likely to have a cell phone as they are to have a desktop or laptop computer. And increasingly these phones are affording them always-on, mobile access to the Internet—in some cases, serving as their primary point of access. Although the data is from the US, it nevertheless echoes the trends in smartphone use among younger Canadians aged 18–30, noted above. Furthermore, as the Pew study’s authors note:

In many ways, teens represent the leading edge of mobile connectivity, and the patterns of their technology use often signal future changes in the adult population (Madden 2013).

Although the number of people with Internet access and mobile devices is increasing, it is important to keep in mind that there remains a digital divide in Canada, particularly in rural and Northern communities (Poole 2011). Since 2007, the Government of Ontario has launched a number of initiatives to bridge this divide, including Rural Connections, a $30 million, four-year initiative to reduce broadband infrastructure gaps in underserved rural regions (Digital Ontario 2013). Some suggest, however, that the pace of broadband expansion overall has been “patchy and slow,” and continues to exclude more remote communities (Marlow and McNish 2010), and by extension, the artists and arts audiences living there.

5. ONLINE AND VIRTUAL ARTS ENGAGEMENT Given the numbers above, it is perhaps not surprising that a significant number of Canadians (71%) are using the Internet to engage in arts and culture-related activities online. There is a strong correlation between the likelihood of engaging in these activities and age, with respondents under the age of 35 sometimes twice as likely to have engaged in culture-related activities online (Phoenix 2012). For example, 32% of Canadians under the age of 35 have downloaded arts-related software or apps, and 27% have uploaded something creative or artistic; as compared to 17% and 15% for those over 35.

27 Ontario Arts Council: 2013 Environmental Scan

Chart 3: Highlights of engagement in online culture-related activities Source: (Phoenix 2012)

Adults (over 35) Young people (under 35)

40%

30% 32% 27% 20% 17% 15% 10%

0% Downloaded Arts-Related Software/App Uploaded Something Creative/Artistic

WolfBrown’s study for the OAC on engagement echoes these findings, observing that many of the activities in which young Ontarians are now engaged are new approaches to arts participation. For example, technology-based activities such as downloading and organizing music, and creating and sharing things they create online.

The changing artist-audience relationship There is a widespread sense that digital technologies are critical to the spread of the arts, helping to make art a more participatory experience, and audiences more diverse (Thomson 2013). Studies such as the National Endowment for the Arts’ Audience 2.0: How Technology Influences Arts Participation found that people who consume art via the Internet and electronic media are nearly three times as likely to attend live arts events, and that they attend a greater number and variety of live events (National Endowment for the Arts 2010, Audience 2.0).

However, the capacity for interactivity associated with digital technologies is also changing the artist- audience relationship as people want to do more than passively experience arts content. They increasingly expect to contribute to, comment on and alter arts content for their own creative purposes (Creative New Zealand 2011, Look). Charles Leadbeater has described most media and culture as a mix of “Enjoy, Talk or Do”: the Web has shifted the mix available to most people (Leadbeater 2009).

The WolfBrown study of Ontarians reflects similar findings and further highlights the connections between media, attendance and arts attendance, stressing that “increasing engagement will require innovative approaches and collaborations across disciplines and delivery channels.” (WolfBrown 2011)

28 Ontario Arts Council: 2013 Environmental Scan

While technology is a significant driver behind the new participatory culture, it’s not the only one. DIY (do-it-yourself) practices, which are characterized by their non-hierarchical participatory nature, are increasingly influencing aspects of arts practice, such as the culture of craft:

DIY craft emerges from a culture that does not seek professional validation within traditional art methodology, but rather is motivated by joining with others socially in shared, creative activity (Anisef, 2010).

Looking ahead, it is expected that people will continue to be active in creating and distributing their “personal content” (Creative New Zealand 2011, Look).

Changes in how and where arts experiences take place Although museums, galleries, and performing arts companies still distribute a primarily physical product in a physical location, many are experimenting with digital distribution (e.g., “live” performances simulcast in movie theatres, and virtual museum and gallery tours), and digital technologies are being leveraged to attract more visitors and enhance audience participation (Cultural Human Resources Council 2011). In the Pew Research Center’s recent survey of arts organizations that have received grants from the NEA, 52% said they use social media to crowdsource15 an idea, from possible programming decisions to the best times for sessions or seminars (Thomson 2013). The spread of broadband infrastructure may also enhance the arts sector’s ability to take advantage of digital platforms. In the future, arts content is as likely to be enjoyed at home or on the move as in a gallery, library, theatre, or museum (Creative New Zealand 2011, Look).

6. GROUPS LEAST LIKELY TO ATTEND AND PARTICIPATE Before concluding this section, it’s important to take a look at some of the groups that are least likely to attend or participate in the arts. The research has demonstrated repeatedly that the likelihood of attending an arts event increases with education, and to a lesser extent with income (Phoenix 2012; Hill Strategies 2010; National Endowment for the Arts 2009). Geographical barriers to traditional arts engagement also hold true, but when a wider scope of activity (home-based) is taken into consideration the picture changes somewhat.

For example, the WolfBrown study found that urban-area residents are generally more engaged than rural residents in audience-based activities, such as attending live performing arts and visiting art museums. However, when the view of arts activity is expanded to include inventive and interpretive activities, community-based arts events and media consumption, the level of engagement is found to be relatively equivalent. The study also found that the home is the most common setting for arts activities, and that informal spaces, such as restaurants, parks, and outdoor spaces are also frequently utilized for music and dance activities (WolfBrown 2011).

7. A FUNDAMENTAL SHIFT IN ARTS ENGAGEMENT What all of the above suggests for some in the arts is that we are seeing a fundamental shift in arts participation, both in amount and form (Harlow et al. 2011). Expanding the notion of arts activity

15 While there are many definitions of crowdsourcing, it essentially involves asking people to provide ideas and help in decision- making. See http://artmuseumteaching.com/2012/04/18/crowdsourcing-in-the-art-museum/ for some interesting examples from art museums.

29 Ontario Arts Council: 2013 Environmental Scan suggests there is a greater appetite for the arts and for arts participation. However, it simultaneously presents challenges for a sector, which may not have historically engaged its communities in these ways, and for funders, who already are responding to a broad range of competing priorities.

Perspectives from the field: Supporting engagement

In response to multiple changes affecting California’s arts sector—changing demographics, new technologies, and the ways in which people experience the arts—the James Irvine Foundation has recently shifted all of its arts funding into an Exploring Engagement Fund. The fund will supply risk capital to encourage organizations to reach nontraditional audiences through active participation in non- traditional venues.

While many have responded positively to the move, noting that it reflects the increased desire for social experiences or participative experiences in the arts, others, such as Diane Ragsdale, have raised concerns that the shift will spark a sector-wide “funding trend” that will increasingly favor engagement over production. While she notes there may have been too little attention paid to the engagement side of arts for too long, Ragsdale argues that the vital role of arts organizations in supporting individual artists, and developing and preserving art forms cannot be disregarded (Ragsdale 2012, comments on Irvine website).

A little a year after the program’s launch, staff from the Foundation have noted challenges as well, saying they’ve been disappointed by applications received, and the mixed response to their approach. Nina Simon suggests on her blog Museum 2.0, that the Irvine Foundation may have assumed there were many prospective grantees waiting for this opportunity, but has perhaps realized that it needs to execute its new strategy in partnership with grantees. Nevertheless, she encourages the foundation to help traditional arts institutions understand and connect with the strategy, actively recruit new grantees, and have the courage to be on the leading edge (Simon 2013).

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V. TECHNOLOGY AND THE ARTS SECTOR

The transition to a digital society has had a significant impact on the arts sector, shifting and even transforming how the arts are created, produced, disseminated and promoted. This presents a number of opportunities and challenges, as discussed below.

1. NEW PRACTICES, NEW FORMS, NEW MODELS Developments in digital technology have opened up new possibilities for creation and facilitated greater experimentation, whether it’s dance artists developing new applications with motion capture technologies (MDR Burgess 2012, Mapping), craft artists using digital printing to achieve new colours and textures in their work (Anisef 2010), or multimedia, participatory literature (Horne 2011). However, the introduction of new technologies can present challenges to existing art forms. For example, the experience of some art forms and genres doesn’t always translate well to digital platforms and technologies. The conversion of print files to digital files is a significant issue for the publishers of poetry, for example, as e-readers don’t always reproduce the line breaks that are essential to the art form (O’Neal Parker 2013).

Fewer gatekeepers – easier access to the marketplace, but less visibility? Growing access to digital tools and technology has changed the traditional “value chain” in the arts and cultural sector. Artists can now create, produce, and distribute their own work to audiences directly, bypassing traditional gatekeepers, such as recording companies, publishers and galleries (Creative New Zealand 2011, Look). However, the relative ease of online distribution has resulted in a crowded marketplace and an abundance of offerings, making it challenging for artists to “stand out” (Poole 2011). Furthermore, anyone can potentially access new digital tools—not only professional artists, leading to the rise of what Charles Leadbeter calls the “Pro-Am”: innovative, committed, and networked amateurs working to professional standards (Leadbeter and Miller 2004). Some studies have noted that while this type of activity may be good for the cultural field as a whole, it poses challenges for existing structures, and for the traditional status of the professional artist (Canada Council 2012, Public Engagement).

Sustainable arts practice The increase in forms of digital distribution offers artists and arts organizations the potential to enhance their visibility and connect directly to audiences. However, this does not always translate into increased revenue. Studies have shown there is resistance to paying for arts online and there are widespread consumer expectations that anything that can be digitized should be digital—and usually provided for free (Poole 2011). As pressure is brought to bear on artists to provide their content for free online, other sources of revenue, such as private and public funding, may become even more crucial to the continuation of cultural products (OAC 2012, Scan). Nevertheless, this can occasionally work in the artist’s favour. Horne (2011) notes that some authors have found that circulating free, electronic copies of books leads to a greater increase in print sales, and with the advent of print on demand technologies, the costs of getting into print are significantly lower.

While the rise of digital technologies has impacted many of the traditional business models and sources of revenue generation in the arts sector, it has also opened the door to new, emerging revenue streams. The decline in music sales over the past decade, for example, has been among the biggest

31 Ontario Arts Council: 2013 Environmental Scan challenges for the music sector, and digital sales have not sufficiently offset the loss in physical sales.16 But according to the Canadian Independent Music Association (2013), independent music companies in Canada are no longer relying upon a single primary revenue stream and appear to be diversifying. Growing revenue streams include: physical sales of DVD and vinyl; repurposed content; merchandise; and live performance and touring, which many artists have come to rely on “as a mainstay of their revenue” (Canadian Independent Music Association 2013).

While the aforementioned example applies to the music sector, it could suggest similar challenges and opportunities for other disciplines. For example, a study of e-reading in the US found that those who read e-books report they have read more books in all formats, and device owners are more likely to buy books than to borrow. However, the availability of e-content is an issue to some, with 23% or survey respondents saying they find the material they are seeking “only sometimes,” “hardly ever,” or “never available” in the format they want (Rainie et al. 2012). Nevertheless, this suggests there is an appetite for more e-book content, and an opportunity for the writing and publishing sector to meet that demand.

The ongoing shift away from mass marketing and distribution toward personalized content and niche markets may also offer revenue-generating opportunities for the arts sector. It is expected that consumers will increasingly consume content targeted toward their own tastes, deciding what they will view, listen to, and read on their personal devices (Creative New Zealand 2011, Look). Given the power of the Internet, networks, and digital technologies to access a large, critical mass of people, these niche markets can become viable—and profitable (Conference Board 2008).

Nevertheless, there remains skepticism about the potential for new business models in the arts. Adrian Ellis suggests that digital distribution favors only a handful of arts organizations—those with leading brands, strong niches, and the resources to secure market share. And while the absence of feasible business models doesn’t diminish the potential of the digital world to help an arts organization fulfill its mission, it does mean that “this territory is unlikely to generate black ink on a significant scale” (Ellis 2012).

2. SHIFTS IN MARKETING, COMMUNICATIONS, AND FUNDRAISING Across many types of arts organizations, marketing and communications efforts (and budgets) are shifting from traditional print to online advertising though web-based ticket sales, social media, and smart-phone apps (OAC 2012, Scan). While data focusing on technology use in Ontario arts organizations is limited, the aforementioned Pew survey of NEA grant recipients found that arts organizations in the US have dozens of internet and mobile technology tools at their disposal. They are using those tools to create awareness of their organization (99% have a website); engage with audience members (82% via social media); expand the number of online performances and exhibits (81%); accept donations online (86%); and sell tickets (72%), among other activities (Thomson 2013).

Of note, the advent of social media in particular has enabled arts organizations—and artists—to share information and network in new ways. This has been central to the rise of new fundraising techniques such as crowdfunding, the practice of funding a project by raising small amounts of money from a large number of people, typically via the Internet. Crowdfunding has become an increasingly popular way of providing new revenue streams to supplement budget shortages, as government funding and other

16 The 2012 Ipsos Reid study cited earlier in this scan notes that more teens pay for music online today (76%) compared to 2009 (52%).

32 Ontario Arts Council: 2013 Environmental Scan revenue sources come under pressure (Thompson 2013). In 2012, it was announced that over $1.5 billion (USD) had been raised through crowdfunding platforms globally to fund more than 1 million projects (CMF 2012). Furthermore, as crowdfunding differs from traditional funding mechanisms, it is attracting donors who have never before supported arts and culture, and helping to increase the visibility and profile of artists and arts organizations who use it (Australia Council 2012, Work the Crowd). While crowdfunding is seen as a potentially viable part of the larger funding ecosystem, the time and effort required to run a successful campaign can be challenging for smaller organizations, and some in the sector do not believe it could ever generate enough funds to fully replace existing funding sources. The culture of philanthropy is also different in Canada than in other parts of the world, and our smaller pool of potential donors could result in a higher risk of “donor fatigue” (Canada Media Fund 2012).

3. COSTS, CAPACITY AND CURRENCY In today’s digital environment, the overriding challenge for many in the arts sector is that there are high costs associated with embracing technology, and issues of capacity and training. Many arts organizations, in particular, feel they are trying to “do more with less,” and that staying on top of the rapidly changing field of digital technologies remains an ongoing challenge (Thomson 2013). This can be difficult for small organizations in particular, which lack either the technical expertise, financial resources, or labour required to respond to changes in the digital environment. This excerpt from a recent report on how digital media is reshaping theatre sums up some of the overall challenges:

The box office plays a significant funding role so selling tickets to the live show is the top priority. There is little money left over for experimentation with digital media. Unions and guilds are under pressure to modify their collective agreements, but there is a debate on just how much those agreements should change. In addition, the model as to how performers and other creative professionals involved in a theatrical production will be paid has yet to be fully explored (Ballinran 2012).

Factors such as these could potentially put increased pressure on organizations’ operating or project support from arts funders (OAC 2012, Scan).

Implications for funding models and approaches The rise in digital technologies and practices may also put pressure on funders to reconsider current funding models and approaches. According to Pew, arts organizations seeking funding for technology- based projects have found it difficult to secure funds for these projects through traditional means, as described by one respondent:

The amounts are small, and the process cumbersome and slow. Often, by the time grants are awarded (6–12 months post application period) the market has shifted, and the original idea needs to be modified or scrapped. This requires entrepreneurial approaches that many funders aren't comfortable with, i.e. rapid pivots and radical changes in strategy (Thomson 2013).

Fundamental changes in some art forms or sectors due to technology may require public arts funders to review, and perhaps change, the focus or criteria of some granting programs. The rise of new production models, such as online-only periodical and book publishers, may also require an examination of the nature of these new models and appropriate approaches for support (OAC 2012, Scan).

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Furthermore, because “funders so rarely fund some of the infrastructure necessary to create top-notch digital programming,” keeping up with technology may continue to be a struggle for some in the arts sector (Thomson 2013).

Perspectives from the field: “Traditional” arts in the digital era

Given the number of sources and discussions focused on the impact of new technology, it might seem logical to conclude that more “traditional” art forms are losing their relevance. While few question the significant impact of technological change, live performing arts, physical works of art, and printed books continue to offer unique experiences and ways of engaging with the arts that digital environments can’t reproduce (Creative New Zealand 2011, Look). Some have suggested there will always be a place for “reverence” of the handmade (Anisef 2010), or the “aura” of live performance (Lord 2012). And while “e- books are here to stay,” print still represents 75% of the US book market (Miller 2013). In Canada, recent surveys conducted by the Association of Canadian Publishers reveal a positive climate for independent Canadian-owned booked publishers (ACP 2013). In other trends, some artists are experimenting with “old” forms: last year, singer-songwriter Beck made international headlines when he released his 11th LP as sheet music (Michaels 2012). It is expected, as such, that traditional art forms will continue to be an essential part of the arts landscape in the future (Creative New Zealand 2011, Look).

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VI. ARTISTIC PRACTICE: ISSUES, APPROACHES AND TRENDS

Previous sections in this scan looked at some of the macro-level demographic, economic, social and technological trends that are impacting Ontario as a whole, including its arts sector. This section takes a more focused look at issues and trends that affect the arts sector and artistic practice in particular. While a broad range of sources have been consulted, it tries to focus on those that express the views of artists, arts administrators and other practitioners.

1. CHALLENGES AND OPPORTUNITIES IN CREATION, PRODUCTION AND PRESENTATION

The high cost of production and touring is a challenge in some sectors In dance, for example, the low fees that Canadian presenters are able to pay do not adequately cover production costs. As well, emerging companies often experience difficulty getting their works to market, in part because dance production has expanded more rapidly than presenting opportunities (MDR Burgess 2012, Mapping). There is a need for market development in some sectors, particularly those— such as music—that have seen an overall decrease in earned revenues (MDR Burgess 2012, Facilitators). As for independent artists, many are faced with the challenge of creating companies in order to advance their personal artwork, while subsidizing that work with employment outside of the sector (Smalley 2012).

Adequate and affordable space is a continuing issue Many arts sectors are reporting major capital initiatives for either major renovations or new facilities. These projects are resource intensive, involving staff time and new skills, as well as dollars. Where capital funding is not available, organizations will use operating dollars for essential repairs and renovations, putting pressure on their operating support (OAC 2012, Scan).

Economic instability, limited access to presentation venues, and an interest in attracting new, particularly younger audiences—is prompting some across the arts sector to pursue opportunities to produce their own work and present it in non-traditional venues (CAPACOA 2012). Examples of unconventional spaces include bars, parks, warehouses, places of worship, and private homes. Some of these productions have been called “micro-performances,” in recognition of the sometimes-small spaces in which they take place and the smaller audiences they attract (Caines 2013). While these performances enable arts organizations to engage new audiences and experiment with formats, they are also appealing because they are less expensive and labour intensive.

2. SUCCESSION PLANNING, MENTORSHIPS, EMPLOYMENT, AND TRAINING – INTERRELATED NEEDS

The need for succession planning is increasingly apparent in arts organizations, as many are facing the pending retirements of staff in executive or artistic leadership positions. This is of particular concern for founder-led organizations—which can be especially vulnerable to change (OAC 2012, Scan). Some studies have pointed to the need for programs and policies, similar to those in the UK, Australia, and the US, to foster leadership succession and skills development in the cultural workforce (Ipsos Reid 2008). Susan Annis of CHRC has suggested that mentorships are a key element of succession planning and should be encouraged (Annis 2011).

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Nevertheless, many of the mentorship or internship programs are temporary and don’t guarantee full- time employment. While there may be a skill shortage, there may also be a job shortage, and it is unclear whether or not the emergence of trained people will help create positions (Smalley 2012). Furthermore, retaining employees in the jobs available is an issue given the combination of high skills and low wages that characterizes work in the arts and culture sector (Ipsos Reid 2008).

Adequate training is also a challenge, particularly as practitioners adapt to the new digital realities, and require technical training in digital business skills, such as intellectual property and IP rights management (Cultural Human Resources Council 2011).

3. COPYRIGHT

Recent copyright developments will adversely affect the financial status of Ontario artists. The federal government’s Copyright Modernization Act received royal assent in June 2012, and many of its provisions came into force in November 2012. Critics of the bill have suggested it favours corporate interests over artistic interests, threatens the right of artists to be remunerated for copies of their work, and attempts to solve the piracy issue by stifling creativity. Among other things, the bill makes it illegal to remove digital locks even for lawful purposes, and it no longer contains a scheme to compensate creators of works by putting a levy on the sale of blank recording media (Raj 2012).

As well, a recent Federal Court of Appeal decision has banned artists from negotiating minimum display and other copyright-related fees with the National Gallery of Canada. While the decision applies only to federal institutions, CARFAC says it has the potential to affect financial arrangements between artists and galleries across the country (Cobb 2013).

4. ACCESS Access to arts funding and infrastructure is a pressing issue for a number of arts practitioners. As previously noted in the discussion of demographic change, this presents rich opportunities for artistic practice and forms, but also presents challenges as limited resources are distributed among an increasing range of activities and actors.

New Generation artists feel shut out It is still difficult for new generation artists and arts administrators to break into established institutions, and new organizations are unable to access the same levels of funding as their predecessors (Smalley 2012). As noted in a recent Globe and Mail article, some in the arts sector have observed that this problem stems from the “grandfathering of operating funds” and a funding system that has traditionally emphasized stability: once groups win operating funding, they usually get it renewed. In today’s environment of relatively flat arts council budgets, this means it is harder for new generation organizations to access operating funds, and those that do “are getting a small slice of the pie.” (Taylor 2013)

However, some arts councils are exploring how best to address this challenge. The Theatre Section of the Canada Council, for example, is setting aside 8% of its $22-million budget for operating grants and establishing a $220,000 fund for newcomers only—funds made available largely through cuts to a handful of established organizations. The Section is also advising juries for existing funds to allocate certain percentages to groups that are not incumbents (Taylor 2013).

36 Ontario Arts Council: 2013 Environmental Scan

As part of its Priorities for New Funding, the Toronto Arts Council plans to apply 50% of all new funding to current grants envelopes, but it also intends to create and implement strategies to address funding inequities, “recognizing that there have been insufficient funds for those organizations created most recently; many of which are led by artists of colour or based in non-European art practices.” (Toronto Arts Council 2013, Priorities) The Calgary Arts Development Authority (CADA) launched a program in 2012 to deal with unprecedented demand from new clients representing diverse and emerging organizations. The New Client Induction Grant Program invests in arts organizations that are eligible, but not currently funded through CADA’s operating grant program (Calgary Arts Development Authority 2012).

Others in the arts sector have suggested that more established arts organizations could help alleviate the problem by no longer applying for arts council grants, and putting their funding “back into the pot.”(Taylor 2013)

Cross-disciplinary and hybrid practices don’t always fit in disciplinary “silos” Cross-disciplinary and hybrid practices are an increasing part of the artistic landscape. Young artists in particular seem less wedded to traditional modes, and are interested in seeing how far they can “stretch the disciplines,” prompting some funders to question the traditional disciplinary “silos” that exist in their agencies (Kent 2013).

Community and social justice arts are growing art forms The literature suggests that community engaged art is growing. According to TAC, there has been a “huge increase” in the number of artists working in this developing art form (Toronto Arts Council 2010). This has led to calls for funders to broadly validate their practice (Sidford 2011), and fund a range of socially conscious arts activities (Anisef 2010).

Disability and Deaf Arts and artists with disabilities – seeking a range of opportunities Disability and deaf arts is an evolving arts practice in Canada, and there is increased awareness of its importance. In its disability arts strategy, the Canada Council for the Arts defines disability arts as follows:

Disability arts are created by disabled people. This includes artistic practices and processes grounded in ensuring that the lived experiences and identities of disabled people are conveyed, explored or represented. This typically means that disabled artists are the directors, creators, or main contributors to the artistic process. Not all artists who have a disability produce disability arts. Disabled artists may work across a wide spectrum of artistic practices including but not limited to disability arts, integrated arts, contemporary arts or traditional arts and fine crafts (Canada Council 2012, Expanding).

As Jacobson and McMurchy (2010) note, a central issue for artists with disabilities is a lack of options that most non-disabled artists take for granted. They suggest that the collective goal in the sector should be to create a range of opportunities so that an artist with a disability has the same options that most non-disabled artists take for granted, including developing their own practice or company; accessing appropriate training; and competing in the mainstream for roles and opportunities.

While funders are showing an increased commitment to understanding and supporting disability arts practice and artists with disabilities, they acknowledge it presents challenges to current structures. The variety of disabilities, for example, can demand a high level of flexibility when dealing with issues like

37 Ontario Arts Council: 2013 Environmental Scan reporting. It can be also be expensive to accommodate disabilities, and funders need to have plans to build such costs into their budgets.

Francophone artists – pressing issues and needs Some of the most pressing issues for Francophone artists, as identified by cultural stakeholders, include the need for more support for staff, volunteers, and artists on the ground; difficulties in making artists and works of art known; a lack of resources and tools for artists; and a need to invest in human resources training, in order to improve the abilities, skills and effectiveness of Francophones when it comes to creating and innovating, producing, promoting and disseminating cultural activities, goods and services in French (Standing Senate Committee 2009).

There is a lack of appropriate infrastructure to support Aboriginal arts The lack of arts organizations, training institutions, service organizations, Aboriginal venues, and presenters to support Aboriginal arts continues to be a challenge in Canada (Trépanier and Creighton- Kelly 2009). Aboriginal creation continues to have difficulty finding its way being presented in “established” venues, and there is a sense of a persistent lack of professional performance spaces for Aboriginal works (CAPACOA 2012). However, as the production of Aboriginal arts increases, it is anticipated there will be a corresponding desire among—and opportunity for—Aboriginal and non- Aboriginal audiences to understand and appreciate Aboriginal arts practice, leading to further cooperation with mainstream arts organizations (Trépanier and Creighton-Kelly 2009).

Perspectives from the field: A new conversation about “Vibrancy”

The Australia Council for the Arts has, in recent years, suggested it is time for funders to shift their focus away from “sustainability” and toward the notion of “vibrancy.” It has started thinking about new ways of measuring the “artistic vibrancy” of the performing arts companies it funds. In the Council’s discussion paper on this topic, author Jackie Bailey (2009) writes:

Sustainability has been a strong focus for Australia’s major arts organisations and this focus is still important. But for these organisations and their art forms to continue to develop, it’s time for a new conversation. A conversation about artistic vibrancy.

For the Australia Council, artistic vibrancy includes artistic excellence, audience stimulation, innovation, development of artists, and community relevance. They also note that funders can influence a company’s focus on artistic vibrancy in its planning cycle, so that it focuses more on financial planning and success indicators as a result of funders’ emphasis on these areas. It is suggested that funders should instead emphasize artistic matters more than financial reporting, and invite frank discussion on artistic “success,” “failure,” vision, risks, lessons learned, and future actions.

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VII. STRATEGIC PLANS AND RELATED DOCUMENTS

As part of this environmental scan, the authors also analyzed strategic plans and related documents from 13 key arts councils in Canada and worldwide. This chapter looks at what other funders are saying in their strategic plans, and how they have defined their respective roles and priorities. Findings are based primarily on an analysis of the following documents:

FUNDER (ABBREVIATION) DOCUMENT17 YEAR PUBLISHED British Columbia Arts Council (BCAC) Strategic Plan 2009–2013 2009 Conseil des arts et des lettres du Québec Plan stratégique 2009–2012 2009 (CALQ) New Brunswick Arts Board (NBAB) Strategic Plan 2009–2012 2009 Canada Council for the Arts (CCA) Strategic Plan 2011–2016 2010 Creative New Zealand (CNZ) Strategic Plan 2010–13 2010 National Endowment for the Arts (NEA) Strategic Plan, FY 2012–2016 2010 Toronto Arts Council (TAC) Visioning Document 2010–2013 2010 Arts Council England (ACE) Arts Council Plan 2011–15 2011 Arts Nova Scotia (Arts NS) 18 Report to Minister of Communities, Culture and Heritage 2011 Manitoba Arts Council (MAC) Strategic Plan 2012–2016 2011 Saskatchewan Arts Board (SAB) Strategic Plan Version 1.0 2011 Alberta Foundation for the Arts (AFA) Strategic Plan 2012–15 2012 Australia Council for the Arts (OzCo) Strategic Plan 2012–2013 2012

Other documents were also consulted where appropriate and are listed in the bibliography. The timeframe covered by the funders’ strategic plans is from 2009–16; however, some funders have plans that have “expired” or are about to in 2013. Their priorities may accordingly change. Of note, the Saskatchewan Arts Board’s current strategic plan is described as a “living document” that doesn’t cover a defined timeframe or have an expiry date.

1. SUPPORTING ARTS PRACTICE

Excellence Supporting excellent or high-quality art is a priority for all funders, although not all define the notion of “excellence” in their strategic plans. The Australia Council for the Arts is one funder that does, defining it “not only in terms of the highest possible level of artistic achievement, but also through innovation, organizational vibrancy, business skills and community outcomes.” ACE notes that although “money is tight for the arts” the Arts Council remains determined to support excellence and innovation, although it is also interested in promoting debate and discussion about what excellence really means.

17 All documents listed were the most current strategic plans available at time of writing. 18 In 2011, the Government of Nova Scotia announced it was bringing back an independent arts council, Arts Nova Scotia, after having been without one for the previous nine years. The authors were unable to locate any publicly available strategic plans for Arts NS, but the findings here are informed by the Transition Committee’s 2011 Report to the Minister of Communities, Culture and Heritage.

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Supporting the “Supply” of Art Nine out of thirteen funders further specify they have a role in supporting the supply of art—what has been defined in some literature (Zakaras and Lowell 2008) as the creation, production and presentation of artworks:

FUNDER DESCRIPTION OF “SUPPLY” ROLE YEAR PUBLISHED BCAC [Encouraging] production and delivery of cultural or artistic activities and/or 2009 products CALQ Support research, artistic and literary creation, experimentation, production and 2009 dissemination NBAB Facilitate and promote the creation of the arts 2009 CCA Foster and promote the production of works in the arts 2010 CNZ Create: High-quality and innovative new work is developed 2010 NEA Creation of art that meets the highest standards of excellence 2010 TAC Supporting the creation, presentation of great art 2010 SAB Saskatchewan artists pursue their creative work 2011 OzCo Supports the creation and presentation of distinctive cultural works 2012

It’s also worth noting that some funders talk more broadly about what could be interpreted as a “supply” role, either in terms of creativity—investing in the “creativity of artistic disciplines” (Arts NS); recognizing and encouraging “artistic creativity” (MAC)—or simply “using our investment to ensure excellent art happens” (ACE).

Professional arts practice All the Canadian funders but one, the Alberta Foundation for the Arts,19 say that their role is to support professional arts practice. International funders generally don’t use the term “professional arts” in their strategic plans, except for Creative New Zealand, which distinguishes between “professional” and “community” arts, noting that it supports both.

Nova Scotia’s new independent arts council, Arts Nova Scotia, is particularly focused on supporting professional arts. As recommended in the Transition Committee’s Report to the Minister of Communities, Culture and Heritage, Arts NS is not currently responsible for community arts, emerging arts, and youth- focused programs, or programs for cultural industries (such as book publishers), as this is seen as incompatible with its mission and mandate.

“Arts at the Heart” Approximately half of the funders acknowledge the special role of the artist and arts organizations, identifying them as priorities in their plans. In Arts Council England’s plan, for example, this priority is expressed as “Arts at the heart.” But whereas some of older strategic plans, such as the British Columbia Arts Council’s, talk about increasing support to artists and arts organizations, none of the more recent plans identify this as a priority area. In Canada, only the Toronto Arts Council, which recently received a funding increase, notes it is a priority to increase support to Toronto’s artists and arts organizations through its established grant programs.

19 It is worth noting, however, that the AFA has a mandate to support amateur arts practice.

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Internationally, the Government of Australia now recognizes the unique role of the artist as part of Creative Australia, an overall cultural policy that emphasizes skills, job creation and national competitiveness. The release of that policy also saw a $75 million dollar increase for the Australia Council for the Arts (Gov’t of Australia 2013).

Skills and capacity building Encouraging and supporting professional development and training (MAC); access to career development and entrepreneurial training opportunities (SAB); best management practices (AFA); skills and capabilities (CNZ); and talent development (ACE) for artists and arts administrators are also strategic plan priorities for funders.

Three of the funders talk specifically about capacity building, particularly for organizations. As part of its organizational resilience priority, Arts Council England notes that it is investing in a one-off grants program for capacity building, as well as a program of advice and support for the arts sector about sharing best practice. Creative New Zealand notes that its “capability-building” initiatives are a key part of its response to the overall financial challenges facing the arts sector. These initiatives “support arts organisations to be more efficient and effective in their operations by providing them with targeted assistance in management and audience development.” As previously noted in this scan, the Canada Council is reviewing its Flying Squad program and considering different models that would complement its overall support for arts. It is expected to announce an alternative strategy to support “adaptive capacity” in June 2013 (Canada Council 2013, Flying Squad).

Of note, Arts Council England is the only funder that explicitly refers to sector-wide approaches to capacity building. However, there are examples of non-arts funders that have recently embarked on sector-wide approaches. Although these funders are outside the scope of this analysis of strategic plans, it is worth noting that in 2012 the J.W. McConnell Family Foundation launched a national capacity building initiative called Innoweave. Recognizing that community sector organizations often share similar concerns—such as change management, remote collaboration, and external and internal communications—Innoweave brings them together to explore problem solving technology, new models, and other shared solutions (J.W. McConnell 2012).

Of note, two planning processes are currently underway in New Brunswick—one led by the provincial government (expected in 2013), and the other led by the New Brunswick Arts Board in partnership with two arts service organizations (expected in 2014). Both are expected to emphasize the creative economy, and the latter, training and professional recognition.

2. ENCOURAGING EQUITY, ACCESS AND DIVERSITY

Equity as an overall priority Eight out of 13 funders identify equity or diversity as an overall priority. Some express this as a “commitment to inclusiveness” (BCAC); or supporting “arts that acknowledge diversity” (AFA). Others, such as the Manitoba Arts Council, talk about encouraging and supporting opportunities that “decrease barriers to access arts experiences, support, and services.” In its plan, Arts Council England notes that it is increasingly interested in “the artistic aspect of equalities and diversity described as the ‘Creative Case.’ This is the recognition that artistic excellence relies on the richness and innovation that diversity brings.”

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Equity seeking-groups A number of funders identify specific equity-seeking groups as priorities in their respective strategic plans. The range of identified groups include:

 Culturally diverse (8)  Aboriginal (7)  Youth (including “children” and “young people”) (6)20  Emerging artists (4)  Disability arts / Artists with disabilities (4)  Francophone / Language (3)  Gender (2)21

Of note, eight funders also identify geographically based groups and communities as a priority or area of interest. For example, the British Columbia Arts Council says it will develop programs that consider art in the context of BC’s vast geography and increasing urbanization; Toronto Arts Council will use new funds to support community engaged art initiatives in all neighbourhoods, but especially the inner suburbs; and the Australia Council identifies artists and communities in regional and rural areas as a priority in its Cultural Engagement Framework.

A high-level “mapping” of the priority groups22 identified in strategic plans and related documents is included as an Appendix. Because disability arts is an evolving sector and an emerging priority for some arts funders, it is looked at in greater detail here.

Disability Arts In keeping with the commitment to equity in its strategic plan, the Canada Council for the Arts has developed a distinct Deaf and Disability Arts, Access and Equality Strategy, the goal of which is to promote equality in the arts for Deaf Canadians and Canadians with disabilities. The strategy identifies three main priorities the Canada Council intends to phase in between 2011–16: increasing access, support and participation in Canada Council programs; recognizing, supporting and promoting Deaf and disability arts; and encouraging the public engagement of Canadians who are Deaf or who have disabilities in arts and culture.

Two of the international funders looked at for this scan also have distinct strategies that specifically address the needs of disabled artists. Arts Council England’s Disability Equality Scheme 2010–13 focuses on the theme of “prominence” and the conditions for disabled people to thrive in the arts. As part of its Cultural Engagement Framework, the Australia Council for the Arts aims to increase disabled artists’

20 Only one of the funders defines what it means by “young people.” In its Cultural Engagement Framework, the Australia Council defines a young person as someone who is under the age of 30. Although the other funders don’t define “youth,” they often discuss children and youth in the context of educational activities, suggesting that “youth” probably refers to people under the age of 18. However, in the absence of clear definitions, this is just an assumption. 21 None of the strategic plans looked at in this study identify GLBT groups as a specific priority. In its 2008–11 Strategic Plan priorities (which carried over into its 2011–16 Plan), the Canada Council notes that it will use its national position to address inequities of all kinds, including “gender-based” inequity. The other funder that identifies “gender” as a priority is CALQ, which notes it is a priority to monitor the allocation of grants to women. 22 While these priority groups have been analyzed as distinct for the purpose of this scan, they are often interrelated. For example, the Australia Council for the Arts notes in its Cultural Engagement Framework that opportunities to participate in and enjoy the arts for people in regional and marginalized communities, for example, may also be affected by issues relating to youth, disability, cultural diversity and Aboriginality.

42 Ontario Arts Council: 2013 Environmental Scan access to Australia Council support, and increase opportunities for people with disabilities to participate in and enjoy arts and cultural events.

3. ADVOCATING FOR THE ARTS As illustrated in the following table, 10 out of 13 funders say they have a role in advocating for and promoting the value of the arts:

FUNDER DESCRIPTION OF “ADVOCACY” ROLE YEAR PUBLISHED BCAC Council must support arts and culture in BC through public education, research 2009 and advocacy. NBAB Raise the profile of and communicate the value of the arts. Advocate for the arts 2009 and artists in the province. CCA Advance a public conversation on the expressive needs and aspirations of the 2010 citizenry at large; how the Council’s work in the professional arts sector benefits all Canadians. CNZ Role: Advocating for the arts; making the case for public value of the arts. 2010 NEA Promote public knowledge and understanding about the contributions of the arts. 2010 TAC TAC advocates on behalf of the city’s artists, and works to increase public 2010 awareness of the value of art and educate civic leaders on effective arts policy. ACE Our aim in championing is to embed arts and culture in public life through 2011 advocacy and working in partnership. Arts NS Communicate the cultural, social and economic importance of the arts. 2011 MAC Promote, preserve and advocate for the arts as essential to the quality of life. 2011 AFA Articulate the value of the arts as integral to the quality of life for Albertans. 2012

For the majority of funders, advocating for and promoting the arts is primarily a communications and research activity. For example, Arts Council England says it will advocate for arts and culture through the publication and dissemination of research and policy information. However, working to increase overall financial support for the arts sector—either individually or in partnership with others—is a priority for some funders, as part of their identified advocacy role. For example, the New Brunswick Arts Board talks about “working to increase public funding allocated provincially”; and the British Columbia Arts Counicl says it will “advocate for increasing resources for arts and culture.”

Encouraging private sector investment and individual giving On a related note, Creative New Zealand says that advocacy can be “a means to enable the arts to access resources and support from other sources.” It is one of five funders that have said it is a priority to find ways to maximize income for the sector from alternative revenue sources.23 While some, such as the Conseil des arts et des lettres du Quebec,24 discuss this in terms of “stimulating private sector partnerships and initiatives,” other funders are focused on increasing the income of individual artists and arts organizations. Arts Council England, for example, is helping organizations to “diversify their

23 Although they weren’t part of this strategic plan analysis, the Metcalfe Foundation will in 2013 be accepting Creative Strategies Incubator applications only for the following Focus Issue: new approaches to, or alternative sources of, revenue. 24 The Toronto Arts Council also notes that a portion of its new grants funds will be strategically allocated to “act as a catalyst for increased provincial and national investment in Toronto from all levels of government and the private sector.”

43 Ontario Arts Council: 2013 Environmental Scan income streams, including by encouraging private giving” as part of its “organizational resilience” priority. Last year, the Australia Council for the Arts launched a national crowdfunding strategy to explore what role it could play in crowdfunding, noting that, “supporting other opportunities to fund arts and cultural projects helps us deliver on our mission.” (Australia Council 2012, Roadshow Resources)

Promoting the arts nationally and internationally Promoting and marketing the work of artists and arts organizations both within Canada and, in some cases, internationally are priorities for the AFA, CALQ, and SAB.25 Not surprisingly, promoting the work of their country’s artists on the international stage is also a priority for ACE, CNZ, and OzCo.

4. FOSTERING DEMAND FOR THE ARTS Nine out of 13 funders clearly articulate that they have a role in helping to foster “demand” for the arts—understanding, appreciating and having a response to art works. This is often expressed as facilitating the enjoyment, understanding or appreciation of the arts, or as providing opportunities for citizens to participate in, engage with, and experience the arts, as summarized below:

FUNDER DESCRIPTION OF “DEMAND” ROLE YEAR PUBLISHED NBAB Facilitate enjoyment and understanding of the arts 2009 CCA Foster and promote the study and enjoyment of works in the arts 2010 CNZ Engage: New Zealanders experience high-quality arts and participate in the arts 2010 NEA Engage the public with diverse and excellent art 2010 TAC Supporting the appreciation of great art 2010 MAC Support opportunities for all Manitobans to engage in and experience arts and 2011 cultural activities SAB Foster engagement between Saskatchewan artists and citizens 2011 AFA Provide opportunities for Albertans to develop, appreciate, and participate in the 2012 arts OzCo Support the appreciation of distinctive cultural works 2012

While some funders make a clear distinction between “supply” and “demand” roles, others use broader language that could be seen as encompassing both types of activity. For example, Arts Council England talks about working to ensure the arts “thrive.”

Engagement as a Priority Five of the 13 funders further detail how they will foster demand for the arts, in particular by making “engagement” a priority. In its Strategic Plan, the Canada Council says it will respond to the growing priority of public engagement in the arts,26 and find direct and indirect ways to help professional artists and arts organizations deepen and expand their engagement with audiences. In support of this goal, the

25 As discussed earlier in this scan, national and international market access is also priority for the Canada Council for the Arts. However, this isn’t identified in its latest strategic plan. 26 The Canada Council defines public engagement as “actively engaging more people in the artistic life of society notably through attendance, observation, curation, active participation, co-creation, learning, cultural mediation and creative self- expression,” but acknowledges that ideas of public engagement are understood differently across Canada and globally.

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Canada Council launched a public engagement discussion paper last year, which notes it will strengthen its support to activities that facilitate enriching artistic experiences, including online participation (Canada Council 2012, Engagement).

Arts Council England has made it a priority to focus on people and places with the least engagement— parts of England where arts involvement is significantly below the national average. “Strengthening community engagement” and “enhancing support for community engaged art initiatives” are priorities for the British Columbia and Toronto Arts Councils, respectively.

Arts education and learning For some funders, prioritizing support for arts education and learning is closely linked to fostering demand. The notion of what arts education and learning entails also seems to be expanding. For example, as part of its focus on “arts learning,” the Manitoba Arts Council says it will encourage more opportunities in schools and communities, “at every step along a continuum of arts experience, from receptive to participatory.” Arts education and learning-related priorities—such as lifelong learning (SAB), promoting the value of the arts in education (AFA), and developing arts education policy (NBAB)— are a focus for other funders as well.

Of note, the British Columbia Arts Council recently received an additional $5 million as part of the provincial government’s strategy to spur growth in the creative economy, Creative Futures. This will result in additional investment for the BCAC’s arts education programs and a new program to support innovative approaches to youth engagement in the arts (BC Ministry 2013).

Broadening priorities In looking at the strategic plans and related documents, there is a sense that funders are starting to broaden their priorities to focus more on the “demand” side of their role, and pressing issues in the larger environment. In its 2012 Public Engagement Discussion Paper, for example, the Canada Council suggests there is a common shift from a focus on the art and the artist to the public, as the central driver of cultural and arts policy and actions.

In its strategic plan, the Manitoba Arts Council says it will support:

…continued emphasis on artistic merit, but will accommodate and respond to the partnerships and collaborations, innovation and entrepreneurship, cultural inclusion and technological dissemination that also characterize Manitoba’s rich arts environment.

A number of these priorities are shared by other funders and discussed below.

5. “NEW” PRIORITIES: INNOVATION, TECHNOLOGY, SOCIETAL BENEFIT, AND PARTNERSHIP

Innovation Nearly all funders (10) make reference to “innovation” in their strategic plans, whether it is something to be “fostered” (Arts NS), “advanced” (NEA), or “encouraged” (MAC). However, not all funders define innovation, and those that do, don’t always share the same understanding of the term. For Arts Council England, “innovation” is an outcome centering on artistic freedom. At the Australia Council, prioritizing innovation means supporting emerging arts practice, as well as cross artform collaborations, and projects using new technologies. The National Endowment for the Arts also identifies innovation as a

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“new focus” in its strategic plan, and defines it in supply and demand terms as projects that are likely to prove transformative, offer fresh insights and new value for their fields and/or the public, and have the potential to be shared and/or emulated (National Endowment for the Arts 2010).

Technology Addressing the impact of digital technologies on the arts is a priority for four funders. Arts Council England, for example, identifies “digital innovation” as a priority, particularly the opportunities it offers for “artists, audiences, and the broader sector.” In its strategic plan, the Conseil des arts et des lettres du Québec notes it is a priority to consider the impact of new technologies on the sector, and has launched a pilot project, Plateformes et réseaux numériques, to encourage the use of digital technologies in the arts. Technology is not explicitly identified as a priority in NEA’s or SAB’s respective strategic plans, but is recognized as one of the external factors influencing artistic practice.

Societal benefits While supporting the arts for public benefit is sometimes an implicit part of funders’ roles or plans, three of the funders specifically identify societal benefits as distinct priorities in their strategic plans. For the Saskatchewan Arts Board, “public benefit” is a priority whereby “Saskatchewan artists and arts organizations are vital contributors to the provincial economy and a healthy society.” Among other things, this means the public benefits from the arts in areas such as public health, technological innovation, heritage and entertainment.27

In its vision statement, the Toronto Arts Council notes that “supporting excellence in the arts will continue to be the raison d’être of the council, but city building, community revitalization and innovation will also be emphasized.”

Partnership and collaboration All of the funders—with the exception of Arts Nova Scotia—identify partnership and collaboration as a means of carrying out and achieving multiple priorities.

6. DEVELOPING THE ARTS While most funders discuss their role in terms of supporting, fostering demand for, and promoting the arts, three of the 13 funders specifically say they have a role in “developing” the arts.

For Arts Council England, its role in “developing” the arts means that it works with “the sector and other partners to identify challenges, seize opportunities and address gaps in provision.” In support of its development role, for example, ACE will invest £440 million in “strategic funding” between 2012 and 2015. This strategic funding complements ACE’s £1.04 billion investment in National Portfolio organizations (i.e., operating funding), and will be invested in three ways:

 targeted grant programs (investment in capital, touring, and encouraging private giving);  specific grant commissions (Audience Focus Fund, Creative People and Places Fund); and  a general strategic grant program, enabling organizations to undertake creative solutions to achieve priorities not addressed by the National Portfolio and other strategic funds (Arts Council

27 It is important to note that since 2008 the Saskatchewan Arts Board has also funded creative industries as part of an agreement with the Ministry of Parks, Culture, and Sport, which may explain the emphasis on areas such as the “economy” and “entertainment.”

46 Ontario Arts Council: 2013 Environmental Scan

England 2011, Strategic Funding).

The grant commissions in particular represent a “new way of doing things” for ACE. Grant commissions enable the arts sector to apply to deliver a particular piece of work in response to a detailed and specific brief given by ACE. Unlike some of its other programs, ACE defines the outcomes to be achieved with grant commissions and how those outcomes should be achieved. Some of ACE’s grant commissions include the Audience Focus Fund, Creative People and Places fund, and Developing Resilient Leadership Fund (Arts Council England n.d., Grant Commissions).

In its Strategic Plan, Creative New Zealand talks about making the shift from being a “funding agency” to being an “arts development agency”:

This differs from what we see as being the primary role of a funding agency, which is to ration available money in response to requests—essentially a reactive role. Therefore, while we must remain responsive to the arts community, Creative New Zealand must also clearly set out the proactive strategies and steps we will undertake to develop the arts.

Among Canadian funders, the Alberta Foundation for the Arts says it has a role in funding, supporting, and encouraging the development of the arts, but it’s not as clear what “development” entails for this agency.

Perspectives from the field: Rebalancing the distribution of funding. Decrease supply or increase demand?

Citing statistics that show a decrease in arts audiences and an increase in not-for-profit arts organizations in the USA, former NEA Chairman Rocco Landesman has suggested there is a need to “balance the equation” in the arts sector by either increasing demand, or decreasing supply.

While many arts funders have talked openly about increasing demand—as demonstrated by the previous analysis of strategic plans—few have talked about decreasing supply. Ellis (2012) and Ragsdale (2011) have observed, respectively, that some view the language of economics as fundamentally inappropriate to arts discourse; and others believe that too much art is a good thing and that efforts should focus on increasing patronage. Dunning and McDaniel (2012) suggest that the field will keep expanding regardless, and that artists will find audiences for their work despite evidence suggesting it shouldn’t be possible.

Nevertheless, Landesman argues that “decreasing supply” should be part of the conversation about the future of not-for-profit arts organizations along with issues such as how to increase arts education; take advantage of related demand for an expressive life (as expressed through the popularity of commercial programming such as American Idol); offer free samples of arts experiences; explore the opportunities presented by technology; and examine the highly institutionalized nature of arts infrastructure (Landesman 2011).

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VII. CONCLUSION

Looking at the overall findings, it seems that there have been both constants and significant change in the external environment, since the OAC launched Connections and Creativity in 2008. Given the demographic trends, it is expected that Ontario’s arts scene will continue to be shaped by extraordinary diversity: Aboriginal, Francophone, culturally diverse, new-generation, and regional artists, audiences, and communities will continue to make their mark. The place of other groups in the artistic landscape— particularly the aging population and artists with disabilities—may merit further discussion and exploration.

In light of continued economic instability, it is expected that the arts sector will continue to look to the Ontario Arts Council as a valuable source of support and investment. Overall, the sector is concerned about long-term financial stability and sustainability, but also about trying to “do more with less”: responding to changes in not-for-profit legislation; shifts in how people participate in the arts; demographic change; and the impacts of digital technology. These new drivers add to ongoing concerns in the sector about infrastructure, succession, training and access. The new realities, however, represent exciting opportunities in artistic creation and engagement, with a wider range of audiences, people and communities.

Nevertheless, it is expected that the question of how best to deal with growth and a broadening range of priorities will continue to be a central question for public arts funders. Many of the current discussions on arts funding have focused on whether the not the current model needs to be “rebalanced” by shifting its emphasis toward adaptive capacity, decreasing supply in the arts, increasing demand for the arts, or funding equity more equitably.

It is hoped that this environmental scan will provide the OAC with a tool to help foster its own conversations about the arts in Ontario, and serve as a stepping stone for the next phase of the strategic planning process.

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APPENDIX: Mapping Priority Groups Identified in Funders’ Strategic Plans and Related Documents

ORG DOCUMENT PUB Diversity / Aboriginal Culturally Disability Francophone Gender Youth Emerging Regional / DATE Equity Diverse arts / Artists / Language Artists Geographic Overall with Groups and Disabilities Communities BCAC Strategic Plan 2009 Commitment Goal: Support Consider art Leverage Values Consider art 2009–2013 to the unique role in the context advantages excellence in the context inclusiveness of Aboriginal of BC’s from 2010 from of BC’s vast artists and cultural Paralympic emerging to geography, communities traditions, games established increasing ethnic and artists. urbanization language diversity CALQ Plan 2009 Consolider et Assurer une Support stratégique poursuivre le veille sur la artistic 2009–2012 développement place des excellence in des mesures de femmes dans all regions of soutien l’attribution Quebec aux créateurs de l’aide autochtones. financière. NBAB Strategic Plan 2009 Equity and Encourage Ensure that Implement 2009–2012 diversity are development the needs of programmes identified of emerging for artists in values Anglophone artists are rural equivalent to being communities the AAAPNB addressed equitably CCA Strategic Plan 2010 Equity as a Aboriginal Cultural, Linguistic Gender- Regional 2011–2016 critical racial based priority CCA Expanding the 2012 Promote Arts: Deaf and equality in Disability Arts, the arts for Access and Deaf & Equality disabled Strategy Canadians CNZ Strategic Plan 2010 Maori Culturally Planned 2010–13 diverse research into young emerging artists NEA Strategic Plan, 2010 Children / State and FY 2012–2016 youth regional partnerships

49 Ontario Arts Council: 2013 Environmental Scan

ORG DOCUMENT PUB Diversity / Aboriginal Culturally Disability Francophone Gender Youth Emerging Regional / DATE Equity Diverse arts / Artists / Language Artists Geographic Overall with Groups and Disabilities Communities TAC Visioning 2010 Diverse Artists of Youth led Inner suburbs Document communities colour based arts projects, 2010–2013 in non- culturally European art diverse practices youth arts orgs

ACE The Arts 2011 Creative case Dev of Children and Part of Talent Regionally Council Plan for diversity disability young Development: distinct action 2011–15 arts are a people we will focus priority for our energies some areas and resources on emerging and mid- career talent

Arts NS28 Report to 2011 Values Values Minister of cultural regional Communities, diversity of diversity of Culture and NS NS Heritage MAC Strategic Plan 2011 Encourage Encourage Encourage Encourage Focus Area: 2012–2016 and support opportunities opportunities opportunities Youth opportunities in the arts that in the arts in the arts Engagement that decrease reflect the that reflect that reflect barriers to Aboriginal the cultural the Franco- access to arts identity of the diversity of Manitoban experiences, province. the province. identity of the support, and province. services. SAB Strategic Plan 2011 People engage Artists pursue Children and Version 1.0 with Aboriginal their careers youth have art and artists; in a culturally access to Aboriginal diverse both in- and artists have environment out-of-school access to arts and programs and cultural services experiences

28 No publicly available strategic plans or other documents were located for Arts Nova Scotia. Analysis of its priority groups is thus based on the Arts Nova Scotia Transition Committee’s October 2011 Report to Minister of Communities, Culture and Heritage, and information located online at: http://novascotia.ca/cch/investing/.

50 Ontario Arts Council: 2013 Environmental Scan

ORG DOCUMENT PUB Diversity / Aboriginal Culturally Disability Francophone Gender Youth Emerging Regional / DATE Equity Diverse arts / Artists / Language Artists Geographic Overall with Groups and Disabilities Communities AFA Strategic Plan 2012 Support arts 2012–15 that acknowledge diversity OzCo Strategic Plan 2012 Increase 2012–2013 diversity of access to funding, prgms OzCo Cultural 2010 Indigenous Multicultural People with Young Regional and Engagement Australia Australia a disability people marginalized Framework communities

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ANNOTATED BIBLIOGRAPHY

DEMOGRAPHIC TRENDS

Arts Council England. 2013. Arts and Older People in Care Grant Now Open for Application. Press release. http://www.artscouncil.org.uk/news/arts-council-news/arts-and-older-people-care-grant-now-open- applicat/ New three-year program in partnership with the Baring Foundation to provide access to quality arts experiences for older people in residential care, as both participants and audiences. Part of the Arts Council’s goal to achieve “Great art for everyone.”

Butler, Don. 9 February 2013. “Double whammy wallops Ontario population growth.” Ottawa Citizen. http://www.ottawacitizen.com/news/ottawa/Double+whammy+wallops+Ontario+population+growth/7 943659/story.html Provides an overview of population growth changes in Ontario, particularly data that fewer immigrants are choosing Ontario and higher provincial out-migration.

Caron Malenfant, Éric; André Lebel and Laurent Martel. 2010. Projections of the Diversity of the Canadian Population 2006 to 2031. Statistics Canada. http://www.statcan.gc.ca/pub/91-551-x/91-551-x2010001-eng.htm Describes the future composition of the Canadian population between 2006 and 2031, using different scenarios of population growth. The projections emphasize characteristics such as place of birth, generation status, visible minority group, religious denomination and mother tongue.

Caron Malenfant, Éric and Jean-Dominique Morency. 2011. Population Projections by Aboriginal Identity in Canada 2006-2031. Statistics Canada. http://www.statcan.gc.ca/pub/91-552-x/91-552-x2011001-eng.htm Presents projections of the Canadian population by Aboriginal identity, place of residence, and other variables of interest for the period 2006–2031 according to various scenarios.

Chui, Tina, Kelly Tran and Hélène Maheux. 2008. Canada's Ethnocultural Mosaic, 2006 Census: Findings. Statistics Canada. http://www12.statcan.ca/census-recensement/2006/as-sa/97-562/index-eng.cfm Presents information from the 2006 Census on the ethnic origins of Canada's population. It also provides information on the growth and composition of the visible minority population.

City of Vancouver. 2012. Arts and Health Project, Healthy Aging Through the Arts. http://vancouver.ca/parks-recreation-culture/arts-and-health-project.aspx A project of weekly workshops facilitating seniors’ creative contributions to their communities. Artists from a variety of disciplines are currently working with seniors in the development of work in the visual arts, the written word, multidisciplinary performance and digital storytelling.

Coates, Ken and Bill Morrison. October 2012. “The Uses and Abuses of University.” The Walrus. http://thewalrus.ca/the-uses-and-abuses-of-university/ Feature article on the increase in university education and the disconnection between higher education and employment opportunities. The authors claim that there is a “lost generation” of young Canadians struggling to find their way financially post-university.

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Cox, Susan M.; Darquise Lafrenière; Pamela Brett-MacLean; Katie Collie; Nancy Cooley; Janet Dunbrack and Gerri Frager. 2010. “Tipping the iceberg? The state of arts and health in Canada.” Arts & Health. 2:2, 109–124. http://artshealthnetwork.ca/ahnc/tipping_the_iceberg_sept_2010_ah_journal.pdf An overview of arts and health initiatives in Canada spanning health policy, healthcare practice, individual and community health promotion, health professional education and arts-based health research. The report includes reflections and recommendations on arts and health in Canada.

Eyring, Teresa. 8 December 2011. “Theatres Sharing the Bandwidth.” GIA Online Forum on Equity in Arts Funding. http://blogs.giarts.org/equity-forum/ As part of an online dialogue in response to Holly Sidford’s report, Fusing Arts, Culture and Social Change, Eyring suggests that there are merits to increasing grant funding for marginalized groups, and helping cultivate more relationships and practices among different arts organizations and communities.

Hall, Heather and Betsy Donald. 2009. Innovation and Creativity on the Periphery: Challenges and Opportunities in Northern Ontario. Working Paper Series: Ontario in the Creative Age. http://ruralontarioinstitute.ca/file.aspx?id=eaddc08f-e3b2-4608-a871-09858c361deb Presents information that the Northern Ontario region offers unique opportunities for innovative and creative forms of economic development, including arts and cultural industries.

Hill, Kelly. 2010. With contributions by Joysanne Sidimus and Celine Marks. Senior Artists in Canada. http://hillstrategies.com/sites/default/files/Senior_Artists_full_report.pdf The Senior Artists’ Research Project is a comprehensive study of senior artists, focusing on five areas of concern: Career, Health, Finances, Housing and Isolation.

Hill Strategies. 2005. Diversity in Canada’s Arts Labour Force. (2001 Census data). http://www.canadacouncil.ca/NR/rdonlyres/42D9F55E-4BCF-4E6B-9AFB- 3E83B63E0F13/0/Diversity_arts.pdf Analyzes 2001 Census data on visible minority, Aboriginal and immigrant Canadians in the arts labour force.

Hill Strategies. 2009. A Statistical Profile of Artists in Canada Based on the 2006 Census. http://www.canadacouncil.ca/NR/rdonlyres/BB1FEA67-724A-44FE-A195- 9F58F82D2CD5/0/Artists_Canada2006.pdf Provides an in‐depth examination of artists in Canada, based largely on the 2006 census. The report examines the number of artists, artists’ earnings, selected demographic characteristics of artists, and trends in the number of artists between 1971 and 2006.

Hill Strategies. 2012. Factors in Canadians’ Arts Attendance in 2010. http://www.hillstrategies.com/sites/default/files/Factors_Arts_Attendance2010.pdf Looks at the dynamics of attendance at five arts activities: art galleries, theatres, classical music performances, popular music performances, and cultural festivals. Also provides demographic analysis and information about cultural crossovers.

Jérôme, Laurent. 2008. “How Can One Be a Young Aboriginal?” Horizons. Volume 10, No.: 1. Policy Research Initiative. http://publications.gc.ca/collections/collection_2008/policyresearch/CP12-1-10- 1E.pdf A reflection on young Aboriginal people in Canada, what sets them apart from their young non- Aboriginal neighbours, and how public policies can take the realities and aspirations of young Aboriginal people into consideration.

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Johnston, Maura. 2012. “Six Reasons Why your Phone is Probably Ruining Your Concert Experience (and Everyone Else’s).” Village Voice. Blog. http://blogs.villagevoice.com/music/2012/04/cell_phones_concerts.php Blog post reflecting on trend among younger people to bring cellphones to concerts to record, tweet or post photo and video.

Martin Prosperity Insights. Creativity in the Rural Economy: Challenges & Opportunities. http://ruralontarioinstitute.ca/file.aspx?id=3607ea36-0853-4bb4-9b62-50b7d1482f96 Fact sheet on creative economy in relation to rural economies.

McGuirk, John. 16 December 2011. “Alternative Pathways to Change.” GIA Online Forum on Equity in Arts Funding. http://blogs.giarts.org/equity-forum/ Part of an online forum in response to Holly Sidford’s report Fusing Arts, Culture and Social Change. Takes issue with the report for not recognizing the progress made by those “large organizations” to broaden and diversify their audiences and programming, and for reinforcing outdated stereotypes regarding “elite” arts organizations.

Milan, Anne; Hélène Maheux and Tina Chui. 2010. A Portrait of Couples in Mixed Unions. Canadian Social Trends, Statistics Canada. http://www.statcan.gc.ca/pub/11-008-x/2010001/article/11143-eng.pdf Article on mixed unions in Canada and broader social, economic, and demographic changes affecting the lives of Canadians.

Ministry of Aboriginal Affairs, 2012. Aboriginal People in Ontario (information from the 2006 Census). http://www.aboriginalaffairs.gov.on.ca/english/services/datasheets/aboriginal.asp (current at time of writing) Fact sheet on Ontario's Aboriginal population, based on the 2006 Census.

Ministry of Community and Social Services. 2005. About the Accessibility for Ontarians with Disabilities Act, 2005 (AODA). http://www.mcss.gov.on.ca/en/mcss/publications/accessibility/aoda2005.aspx Discusses the Accessibility for Ontarians with Disabilities Act, 2005, which lays out the goal of an accessible Ontario by 2025. Also discusses a series of proposed targets for what needs to happen and when, in increments of 5 years or less.

Ministry of Finance. 2009. Population Counts: Rural and Urban Ontario. http://www.fin.gov.on.ca/en/economy/demographics/census/cenhi06-2.html Factsheet comparing urban and rural population of Ontario based on 2006 Census.

Ministry of Finance. 2012. Ontario Population Projections Update, 2012 – 2036, (based on the 2006 Census). http://www.fin.gov.on.ca/en/economy/demographics/projections/ Presents updated population projections for Ontario and its census divisions and are an update of the projections released in spring 2011, based on the 2006 Census.

Ministry of Tourism and Culture, 2010. Ontario's Entertainment and Creative Cluster: A Framework for Growth. http://www.mtc.gov.on.ca/en/publications/Creative_Cluster_Report.pdf Provides a vision for the continued growth and leadership of Ontario’s cultural and other creative industries.

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Ontario Office of Francophone Affairs. 2013. Francophones in Ontario (based on the 2011 Census). http://www.ofa.gov.on.ca/en/franco-census-2011.html Presents basic analysis of the Francophone community based on geographical distribution, age and language retention from the 2011 Census.

Ontario Trillium Foundation. 2011. Diversity in Ontario: A Community Profile. http://www.otf.ca/en/knowledgeSharingCentre/resources/DiversityReportOntarioENGLISH.pdf Presents information on diversity in Ontario highlights the trends and differences for immigrants as well as people who identify as a visible minority.

Patteson, Ann et al. 2013. Exploring the Impact of Artful Engagement with Older Adults, Final Research Summary Report. Report submitted to the Ontario Trillium Foundation. http://www.rcmusic.ca/sites/default/files/files/Artful_Engagement_Research_Report_Feb_6_2013_FIN AL.pdf Examines the ways in which the creative arts program was meaningful to participants, professional artists and clinicians involved in the program delivery and records program effects on participants’ physical, social, emotional, and cognitive health.

Report prepared for City of Toronto Economic Development Committee and Toronto City Council. May 2011. Creative Capital Gains: An Action Plan for Toronto. http://www.livewithculture.ca/wp-content/uploads/2011/05/CCI-Final.pdf An action plan for the City of Toronto based on the concept of the Creative City as an economic engine to help Toronto compete for talent, tourism and investment.

Report prepared for the Ontario East Economic Development Commission. Eastern Ontario, Canada's Creative Corridor: Connecting Creative Urban and Rural Economies Within Eastern Ontario and the Mega-Region. http://ruralontarioinstitute.ca/file.aspx?id=889e2ce7-c86b-421c-8d1c-42064301857f Presents arguments for developing the creative economy focusing on the rural communities linking Toronto, Ottawa, Kingston and Montréal.

Revolutions Per Minute. 25 June 2013. Music & Idle No More: RPM on CBC’s the Current. Media release. http://rpm.fm/news/music-and-idle-no-more-cbc-the-current/ News release and link to panel discussion on CBC Radio on the “soundtrack” for the Idle No More movement featuring young Aboriginal artists.

Sidford, Holly. 2011. Fusing Arts, Culture and Social Change: High Impact Strategies for Philanthropy. http://www.ncrp.org/paib/arts-culture-philanthropy Makes the case for rebalancing the distribution of arts funding in the USA, based on data that shows current grantmaking disregards large segments of cultural practice, and by extension, large segments of society. Calls for greater equity in funding for small organizations and the artistic practices of marginalized communities.

Sorensen, Chris and Charlie Gillis. 16 January 2013. “The New Underclass.” Macleans. http://www2.macleans.ca/2013/01/16/the-new-underclass/ Magazine article documenting challenges of young university educated Canadians to find meaningful work in their fields of study.

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Standing Senate Committee on Official Languages. 2009. Francophone Arts and Culture: Living Life to Its Fullest in Minority Settings. http://www.parl.gc.ca/Content/SEN/Committee/402/offi/rep/rep03jun09-e.pdf Report by Standing Senate Committee on Official Languages on Francophone arts and culture in Canada based on two years of hearings with different levels (individual, community and governmental), different communities (Quebec and Francophone communities in minority settings) and various sectors (music, theatre, publishing, media and visual arts). The report describes the scope, variety and complexity of the challenges that Francophone communities in minority settings face in supporting arts and culture.

Statistics Canada. 2012. The Canadian Population in 2011: Population Counts and Growth Population and Dwelling Counts 2011 Census. http://www12.statcan.gc.ca/census-recensement/2011/as-sa/98-310-x/98-310-x2011001-eng.pdf Presents population counts as well as key trends in population growth in Canada, provinces and territories, and metropolitan and non-metropolitan regions of the country, based on 2011 Census.

Stern, Mark J. 2011. Age and Arts Participation: A Case Against Demographic Destiny. http://www.nea.gov/research/2008-SPPA-Age.pdf Study based on the 2008 Survey of Public Participation in the Arts. Finds that age and cohort have a statistically significant but weak relationship to different measures of arts participation. It concludes that putting too much stock in demographic categories might be counterproductive as cultural participants are increasingly seeking individualized arts experiences.

Stolarick, Kevin et al. 2010. Creativity, Tourism and Economic Development in a Rural Context: the case of Prince Edward County, Working Paper Series: Martin Prosperity Research. http://ruralontarioinstitute.ca/file.aspx?id=74cb6052-0b10-4109-975c-54d5d2b14266 Case study of a rural community that has leveraged its natural resources with a focus on the creative economy to create not only a desirable tourist destination but also vibrant regional economic development.

Townsend, Thomas and Michael Wernick. 2008. Hope or Heartbreak: Aboriginal Youth and Canada's Future. Horizons. Volume 10, No.: 1. Policy Research Initiative. http://publications.gc.ca/collections/collection_2008/policyresearch/CP12-1-10-1E.pdf Introduction to special issue of Horizons offering insights into emerging trends, opportunities and policy implications related to a rapidly growing Aboriginal youth population.

WolfBrown. 2011. Ontario Arts Engagement Study. Commissioned by the Ontario Arts Council. http://www.arts.on.ca/AssetFactory.aspx?did=7228 An assessment of patterns of engagement in arts activities amongst Ontario residents aimed at producing an accurate, holistic picture of arts engagement in Ontario; develop a measurement system and a metric that can be used to track changes in engagement over time; to inform policy around efforts to increase engagement in arts activities and to inspire arts organizations in designing new programs and approaches to engaging existing and new audiences.

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ECONOMIC ENVIRONMENT

Adams, James. 28 March 2012. “Ontario budget cuts funding to arts community.” The Globe and Mail. http://www.theglobeandmail.com/arts/ontario-budget-cuts-funding-to-arts- community/article4096260/ Provides an overview of how the Ontario government plans to reduce funding to the culture, tourism and sport sector over the next three years, and where it is planning to make cuts.

Anisef, Jen. 2010. Tracing Emerging Modes of Practice: Crafts Sector Review. Paper prepared for the Ontario Arts Council. http://www.arts.on.ca/PageFactory.aspx?PageID=4317 Provides a snapshot of the contemporary craft landscape and an overview of emerging and trends and issues in the craft sector.

Canada Council for the Arts. 2010. Strengthening Connections: Strategic Plan 2011–16. http://canadacouncil.ca/~/media/files/corporate-planning%20- %20en/canadacouncil_strategicplan2011_16_en.pdf?mw=1382 Recaps the vision and strategic directions of the Council's previous 2008-11 plan, which will continue to provide a foundation going forward (artists, arts organizations, equity, partnership, and internal capacity), as well as the new priorities and themes that reflect changes in the larger environment: public engagement, synergy, and technology.

Canada Council for the Arts. 2012. Annual Report 2011–12. http://www.canadacouncil.ca/NR/rdonlyres/6F7549BB-F4E5-4B8B-95F4- 1FF9FAFB9186/0/CanadaCouncilAnnualReport2012_COMPLETE.pdf Summarizes the Canada Council’s financial statements and activities for fiscal year 2011–12.

Canada Council for the Arts. 6 February 2013. The Flying Squad: An Organizational Assistance Program. http://www.canadacouncil.ca/grants/iu127676494620069427.htm Describes the review of the Flying Squad program that is currently underway, the results of which are expected to be announced in June 2013.

Canadian Heritage. 10 January 2013. Harper Government Supports Private Sector Investment in the Arts. News Release. http://www.pch.gc.ca/eng/1357825253544?WT_mc.id=rss Describes the federal government’s new investment of $2 million in the artsVest program of Business for the Arts.

CAPACOA. 2012. The Value of Presenting: A Study of Arts Presentation in Canada (Interim Report). http://www.diffusionartspresenting.ca/documents/ Consolidates facts and figures to present a profile of the performing arts presenting ecosystem as a whole, and highlights how several groups of presenters differ from the field. Identifies long-term financial sustainability; the erosion of arts education; developing partnerships and fostering professionalism among the next generation; building audiences among ethnic/cultural groups; and integrating emerging technologies as priorities and/or areas of concern for presenters.

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Evans, Richard. Fall 2010 “Entering upon Novelty: Policy and Funding Issues for a New Era in the Arts.” GIA Reader. Vol. 21, No. 3. http://www.giarts.org/article/entering-upon-novelty Argues that the current funding model which has been in place for the past 50 years is intentionally structured for growth. Suggests that the future success for the sector will mean replacing “growth capacity” as a measure of success with “adaptive capacity.”

The Economist. 30 March 2013. “Canada's Economy: On Thinning Ice.” http://www.economist.com/news/americas/21574481-disappointing-exports-stalled-investment-and- fiscal-austerity-leave-overstretched-consumer?zid=305&ah=417bd5664dc76da5d98af4f7a640fd8a Suggests that disappointing exports, stalled investment, and fiscal austerity are leaving the overstretched consumer as Canada’s only hope for growth.

Hill Strategies. 2013. Volunteers and Donors in Arts & Culture Organizations in 2010. http://www.hillstrategies.com/content/volunteers-and-donors-arts-and-culture-organizations-canada- 2010 Highlights the volunteer time and financial donations given to Canadian arts and culture organizations.

Litzenberger, Shannon. 6 February 2011. The Arts Policy Diaries: Case Study Recommends New Measures to Support Contemporary Dance. http://shannonlitz.wordpress.com/2011/02/06/the-arts-policy-diaries- case-study-recommends-new-measures-to-support-contemporary-dance/ Summarizes the findings of Litzenberger’s research study Stuck in the Middle: A story about 14 mid- career dance creators in Toronto.

Maranda, Michael. 2008. Waging Culture: A report on the socio-economic status of Canadian visual artists. http://theagyuisoutthere.org/wagingculture/images/AGYU_WagingCulture.pdf Survey-based study of socio-economic status of visual artists across Canada. Key finding is that the primary funder of artists is the artist themselves.

Martin Prosperity Institute. 2009. Ontario in the Creative Age. http://martinprosperity.org/media/pdfs/MPI%20Ontario%20Report%202009%20v3.pdf Studies the changing composition of Ontario’s economy and workforce, examines historical changes and projected future trends affecting the province.

McCuaig, Amanda. 2 May 2012. One Month Later, How the 2012 Federal Budget Impacts the Arts. http://artthreat.net/2012/05/one-month-later-how-the-2012-federal-budget-impacts-the-arts/ Overview of cuts and “non-cuts” to arts and culture from the 2012 Federal Budget.

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MDR Burgess Consultants. 2012. Canada Dance Mapping Study: Literature Review. Paper prepared for the Canada Council for the Arts. http://www.canadacouncil.ca/publications_e/research/art_disciplines_sect/ed129979870866712290.ht m Reviews the existing literature on dance in Canada to provide an overview of the dance field, as well as detailed portraits on dance according to six themes: political, economy, social, technology, and artistic expression.

MDR Burgess Consultants. 2012. Facilitators’ Report on a Meeting of the National Arts Service Organizations with the Canada Council for the Arts. http://www.arccc-cccaa.org/en/files/reports/2012.10.22.NASO-Meeting-Report.pdf Describes the conversations from a meeting between the NASOs and the Canada Council, during which the Canada Council explained its plans and rationale for the “change agenda.”

Ontario Arts Council Research Office. 2012. Environmental Scan. Provides a brief summary of key issues or factors in OAC’s external environment that are anticipated to affect its work over the coming year, either directly or indirectly (due to impacts on OAC’s client base).

Public Policy Forum. 2011. Adapting and Thriving: Innovative Practices by Small and Medium Non-Profits Emerging from the Economic Downturn. http://www.ppforum.ca/sites/default/files/Adapting_and_Thriving_final-report.pdf Examines both the challenges facing small and medium nonprofits in Canada and the promising practices that they are adopting. Also includes a series of innovative practices that have contributed to their success and suggestions for governments and other funders to help more organizations adopt some of these practices.

Sandals, Leah. 27 March 2013. What Artists and Arts Orgs Need to Know about the 2013 Federal Budget. http://www.canadianart.ca/news/2013/03/27/2013-budget/ Provides an overview of changes of interest to the arts sector, including no movement on the Artist’s Resale Right; measures to encourage private investment in the arts; the end of special funding at the National Gallery; and a minor decrease of $1.5 million in the Canada Council’s budget.

Sirman, Robert. 2012. Leading the Change Agenda, Remarks by Robert Sirman, Director and CEO, Canada Council for the Arts, Annual Public Meeting. http://www.canadacouncil.ca/news/speeches/hi129948738569797720.htm Describes how the Canada Council is working to transform itself and its work as a public funder in the face of significant demographic, technological, economic, and generational change in Canada.

Stolarick, Kevin et al. 2010. Creativity, Tourism and Economic Development in a Rural Context: the case of Prince Edward County, Working Paper Series: Martin Prosperity Research. http://ruralontarioinstitute.ca/file.aspx?id=74cb6052-0b10-4109-975c-54d5d2b14266 Examines Prince Edward Country’s development focus. Notes that it is an outstanding example of a rural community that has leveraged its natural resources with a focus on the creative economy.

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Thompson, Carolyn. (date?) “Musicians relying on new funding sources.” New Brunswick Telegraph Journal. Posted 4 March 2013 on New Brunswick Arts Board website: http://artsnb.ca/site/en/files/2013/03/Crowdsourcing.jpg Discusses how musicians are increasingly relying on crowdfunding and “super fans” to provide new revenue streams as government arts funding shrinks and the industry opens to social media. Also notes that when artists do receive grants alternative revenue sources are still needed to cover all the projects costs.

Toronto Arts Council. 10 January 2013. Historic Motion Passed: City to Invest $6 million in Arts and Culture. Press release. http://www.torontoartscouncil.org/News/Historic-Motion-Passed Discusses the effect of the arts funding motion, which will increase direct municipal arts support to $25 per capita by 2016. This financial target has been in place since 2003 and has long been advocated by Toronto Arts Council (TAC) and the arts sector as a whole. The arts funding plan proposes using $22.5 million Billboard Tax revenues, already accumulated in a reserve, as a cushion over the next three years to establish a sustainable stream of city funding over the long term. Also notes that the young artists and activists who created the Beautiful City billboard fee campaign helped TAC achieve this objective by successfully advocating for a billboard tax with revenues to be directed to arts support.

Toronto Arts Council. 28 February 2013. City Approves Arts Funding Increase. Press release. http://torontoartscouncil.org/News/Arts-Funding-Increase Announces that in January 2013 Toronto City Council approved a $17.5 million budget increase for arts funding over 4 years, with the first $6 million to be allocated in 2013.

Trainor, Gabrielle and Angus James. 2012. Review of the Australia Council. http://pandora.nla.gov.au/pan/134088/20120530-1334/culture.arts.gov.au/sites/default/files/australiacouncil-review/australia-council-review-report.pdf Examines the principles underpinning the establishment of the Australia Council and considers whether its original purpose continues to be relevant today. Also looks at how the Council could better serve its purpose in future through an improved governance model.

Waltman Daschko, Marla. 2011. Conceptual Framework for Cultural Statistics. http://www.statcan.gc.ca/pub/87-542-x/87-542-x2011001-eng.htm Provides standard concepts, definitions and categories to facilitate comprehensive, consistent, and comparable statistics on culture and support evidence based decision-making. Updates the 2004 Canadian Framework for Culture Statistics (Canada’s first conceptual model for culture statistics) to reflect the changing context and requirements for Canadian culture statistics.

Watson, Jim. 20 February 2013. I’m Jim Watson, Mayor of the City of Ottawa. Ask Me Anything. reddit Ottawa. http://www.reddit.com/r/ottawa/comments/18vqme/im_jim_watson_mayor_of_the_city_of_ottawa_a sk_me/ Mayor Jim Watson’s answers to questions from the Ottawa community on a range of topics, including the city’s support for the arts.

Wright, Matthew. 28 March “2012. “‘We we weren’t immune to cuts:’ Luminato CEO and others from the arts community discuss Ontario budget.” The National Post. http://arts.nationalpost.com/2012/03/28/we-knew-we-werent-immune-to-cuts-luminato-ceo/

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Discusses arts community reaction to Ontario budget cuts and provides details on the amount of dollars expected to be cut from various institutions’ and organizations’ budgets.

ORGANIZATIONAL MODELS

Arts Action Research. 2012. The Emerging Narratives in the Arts: A Special Report. http://www.artsaction.com/Pages-2008/reports.htm Discusses the growing awareness among certain arts professionals that the not-for-profit model is no longer effective, particularly for entities that wish to work more collaboratively, be more focused on project development, or are more horizontal and open. Provides examples of case studies from the field.

Broadhead, Tim. 2010. “On Not Letting a Crisis go to Waste: An Innovation Agenda for Canada’s Community Sector.” The Philanthropist. Volume 23, no. 1. Suggests there is a growing realization that the existing models and systems of financing and governance are in the midst of fundamental change, brought on by larger demographic, social, political, and economic changes, and an awareness of limits to growth.

Canada Revenue Agency. 14 December 2012. Arts Activities and Charitable Registration Guidance Reference number CG-018. http://www.cra-arc.gc.ca/chrts-gvng/chrts/plcy/cgd/rts-ctvts- eng.html?utm_source=charities&utm_medium=eml#N107F9 Guidance document from the Canada Revenue Agency on arts activities considered to be charitable under the Income Tax Act.

Hilborn. 25 October 2011. For Ontario nonprofits, there’s another new act in town. http://www.charityinfo.ca/articles/For-Ontario-nonprofits-theres-another-new-act-in-town Discusses the Canada Not-for-profit Corporations Act (CNCA) and Ontario’s Not-for-profit Corporations Act, 2010 (ONCA) and the differences between them.

Hilborn. 20 February 2013. Revised anti-spam rules clearer for nonprofits; not so for others. http://www.charityinfo.ca/articles/Revised-anti-spam-rules-clearer-for-nonprofits-not-so-for-others Discusses revised anti-spam rules for nonprofits, which requires an existing relationship or consent to receive solicitation or other emails.

Ontario Arts Council. Protecting Vulnerable People. http://www.arts.on.ca/page4053.aspx Describes the OAC’s requirements for all artist sand organizations working with children, seniors and others.

Ontario Nonprofit Network. 28 March 2013. Ontario Not-for-Profit Corporations Act: Breaking ONCA News. http://www.theonn.ca/what-we-do/constellations/onca/ Discusses significant developments on the Ontario Not-for-Profit Corporations Act, 2010 (ONCA) for Ontario’s nonprofit sector, including delay of the proclamation until January 1, 2014.

Public Policy Forum. 2012. Change Inc. Toolkit. Cultivating Young Social Entrepreneurs. http://issuu.com/ppforumca/docs/change_inc_toolkit?mode=window&backgroundColor=%23222222 Captures the key issues and lessons shared throughout the Change Inc. initiative, which focused on expanding and strengthening youth social entrepreneurship in Ontario.

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Struthers, Marilyn. 2011. New Organizational Models: Traditional and Emerging. http://www.cpaf- opsac.org/en/themes/documents/CPAF_2011_AGM_New_Organizational_Models_Traditional_and_Em erging_Mar082012.pdf Discusses the emergence of new organizational models that are characterized by “hybridity” and collaboration. Recognizes these new models can present a challenge for funders, but suggests considering “resilience” rather than “stability” when evaluating opportunities for funding.

Taylor, Kate. 20 April 2013. “Making way for new blood in Canada’s performing arts scene (without killing the old guard).” The Globe and Mail. http://www.theglobeandmail.com/arts/theatre-and-performance/making-way-for-new-blood-in- canadas-performing-arts-scene-without-killing-the-old-guard/article11415344/ Discusses how the current system of operating funding at some arts councils makes it difficult for new generation artists to access and obtain the same levels of financial support as their predecessors. Explores how some in the arts sector are responding to this challenge and provides examples of companies that are voluntary retiring to put more money back into the operating funding “pot,” as well as funders that are setting aside a percentage of their grants budgets for newcomers.

Trépanier, France and Chris Creighton-Kelly. 2011. Understanding Aboriginal Arts in Canada Today: A Knowledge and Literature Review. Prepared for the Canada Council for the Arts. http://www.canadacouncil.ca/publications_e/research/art_abo/hb129665365781446818.htm Examines a broad range of material on Aboriginal arts in Canada, including literature and information gathered through interviews with senior artists. Topics include Aboriginal worldview, Canada’s colonial history, Aboriginal knowledge, Western art lens, recent history of Aboriginal arts, Aboriginal arts in communities, Aboriginal artists and their art, the future of Aboriginal arts.

TRENDS IN ARTS PARTICIPATION AND ENGAGEMENT

Arts Council England. 2008. What People Want from the Arts: A Summary of Findings From the Arts Debate. http://www.artscouncil.org.uk/publication_archive/what-people-want-from-the-arts/ A large qualitative study to determine what the public interest in the arts is and how the arts are valued in society.

Australia Council for the Arts. 2010. More than bums on seats: Australian participation in the arts. http://www.australiacouncil.gov.au/news/items/pre-2010/arts_participation_research Provides a comprehensive picture of the way Australians are involved with the arts. It covers both creative participation and attendance in all major art forms including visual arts and crafts, music, theatre, dance, reading, writing and music.

Ballinran Productions Limited and Digital Wizards Inc. with the participation of the Canadian Actors’ Equity Association and the Stratford Shakespeare Festival. 2012. Beyond the Curtain: How Digital Media is Reshaping Theatre. http://www.avonova.ca/news.php?id=329 Outlines a vision for Canada’s theatre community to embrace digital media and technology, both on and beyond the stage.

Béchel, Marcel. 2011. General Social Survey – 2010 Overview of the Time Use of Canadians. Statistics Canada. http://www.statcan.gc.ca/pub/89-647-x/2011001/hl-fs-eng.htm Provides a snapshot of initial results of the General Social Survey 2010 on time stress and well-being.

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Brown, Alan. 2012. Building Demand for the Performing Arts. Working paper commissioned by the Doris Duke Charitable Foundation. http://www.ddcf.org/Global/Building%20Demand%20for%20the%20Performing%20Arts_FINAL.pdf Presents findings from artist-in-residency program designed to focus on the challenge of building demand in the performing arts and clarifying definitions of audience-building, audience-development, audience-education among other terms.

Canada Council for the Arts. 2012. Public Engagement in the Arts: Discussion Paper. http://www.canadacouncil.ca/aboutus/StratPlan2011-16/default.htm Overview of current thinking and practices in the area of public engagement in the arts to raise awareness of the opportunities and challenges and highlight possible areas of intervention.

Creative New Zealand. 2011. Do my arts look good on this? Media arts and digital platforms. http://www.creativenz.govt.nz/en/about-creative-new-zealand/corporate-and-strategy-documents/do- my-arts-look-good-on-this-media-arts-and-digital-platforms Outlines some of the ways in which Creative New Zealand’s resources might be used to support media arts and artists and the wider New Zealand arts sector’s use of digital platforms.

Cultural Human Resources Council. 2011. Culture 3.0: Impact of Emerging Digital Technologies on Human Resources in the Cultural Sector. http://www.culturalhrc.ca/research/digitalimpact/Culture3.0_Executive_Summary_and_Recommendati ons.pdf Provides a series of recommendations for Broadcasting, Film and Television Production, Digital Media, Visual Arts and Crafts, Heritage, Live Performing Arts, Music and Sound Recording, Writing and Publishing, with implementation plans and case studies from the sector.

Department for Culture, Media and Sport (UK). 2013. Taking Part 2012/13 Quarter 3. https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/153615/1Taking_Part _2012_13_Quarter_3_Report.pdf Looks at arts and heritage participation between January and December 2012. Finds that arts participation is on the rise.

Environics Research Group. 2010. The Arts and the Quality of Life: The Attitudes of Ontarians. Prepared for the OAC. http://www.arts.on.ca/assetfactory.aspx?did=6235 Public opinion survey looking at attitudes and perceptions of the arts as they relate to arts participation and overall quality of life for individuals and communities.

Harlow, Bob et al. Prepared for the Wallace Foundation. 2011. Building Deeper Relationships: How Steppenwolf Theatre Company is Turning Single-Ticket Buyers into Repeat Visitors. http://www.wallacefoundation.org/knowledge-center/audience-development-for-the-arts/strategies- for-expanding-audiences/Documents/Building-Deeper-Relationships.pdf One in a series of case studies looking at how arts organizations can change and build relationships with the public, looking for new ways of engaging and integrating new participatory experiences into programming.

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Hill Strategies. 2010. The Arts and Individual Well-Being in Canada. http://www.hillstrategies.com/sites/default/files/Arts_well_being2010.pdf Examines whether connections exist between Canadians’ cultural activities and their personal well- being. Shows that there is a strong connection between 18 cultural activities and eight indicators of health and well-being (such as health, mental health, volunteering, feeling stressed, and overall satisfaction with life).

Hill Strategies. 2012. Canadians’ Arts, Culture and Heritage Activities in 2010. http://www.hillstrategies.com/content/canadians%E2%80%99-arts-culture-and-heritage-activities-2010 Summarizes General Social Survey data on participation in arts, culture and heritage activities. Finds that Canadians’ participation in these activities reached record levels in 2010, and that participation in a number of arts activities increased between 1992 and 2010.

Hill Strategies. 2012. Factors in Canadians’ Arts Attendance in 2010. http://www.hillstrategies.com/content/factors-canadians’-arts-attendance-2010 Looks at the dynamics of attendance at five arts activities: art galleries, theatres, classical music performances, popular music performances, and cultural festivals. Also provides demographic analysis and information about cultural crossovers.

James Irvine Foundation. Arts Grantmaking Strategy. http://irvine.org/grantmaking/our-programs/arts-program Describes the foundation’s Exploring Engagement Fund, which will supply risk capital to encourage organizations to reach nontraditional audiences through active participation in non-traditional venues.

Leadbeter, Charles. 2009. The Art of With. http://www.charlesleadbeater.net/cms/xstandard/The%20Art%20of%20With%20PDF.pdf Describes most media and culture as a mix of “Enjoy, Talk or Do” and suggests that the Web has shifted the mix available to most people.

Madden, Mary et al. 2013. Teens and Technology 2013. Prepared for Pew Internet Research. http://www.pewinternet.org/Reports/2013/Teens-and-Tech.aspx Presents findings from a nationally representative Pew Research Center survey that explored technology use among 802 youth ages 12–17 and their parents. Finds that smartphone adoption among American teens has increased substantially and mobile access to the internet is pervasive. One in four teens are “cell-mostly” internet users, who say they mostly go online using their phone and not using some other device such as a desktop or laptop computer.

Marlow, Iain and Jacquie McNish. 3 April 2010. “Canada’s digital divide.” The Globe and Mail. http://www.theglobeandmail.com/technology/canadas-digital-divide/article1372555/?page=all Notes there is a growing digital divide between urban and rural Canadians with regard to high-speed broadband networks, and that outlying regions are being left behind with slow, unreliable or costly connections.

National Endowment for the Arts. 2009. 2008 Survey of Public Participation in the Arts. http://www.nea.gov/research/2008-sppa.pdf Describes US adult arts participation in 2008. It shows attendance at live arts events (such as concerts, plays, and dance performances), as well as the number and percentage of adults visiting art museums and reading literature, and finds that just 35% of American adults attend what it defines as “benchmark” arts activities.

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National Endowment for the Arts. 2010. Audience 2.0: How Technology Influences Arts Participation. http://www.nea.gov/research/new-media-report/ Describes the demographic characteristics of US adults that participated in the arts (such as concerts, plays, and dance performances) via electronic media. Also considers the relationship between media- based arts activities and other types of arts participation, such as live attendance and personal arts creation.

National Endowment for the Arts. 24 February 2011. New look at the NEA’s Survey of Public Participation in the Arts data reveals that 3 out of 4 Americans participate in the arts. http://www.arts.gov/news/news11/SPPA-reports.html Using a definition that more accurately reflects Americans’ arts participation, the 2008 SPPA data reveals that 3 out of 4 Americans participate in arts activities. This definition includes a fuller variety of artistic genres, participation via electronic media, and personal arts creation. Arts education is the leading factor in arts participation.

Phoenix Strategic Perspectives Inc. 2012. Arts and Heritage in Canada: Access and Availability Survey. Prepared for the Department of Canadian Heritage. http://epe.lac-bac.gc.ca/003/008/099/003008-disclaimer.html?orig=/100/200/301/pwgsc-tpsgc/por- ef/canadian_heritage/2012/089-11-e/index.html National public opinion survey tracking arts and heritage participation and perceptions of the arts and culture.

Poole, David with assistance from Sophie Le-Phat Ho. 2011. Digital Transitions and the Impact of New Technology on the Arts. Prepared for the CPAF network. http://www.cpaf-opsac.org/en/themes/documents/DigitalTransitionsReport-FINAL-EN.pdf Provides an overview of current knowledge on the theme of digital transition and the impact of new technology on the arts in order to suggest how changes in the arts and society brought about by digital technologies affect Canadian public arts funders.

Ragsdale, Diane. 2012. Comments on Irvine website. http://irvine.org/grantmaking/our-programs/arts-program Raises concerns about the Irvine’s decision to fund only engagement activities will spark a sector-wide “funding trend.”

Ragsdale, Diane. 7 February 2011. “Supply and Demand Redux: Rocco’s Comments and the Elephant in the Room.” Jumper (blog). http://www.artsjournal.com/jumper/2011/02/supply-and-demand-redux-rocco’s-comment-and-the- elephant-in-the-room/ Responds to Rocco Landesman’s comments about decreasing supply in the arts, concurring that it’s beneficial for the sector to be having this discussion. Notes, however, that others believe too much art is a good thing and efforts should focus on increasing patronage.

Research Resolutions & Consulting Ltd. 2012. Ontario Arts and Culture Tourism Profile. Prepared for the OAC. http://www.arts.on.ca/Page4922.aspx Report highlighting the important role of arts and culture in tourism and the importance of aligning culture and tourism strategies.

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Simon, Nina. 23 January 2013. “Conviction? Check. Money? Check. So What’s Keeping the Arts Sector from Embracing Active, Diverse Audience Engagement?” Museum 2.0 (Blog) http://museumtwo.blogspot.ca/2013/01/conviction-check-money-check-so-whats.html Describes and discusses the Irvine Foundation’s mixed response to their decision to shift all arts funding into its Exploring Engagement Fund.

Smale, Brian with Holly Donohoe, Clem Pelot, Agnes Croxford and Denis Auger. June 2010. Canadian Well-Being Index. Leisure and Culture Report Highlights. https://uwaterloo.ca/canadian-index-wellbeing/sites/ca.canadian-index- wellbeing/files/uploads/files/Leisure_and_Culture-Report_Highlights.sflb_.pdf Report on the Leisure and Culture components of the Canadian Well-Being Index shows that overall participation in leisure activities (such as arts attendance & participation) is declining.

Tabachnick, David Edward. 11 February 2013. “Technology is blurring the line between work and play.” The Globe and Mail. http://www.theglobeandmail.com/commentary/technology-is-blurring-the-line-between-work-and- play/article8412565/ Overview of technological development and the rise of “playbour” and the shifting dynamics of relationships with friends and family as people increasingly use devices created for work (e.g. Blackberry) as tools for communication outside of work.

Teachout, Terry. 25 April 2013. “Theater’s Expiring Subscription Model.” The Wall Street Journal. http://online.wsj.com/article/SB10001424127887324493704578431101033080228.html?mod=rss_Arts _and_Entertainment# Explores the reasons why the subscription model is no longer as effective, and how this is affecting programming.

TECHNOLOGY

Association of Canadian Publishers. 4 February 2013. “Surveys Reveal Positive Climate for Independent Canadian Publishing.” Press Release. http://publishers.ca/images/downloads/ACP-release-MidWinterMeeting.pdf Discusses recent surveys conducted by the association that reveal a positive climate for independent Canadian-owned book publishers.

Australia Council for the Arts. 2012. How to Work the Crowd: A snapshot of barriers and motivations to crowdfunding. http://www.australiacouncil.gov.au/resources/reports_and_publications/subjects/funding/crowdfundin g-research Finds that donor barriers to crowdfunding include no tax deduction benefit, concerns about the project team, no personal connection, and the donor’s reluctance to pledge online. Motivations include they know the person, the desire to help creative people, creative belonging, engaging in cultural production, social kudos, and the perks.

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Canada Media Fund. 2012. Crowdfunding in a Canadian Context: Exploring the Potential of Crowdfunding in the Creative Content Industries. Provides both an overview of the global crowdfunding phenomenon as related to the creative content industries and also a domestic environmental scan to determine what the demand for crowdfunding might be among content creators, how they might best leverage this type of funding, and how it might fit into the broader structural environment for the creative content industries in Canada.

Canadian Independent Music Association. 2013. Sound Analysis: An examination of the Canadian Independent Music Industry. www.nordicity.com/home/work_download/id/60 A statistical and economic profile designed to help demonstrate the role that the independent music industry plays within Canada’s increasingly knowledge-based economy and creative cluster, and the return on investment it offers to public and private investment in its growth.

Conference Board of Canada. 2008. Valuing Culture: Measuring and Understanding Canada’s Creative Economy. http://www.conferenceboard.ca/e-library/abstract.aspx?did=2671 Highlights the substantial social, cultural, and economic contributions of Canada’s culture sector and assesses its economic footprint. Discusses the notion of the “long tail” and the potential of niche markets to become viable and profitable, given the power of the Internet.

Ellis, Adrian. 2012. “Some Reflections on the Relationship between Supply and Demand in the Formalized Arts Sector.” GIA Reader. Vol. 23, no. 1 (Winter). http://www.giarts.org/article/some-reflections-relationship-between-supply-and-demand-formalized- arts-sector Provides a broadly economic perspective on what has become an increasingly prominent debate within the cultural community: how best to ensure a vital organized arts sector in a period of prolonged economic malaise.

Franzen, Carl. 24 February 2012. “Kickstarter expects to provide more funding to the arts than the NEA.” TPMIdeaLab.http://idealab.talkingpointsmemo.com/2012/02/kickstarter-expects-to-provide-more- funding-to-the-arts-than-nea.php Notes that Kickstarter is on track to distribute over $150 million dollars to its users’ projects in 2012, or more than entire fiscal year 2012 budget for the National Endowment of the Arts (NEA), which was $146 million.

Horne, Dee. 2011. “This Strange Torpedo: Impacts of Digital Technology on Creative Writing.” Wascana Review. Vol. 43, no. 1. http://www.wascanareview.ca/index.php/Wascana/article/view/57/80 Discusses the advantages and challenges of using digital technologies for publishing creative writing. Examines some of the new forms of writing that have arisen, and provides examples of ways authors are using technology to engage readers.

Ipsos Reid. 2012. The Ipsos Canadian inter@ctive Reid Report: 2012 Fact Guide. http://www.ipsos.ca/common/dl/pdf/Ipsos_InteractiveReidReport_FactGuide_2012.pdf Provides a snapshot of trends and information regarding the Web in Canada. Findings show that among online Canadians: mobile Internet access continues to grow; the majority use online social networking sites; and smartphone ownership is skyrocketing, although many have yet to take full advantage of their full functionality.

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Leadbeter, Charles and Paul Miller. 2004. The Pro-am Revolution. http://www.demos.co.uk/publications/proameconomy Argues that Pro-Ams—people pursuing amateur activities to professional standards—are an increasingly important part of our society and economy.

Lord, Clayton. 19 February 2012. “The Work of Presentational Art in the Age of On-Demand Technological Empowerment.” New Beans (Blog). http://www.artsjournal.com/newbeans/2012/02/the-work-of-presentational-art-in-the-age.html Cautions against losing the “core” of what the arts are in the rush to embrace new technology and make arts experiences more participatory.

Michaels, Sean. 9 August 2012. “Beck's new album won't be an album, just sheet music.” The Guardian. http://www.guardian.co.uk/music/2012/aug/09/beck-new-album-sheet-music Describes the release of Beck’s 11th LP as sheet music, which other musicians can play for themselves.

Miller, Laura. 20 March 2013. “Books aren’t dead yet.” Salon. http://www.salon.com/2013/03/21/books_arent_dead_yet/ Notes that while e-books are increasing in popularity, print is still 75% of the market in the US

O’Neal Parker, Lonnae. March 2013. “Poetry’s tense relationship with e-readers.” (Special Report on The Art of Technology: How technology is changing the world of art, music, film, dance and poetry.)The Washington Post. http://www.washingtonpost.com/entertainment/books/poetrys-tense-relationship-with-e- readers/2013/03/14/8aa07d24-8a6a-11e2-8d72-dc76641cb8d4_story.html Suggests that the conversion of print files to digital files is a significant issue for the publishers of poetry, as e-readers don’t always reproduce the line breaks that are essential to the art form.

Rainie, Lee et al. 2012. The rise of e-reading. Prepared for the Pew Internet & American Life Project. http://libraries.pewinternet.org/2012/04/04/the-rise-of-e-reading/ Looks at the rise of e-books in American culture. Finds that 21% of Americans have read an e-book and the increasing availability of e-content is prompting some to read more than in the past and to prefer buying books to borrowing them.

Technology in the Arts. 2011. Arts & I.T.: Technology Adoption and Implementation in Arts Organizations. http://www.technologyinthearts.org/2011/01/technology-adoption-and-implementation-in-arts- organizations/ Reports on the findings from a survey of arts managers that gathered baseline information about the ways in which technology is used, implemented and planned for by peer institutions in the arts and cultural field.

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Thomson, Kristin. 2013. Arts Organizations and Digital Technologies. Prepared for PewInternet. http://pewinternet.org/Reports/2013/Arts-and-technology.aspx Summarizes the findings from a survey of over 1,200 arts organizations that received funding from the National Endowment for the Arts (NEA) between 2007-2011. Finds that technology use permeates these organizations, and that many are using the internet and social media to: expand the number of online performances and exhibitions, grow audiences, sell tickets, and raise funds, while enabling patrons to engage online.

ARTISTIC PRACTICE: ISSUES, APPROACHES, AND TRENDS

Annis, Susan. 2011. Succession Planning – Preparing a New Generation of Artists and Cultural Managers: A Proposal. http://www.cpaf- opsac.org/en/themes/documents/CPAF_2011_AGM_Succession_Planning_Preparing_a_New_Generatio n_Mar082012.pdf Proposes that mentorships should be a key element of succession planning and should be encouraged, particularly by dropping the age and work restrictions (i.e., under 30 and first work experience) of programs such as the Youth Internship Program.

Bailey, Jackie. 2009. Defining Artistic Vibrancy. For the Australia Council for the Arts. http://www.australiacouncil.gov.au/resources/reports_and_publications/subjects/arts_sector/defining_ artistic_vibrancy Suggests that it’s time to shift the focus from “sustainability” of performing arts organizations and have a new conversation about “vibrancy.”

Calgary Arts Development Authority. 2 February 2012. Calgary Arts Development Launches New Client Induction Grant Program. News Release. http://www.calgaryartsdevelopment.com/content/calgary-arts-development-launches-new-client- induction-grant-program Discusses a new program to deal with unprecedented demand from new clients representing diverse and emerging organizations.

Caines, Matthew. 6 March 2013. “Art in miniature: is micro-performance the way forward?” The Guardian http://www.guardian.co.uk/culture-professionals-network/culture-professionals- blog/2013/mar/06/micro-theatre-small-performances-live-chat Describes how artists internationally are embracing “micro-performance”—performances in alternative small venues, with small audiences—as a means of producing less expensive and less labour-intensive arts productions. Notes it is particularly of interest in Spain where there have been significant cuts in government funding.

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Cobb, Chris. 12 March 2013. “Artists lose copyright fight with National Gallery.” The Ottawa Citizen. http://www.ottawacitizen.com/travel/Artists+lose+copyright+fight+with+National+Gallery/8086701/sto ry.html Discusses a recent Federal Court of Appeal decision that has banned artists from negotiating the minimum display and other copyright-related fees with the National Gallery of Canada.

Ipsos Reid. 2008. Enriching Our Work in Culture: Professional Development in Ontario’s Cultural Sector. Prepared for the Cultural Careers Council Ontario. http://www.workinculture.ca/workinculture/storage/medialibrary/Resources/ResearchIpsosIntegratedR eport2008.pdf Looks at the professional development issues in Ontario’s Cultural Sector. Finds that there is a need for programs and policies to foster leadership succession in the cultural skills and workforce (similar to those in the US and UK). Also notes that retaining people in the cultural workforce is a challenge given the gap between high skills and low wages. Indicates that artists are interested in acquiring more business skills, such as grantwriting.

Jacobson, Rose and Jacob McMurchy. 2010. Focus on Disability and Deaf Arts in Canada. http://www.canadacouncil.ca/publications_e/research/art_deaf_disability/ Identifies, assesses and defines elements of key existing trends in Deaf and disability arts and discusses current challenges and opportunities.

Kent, Gordon. 8 April 2013. “Moulton takes helm of Edmonton Arts Council.” The Edmonton Journal. http://www.edmontonjournal.com/entertainment/Moulton+takes+helm+Edmonton+Arts+Council/8210 363/story.html Interview with incoming CEO of the Edmonton Arts Council, during which he observes younger artists are interested in stretching disciplinary boundaries, and then questions funders’ disciplinary “silos.”

Raj, Althea. 17 June 2012. “Bill C-11: Copyright Legislation And Digital Lock Provisions Face Opposition In Canada.” Huffington Post. http://www.huffingtonpost.ca/2012/06/17/bill-c-11-copyright- modernization-act-canada_n_1603837.html Provides an overview of the federal government’s Copyright Modernization Act, noting that many critics of the bill have suggested it favors corporate interests and threatens the right of artists to be remunerated for their copies.

Smalley, Catherine. 2012. Places, Please! Metcalf Internships in the Performing Arts 2001–2012. October 2012. http://metcalffoundation.com/wp-content/uploads/2012/10/places-please.pdf Reviews the first 10 years of the Metcalf Foundation’s internships program, finds that not restricting the identity, age, or experience of the intern opens doors; investing in full-time paid work yields results; and having a broad view of success helps, other than making a seamless transition from an internship to a work experience.

Toronto Arts Council. 2013. Priorities for New Funding 2013–2016. http://www.torontoartscouncil.org/REPORTS-PUBLICATIONS/TAC-TAF-Publications Describes how TAC plans to allocate its new funding: 50% of all new funding to current grants envelopes; 30% to support community engaged art initiatives; and 20% to developing and implementing new and innovative funding programs and collaborations.

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STRATEGIC PLANS AND RELATED DOCUMENTS

Alberta Foundation for the Arts. 2012. Strategic Plan 2012–15. http://www.affta.ab.ca/About-the-AFA/Corporate-Information Outlines the priorities for the AFA, including encouraging best management practices for artists and arts organizations, supporting AB artists as cultural ambassadors, and providing Albertans with resources and opportunities to develop, appreciate, and participate in the arts.

Arts Council England. n.d. Creative people and places fund. http://www.artscouncil.org.uk/funding/our-investment/funding-programmes/creative-people-and- places-fund/ Describes the aims and objectives of the creative people and places fund, a £37 million fund that will focus ACE’s investment in parts of England where people’s involvement in the arts is significantly below the national average, with the aim of increasing the likelihood of participation.

Arts Council England. n.d. Grant commissions. http://www.artscouncil.org.uk/funding/our-investment/strategic-funding/commissioned-grants/ Describes a “new way of doing things” for ACE. Grant commissions enable the arts sector to apply to deliver a particular piece of work in response to a detailed and specific brief given by ACE. Unlike its strategic funding grant programmes—where ACE defines the outcomes it wishes to see, but not necessarily how to achieve them—ACE will define the outcomes to be achieved with grant commissions and how those outcomes should be achieved. Some of the current grant commissions include the Audience focus fund, Creative people and places fund, and Developing resilient leadership fund.

Arts Council England. 2010. Disability Equality Scheme 2010–13. http://www.artscouncil.org.uk/publication_archive/disability-equality-scheme-2010-13/ Arts Council England’s second framework for achieving disability equality in the arts. In adopting the theme of prominence, this second Disability Equality Scheme seeks to raise the profile of disabled people and disability equality issues in the arts.

Arts Council England. 2011. Arts Council Plan 2011–15. http://www.artscouncil.org.uk/advice-and-guidance/browse-advice-and-guidance/arts-council-plan- 2011-15 Identifies 13 priorities for the time period covered by the plan, including: arts at the heart, talent development, diversity, and people and places with the least engagement.

Arts Council England. 1 Nov. 2011. Arts Council England launches strategic funding. http://press.artscouncil.org.uk/content/Detail.aspx?ReleaseID=1397&NewsAreaID=2 Details how ACE will invest £440 million of strategic funding between 2012 and 2015. Strategic funding will complement ACE’s £1.04 billion investment in National Portfolio organizations (i.e., operating funding), and will be invested in three ways: targeted grant programmes (investment in capital, touring, and encouraging private giving); specific grant commissions (Audience Focus Fund, Creative People and Places Fund); and a general strategic grant programme, enabling organizations to undertake creative solutions to achieve priorities not addressed by the National Portfolio and other strategic funds.

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Arts Council England. 2012. The relationship between the Arts Council and funded organisations. How the Arts Council works with National portfolio organisations and Major partner museums. http://www.artscouncil.org.uk/media/uploads/pdf/FINALrelationship_framework_1904.pdf Sets out how ACE works with National portfolio organisations and Major partner museums over the course of their funding. It covers issues such as grant monitoring, risk management and how ACE intervenes to safeguard its investments when necessary.

Arts Nova Scotia Transition Committee. 2011. Report to Minister of Communities, Culture, and Heritage. http://www.gov.ns.ca/cch/learning/docs/ArtsNovaScotiaTransition.pdf Outlines the proposed role and mandate for the “new” arms-length arts council in Nova Scotia, and what programs that the department should be migrated to the new council. Strong emphasis on fostering professional artistic practice.

Australia Council for the Arts. 2010. Cultural Engagement Framework. http://www.australiacouncil.gov.au/about/strategies-policies/cultural_engagement_framework Provides a framework for the range of Australia Council policies, strategies and programs aimed at ensuring equity of access to its grants and initiatives. Encompasses a number of specific demographic communities: Indigenous Australians, people with a disability, multicultural Australia, young people, and regional and marginalized communities.

Australia Council for the Arts. 2011. The Arts and Disability Action Plan (2011–2013). http://www.australiacouncil.gov.au/about/strategies- policies/cultural_engagement_framework/disability/arts-disability-action-plan The Arts and Disability Action Plan is a policy within the Australia Council's Cultural Engagement Framework. It identifies four goals for the Council: to take a leadership role in increasing awareness of arts and disability issues; to improve access to the Australia Council’s programs, services and the built environment; to improve communications and promotions relating to arts and disability; to foster a workplace culture that is responsive and inclusive of people with disabilities.

Australia Council for the Arts. 2012. National Crowdfunding Roadshow Resources. http://www.australiacouncil.gov.au/resources/reports_and_publications/subjects/funding/crowdfundin g Based on a series of seminars presented to the arts sector to help them understand why some crowdfunding campaigns fail and others succeed. Part of the Australia Council’s crowdfunding strategy.

Australia Council for the Arts. 2012. Strategic Plan 2012-2013. http://www.australiacouncil.gov.au/about/strategies-policies Identifies six priorities for the Council, including access, sustainability, innovation, engagement, increase support, and improved efficiency (internally).

British Columbia Arts Council. 2009. BC Arts Council: Strategic Plan 2009-2013. http://www.bcartscouncil.ca/documents/publicationforms/pdfs/strategic_plan_2009-2013_rev.pdf Describes mission, core values and goals of the BCAC. Overarching goals for the defined period are: Foster artistic excellence; strengthen community engagement; support the unique role of Aboriginal artists and communities; and enhance financial and other services.

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British Columbia Ministry of Community, Sport and Cultural Development. 2013. Building British Columbia’s Creative Economy: BC Creative Futures. http://www.cscd.gov.bc.ca/arts_culture/bccf.htm Outlines the provincial government’s strategy to spur further growth in British Columbia’s creative economy, which it recognizes as a vital part of the BC economy. Connects arts education, training, and engagement with skills needed for the knowledge economy, and in turn, provincial competitiveness globally. Outlines the increases that the BCAC will receive as a partner in delivering this strategy: will be invested in existing arts education programs, and in the creation of a new youth engagement program.

Canada Council for the Arts. 2012. Expanding the Arts: Deaf and Disability Arts, Access and Equality Strategy. http://www.canadacouncil.ca/publications_e/research/art_deaf_disability/hh129621202638543316.ht m Developed as part of the Council’s strategic plan priority, Equity. The Strategy provides definitions, background and context, on disability arts and practice, including Canadian and international legislation, and information about the Canada Council’s consultation process. Also outlines a strategy for the Council over the next three years.

Canada Council for the Arts. 6 February 2013. The Flying Squad: An Organizational Assistance Program. http://www.canadacouncil.ca/grants/iu127676494620069427.htm Discusses the Canada Council’s comprehensive review of the Flying Squad program. Confirms that the program—which was suspended in fall 2012—will no longer be offered in its past form, and that the Council will announce an alternative strategy to support adaptive capacity in June 2013.

Conseil des arts et des lettres du Québec. n.d. Plateformes et réseaux numériques. http://www.calq.gouv.qc.ca/organismes/proj_plateformes_numeriques.htm Describes pilot project to encourage the use of digital technologies in the arts.

Conseil des arts et des lettres du Québec. 2009. Plan stratégique 2009–12. http://www.calq.gouv.qc.ca/publications/planstrategique.htm (current at time of writing) Describes CALQ’s priorities for the period, which are primarily to support the dynamism and excellence of artistic and literary creation of the arts in Quebec, as well as contribute to the spread and profile of Quebec arts in Canada and abroad.

Creative New Zealand. 2012. Statement of Intent 2012–2015. http://www.creativenz.govt.nz/en/about-creative-new-zealand/corporate-and-strategy- documents/statement-of-intent-2012-2015 Outlines the intentions and objectives of the Arts Council of New Zealand during the defined period. Goals and outcomes are similar to those identified below. Notes that in the current economic climate, the ongoing challenge for CNZ and the arts sector is to continue to find ways to do things as efficiently as possible and to maximize income for the sector from non-government sources.

Creative New Zealand (Formerly Arts Council of New Zealand). Strategic Plan and Statement of Intent 2010-2013. http://www.creativenz.govt.nz/en/about-creative-new-zealand/corporate-and-strategy- documents/strategic-plan-and-statement-of-intent-2010-2013 Outlines the main goals and outcomes for the period which is classifies according to create (high-quality New Zealand art is developed); engage (NZ arts gain international success; New Zealanders experience high-quality arts); and create/engage/participate (New Zealanders participate in the arts).

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Government of Australia. 2013. Creative Australia (the Australian Government’s 2013 national cultural policy). http://creativeaustralia.arts.gov.au Describes the essential role arts and culture play in the life of every Australian and how creativity is central to Australia’s economic and social success. Supports excellence and the special role of artists and their creative collaborators as the source of original work and ideas, including telling Australian stories. Recommends a $75 million increase to the Australia Council for the Arts.

J.W. McConnell Family Foundation. 2012. Innoweave. http://www.innoweave.ca/en/about and http://vimeo.com/36349843 Describes Innoweave, a national capacity building initiative for the community sector. Helps community organizations learn about, assess, and implement new approaches such as social enterprise, social finance, impact and strategic clarity, and cloud computing, which are helping charities and non-profits generate greater impact, more quickly, and at less cost.

Landesman, Rocco. 31 January 2011. “#SupplyDemand” ArtWorks. The official blog of the National Endowment for the Arts. http://artworks.arts.gov/?p=5402 Cites statistics that show a decrease in arts audiences and an increase in not-for-profit arts organizations in the USA, and suggests there may be a need to decrease supply of the arts.

Manitoba Arts Council. 2011. Focus Forward: Strategic Plan 2012–2016. http://artscouncil.mb.ca/wp-content/uploads/Strategic-Plan-ENGLISH-January-2012.pdf Identifies four “focus areas”: arts learning, youth engagement, professional development and training, and equitable access. Notes that while the plan will support continued emphasis on artistic merit it will respond to a broader range of priorities.

National Endowment for the Arts. 2010. Strategic Plan, FY 2012-2016. http://www.nea.gov/about/Budget/NEAStrategicPlan2012-2016.pdf Outlines the NEA’s overall goals which include creation of art that meets the highest standards of excellence, engaging the public with diverse and excellent art, promoting public knowledge and understanding about the contributions of arts, and promoting arts education.

New Brunswick Arts Board. 2009. Strategic Plan 2009–2012. http://artsnb.ca/site/en/files/2012/04/nbab_stratplan_E.pdf (current at time of writing) Outlines the priorities for the NBAB, including developing relevant programmes for its artist-clientele, and raising the profile of the arts. Emphasis is more on advocacy, communications, and internal NBAB goals.

New Brunswick Department of Culture, Tourism, and Healthy Living. 16 August 2012. “Cultural policy to be renewed.” News Release. http://www2.gnb.ca/content/gnb/en/news/news_release.2012.08.0746.html Discusses how the NB Department of Tourism, Culture, and Heritage, which is responsible for funding arts organizations, is in the midst of developing a new cultural policy to replace the existing one that dates to 2002. It is expected to focus on four areas: culture in everyday life; professional artists and art infrastructure; common heritage; and culture and the economy.

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Ontario Arts Council. 2008. Strategic Plan 2008–2013. http://www.arts.on.ca/Page525.aspx Outlines the Council’s vision for the people of the Ontario. Identifies three main themes (build connections, increase investment and support, and improve outreach and access) and a number of priority groups (emerging and next generation, Aboriginal, Francophone, Culturally Diverse, and regional artists and arts organizations).

Pritchett, Jennifer. 2013. “Forging creative economy with a plan for artists.” New Brunswick Telegraph Journal. http://artsnb.ca/site/en/2013/creating-a-creative-economy-in-new-brunswick/ Describes how the NBAB has teamed up with the province’s two main arts service organizations to develop a strategic plan for the arts in the province. The idea behind the plan, which will be submitted to the province in March 2014, is to develop and foster a stronger creative economy in the province. It is expected to emphasize training, education, and professional recognition for artists, as well as recommend how best to develop systems of support for artists.

Saskatchewan Arts Board. 2011. Strategic Plan Version 1.0. http://www.artsboard.sk.ca/about-us/reports-and-policies/2554-sab-strategic-plan Identifies five overarching priorities for the SAB: artists, arts organizations, the people of Saskatchewan, public benefit, and leadership.

Toronto Arts Council. 2010. Toronto Arts Council Visioning Document 2010–2013. (Reaffirmed by Board of Directors, December 2012). http://www.torontoartscouncil.org/REPORTS-PUBLICATIONS/TAC-TAF- Publications Describes TAC’s vision and priorities for its expected budget increase: increase support to artists and arts organizations; enhance support for community engaged art; develop new and innovative funding programs and partnerships.

Zakaras, Laura and Julia F. Lowell. 2008. Cultivating Demand for the Arts: Arts Learning, Arts Engagement, and State Arts Policy. Prepared for RAND and the Wallace Foundation. http://www.wallacefoundation.org/knowledge-center/audience-development-for-the-arts/key- research/Documents/Arts-Learning-and-Arts-Engagement.pdf Discusses what it means to cultivate demand for the arts, examine how well US institutions are serving this function, and discuss whether it is in the public interest to make such cultivation a higher priority than it has been in the past. The authors propose that a strong cultural sector is characterized by three conditions: adequate amounts of high-quality artworks (supply), ample opportunities for people to encounter those works (access), and sufficient numbers of individuals with an interest in experiencing those works (demand).