Enhancing Lifelong Learning and Work Transitions in the Fine and Performing Arts

Provincially Initiated Curriculum Project 1487

Prepared by Deborah Shackleton, Associate Professor Emily Carr Institute of Art and Design for the Province of British Columbia Ministry of Advanced Education and the Centre of Curriculum, Transfer and Technology

Steering Committee Laurie Baggio, Chief Executive Officer, Helikon Technologies Inc. Lori Baxter, Executive Director, The Alliance for Arts and Culture Mike Culverwell, Art Department, Malaspina University College Dr. Kit Grauer, Art Education, Department of Curriculum Studies, The University of British Columbia Doug Jennings, Senior Consultant, Performance & Knowledge Management, IBM Global Services Lynn Jest, Director, Continuing Education Division, Capilano College Wendy Magahy, Joan Mason and Lynn Pipes, Curriculum Development, Centre for Curriculum, Transfer & Technology Dr. Graham Rodwell, Dean, Humanities and Social Sciences, Douglas College Deborah Shackleton, Associate Professor, Institute Special Project Research Manager, Emily Carr Institute of Art & Design (ECIAD) Dr. Richard Smith, Associate Director of Communication, Centre for Policy Research on Science & Technology, Simon Fraser University Chuck V. Spong, Instructor, Operations Management, Business Programs, British Columbia Institute of Technology Donna Woo, Education Officer, Ministry of Advanced, Education, Training and Technology (now Advanced Education) Research Team Deborah Shackleton, Associate Professor, ECIAD Sheila Hall, Prior Learning Assessment Coordinator and faculty member, ECIAD Dawn Whitworth, Career and Co-op Coordinator, ECIAD Jackie Blackmore, BFA, Research Associate

Debra Dyer, BFA, Research Associate

Lesa Moriarity BFA, Research Associate

Barbara Richard, BA, Research Associate

Kathleen Rimmer BFA, Research Associate

Jan Smart, BFA and, Research Associates

Acknowledgements Questionnaire Design: Lynn Jest, Director, Continuing Education Division, Capilano College and Richard Prince, Associate Professor, Department of Fine Arts, The University of British Columbia Listserv co-ordinator: Jackie Blackmore Cover designs: Benjamin Shackleton Style Sheet Designer: Lesa Moriarity

Table of Contents

1.0 Introduction Page 1 1.1 Research Methodology xx 1.2 Report Organization xx

2.0 Enhancing Lifelong Learning and Work Transitions in the Fine and Performing Arts xx 2.1 Context and Challenges xx

3.0 Arts, Culture and the New Economy xx 3.1 Economic Contributions xx 3.2 Human Resource Development Issues xx 3.3 The Fine Arts in Transition xx 3.4 Summary xx

4.0 Fine Arts Labour Markets xx 4.1 Perspectives on Education and Training in the Cultural Sector xx 4.2 Creativity, Competitiveness and Careers xx 4.3 Emerging Occupations xx 4.4 Summary xx

5.0 Fine Arts Education & Training xx

5.1 Post-Secondary Education Programs xx 5.2 Private Training Programs and Opportunities xx 5.3 Transitions to the Workplace xx 5.4 Transitions to Graduate Programs xx

5.5 Lifelong Learning and Learner Support xx 5.6 Opportunities and Barriers xx 5.7 Summary xx

6.0 Recommendations xx 6.1 Background xx 6.2 Recommendations xx 6.3 Future Considerations xx

7.0 Appendices xxx 7.1 Bibliography xxx 7.2 Endnotes xxx 7.3 Appendix A: Post Secondary Education System Programs by Institution xxx 7.4 Appendix B: Post Secondary Education System Questionnaire and Responses xxx 7.5 Appendix C: Post Secondary Education Student and Private Sector Questionnaire and Responses xxx 7.6 Appendix D: Careers in Culture xxx 7.7 Appendix E: Cultural Sectors in the Fine and Performing Arts: Interview Transcriptions xxx 7.8 Appendix F: Environmental Scan of Artist-Run Centres xxx 7.9 Appendix G: Listings of Venues and Organizations in the Cultural Sector xxx 7.10 Appendix H: Conferences, Lectures and Events xxx 7.11 Appendix I: Student Outcomes Data xxx 7.12 Appendix J: Private Training Instruction xxx

4 1.0 Introduction

“Public investment in the Enhancing Lifelong Learning and Work arts and culture sector represents good value to all Transitions in the Fine and Performing Arts levels of government with the investment being returned several fold in This project was commissioned by the British Columbia Ministry economic and social of Advanced Education, through the Centre for Curriculum, benefits” Transfer and Technology in 1998. The report is intended to Regional Cultural Plan continue a process begun in the mid 1990's by the Fine Arts Career Steering Committee, GVRD, 1997 Pathway Project Workteam. A document prepared by Tara Toutant and published in 1997 titled Improving Secondary to Post- secondary Transitions in the Fine Arts served as a backgrounder to inform the Fine Arts Career Pathway Project.

The project title was arrived at through discussions with Ministry and Centre personnel. Though after four years of research to produce the report a more appropriate title might have been:

Learning and Work Transitions in the Fine and Performing Arts: The Culture of Change- Information to Creative Economies

A research model was developed by the Steering Committee to investigate the topic of learning and transitions from four major domains: learners, the education system and providers, the workplace sectors, and municipal, provincial and federal levels of government. (See pages x and y)

This systems-thinking model required an environmental scan of British Columbia's fine and performing arts post-secondary education courses and programs, both credit and non-credit, offered by public and private instituions. (Appendix A)

For the purpose of the study the fine, visual and performing arts include:

• Art Administration (cultural management, government, community, service, professional and commerical organizations) • Art History and Theory We must develop and offer Canadian products • Cultural Studies to Canadians…[a] marketing strategy in this • Art and Culture Education, Teacher Training kind of global cultural (formal academic or technical education and policy is very important…We live in a training) …consumer society where everyone • Computer Arts (experimental and commercial) advertises their products • and claims they are the Crafts (design, production and dissemination) best in the world. Why • would we not do the Dance (choreography and performance) same thing as part of a • Design Graphic,Visual Communication, Fashion, cultural strategy? Industrial, Interior Michèle Martin, School of Journalism & • Festivals (dance, film, music, visual art) Communications, • Carleton University, Film Industry (creation, production and distribution) February 10, 1998 • Government (cultural activities and funding of the three levels of government) • Heritage (galleries, museums, conservation) • Media Arts (experimental and commercial) • New/Interactive Media • Multidisciplinary Practices • Music Industry (composition, sound recording and distribution) • Music Performance (musicians and singers) • Music History • Stage Performances (acting and production) • Theatre/Design • Theatre History and Theory • Theatre/Technical • Video (creation, production and distribution) • Visual Arts (animation, photography)

(Creative Writing was not included as the project size and scope already exceeded the resources available to the research team.)

6 The topic of student learning, quality and relevance of education (outcomes and employability) and workplace transitions (types of) is exceedingly complex. It is not a linear process of entrances, exits, and re-entry/exit points. The complexity of the issue is about identifying parts, wholes, connections and patterns or what Peter Senge defines as “systems thinking…a discipline for seeing wholes. It is a framework for seeing interrelationships rather than things, for seeing patterns of change rather than static ‘snapshots’….it is also a set of specific tools and techniques…and a sensibility – for the subtle interconnectedness that gives living systems their unique character.” (Peter Senge, The Fifth Discipline: The Art & Practice of The Learning Organization, Currency-Doubleday, Toronto, 1990, pp. 68-69)

Put another way, “systems thinking is seeing beyond what appear to be isolated and independent incidents to deeper patterns…a system is something that maintains its existence and functions as a whole through the interaction of its parts.” (Joseph O’Connor and Ian McDermott, The Art of Systems Thinking: Essential Skills for Creativity and Problem Solving, Thorsons, London, 1997, p. xiii)

The research model developed by the Steering Committee (pp. 11 & 12) is an attempt to bring a systems thinking perspective to the issues. Part of being able to “model” a system is to expand our understanding of cause and effect. Complex systems are bound together by many links, like a web. “A system is an entity that maintains its existence and functions as a whole through the interaction of its parts. The behaviour of different systems depends on how the parts are related, rather than on the parts themselves….The more complex the system, the more unpredictable the whole system properties.” (Joseph O’Connor & Ian McDermott, The Art of Systems Thinking, Essential Skills for Creativity and Problem Solving, Thorsons, London, 1997, p.59)

British Columbia's post-secondary education system is comprised of sub-systems, public and private. It interfaces with types of educational systems, provincially, nationally

and internationally. As a complex system its effectiveness depends on how the parts are related.

At the policy level, the provincial government, through the Ministries of Education and Advanced Education, Competition, Science, and Enterprise, Small Business, Tourism and Culture, Labour, Human Resources and Community, Aboriginal and Women’s Services and agencies such as the British Columbia Council on Admission and Transfers and the Centre for Curriculum, Transfer and Technology has focused education providers’ attention to the lifelong learning needs of its citizens. However, research for this project indicates that while progress has been made in areas such as prior learning assessment recognition, block transfer, challenge credit and public-private articulation agreements, more work in these areas would improve learner transitions in the sub-system of fine, visual and performing arts education and training.

Additionally, there needs to be a re-thinking of what is meant by credit and non-credit courses and programs. If one of the axioms of lifelong learning is that all learning counts, both formal and nonformal, then a learner’s demonstration of competencies and outcomes should be the evaluation framework for admissions and challenge credit and not whether the course was credit or non-credit.

As demand for operating, capital, and grant expenditures has outpaced government budgeting in both the education and cultural sectors, there have been dramatic impacts on what organizations provide, how they are managed, learner expectations, employment destinations, and requisite employment competencies. Comments provided by those interviewed for this project describe some of these impacts. (Appendix C and E)

Second, the transition from a resource-based to information economy is creating social and economic pressures. Some regions of the province are in awkward transitions from

8 resource extraction and processing to eco and cultural tourism.Third, technological convergence and demand for content has outpaced current government policies (federal and provincial) and the regulatory environments (intellectual property, trade agreements, domestic and international market distribution).

The province has an established history of developing reports and policy frameworks as an impetus for discussion. (A Legacy for Learners, Premier's Summit on Skills Development and Training, Skills Now, Training for What? , Charting a New Course: A Strategic Plan for the Future of British Columbia's College, Institute and Agency System, Educational Technology Policy Framework, Learner Support and Success: Determining the Educational Support Needs for Learners in the 21st Century, Student Outcomes Reports, On Track, WorkFutures)

However, none specifically address the issue of change in other than structural and political terms. Lifelong learning is more than data sets. It involves human beings in social, cultural and humanistic interactions. It requires clarity of communications that describe clear and flexible learner pathways for students interested in pursuing careers in the fine, visual and performing arts as lifelong learners. It requires a reframing of our assumptions regarding creative expression to see and create interfaces between the arts, sciences, social sciences, business and industry.

It requires adding a definition for research in the creative arts to our definition of research in the sciences and social sciences. It requires an understanding of how an education in the creative arts improves critical thinking and creative problem solving that is transferable beyond the cultural sector to other sectors such as business and health care sector.

The four research domains and the information garnered from them are but a “snapshot” of some of the issues. Identifying the interfaces and using a systems thinking

approach, may lead to integrated problem solving strategies.

Further, we need to be reminded that a “culture of change consists of great rapidity and nonlinearity on the one hand and equally great potential breakthroughs on the other. The paradox is that transformation would not be possible without accompanying messiness. Understanding the change process is less about innovation and more about innovativeness. It is less about strategy and more about strategizing. And it is about rocket science, not least because we are inundated with complex, unclear, and often contradictory advice.” (Jossey-Bass and Michael Fullan, Leading in a Culture of Change, 2001, Chapter Three, p 3)

This project is intended to serve as a discussion paper to invite broader involvement from shareholders in lifelong learning transitions and the emergent forms in employment (self, part-time, full-time, mixed mode) and new occupational classifications brought about by technological convergence, shifting economies of scale, e-business, globalization and demographics,

As a discussion document the report is not a synthesis of primary and secondary research conducted from 1998 – 2002 but rather a digest of the information and a record of the feelings expressed by those participating in the project.

The report is a “metaphor of messiness” as the issues are complex requiring learning and leadership at a variety of shareholder interfaces. The leadership challenge for each shareholder group is to learn more about the evolving landscape of systems thinking and the dynamics of change, from cultural, political, economic, social, legal, technological, geographic, and ecological perspectives.

It requires the identification and nurturing of leadership in the individual artist, artist coaltions, arts organizations, educational institutions, cultural sector representatives,

10 community agencies and groups, business and industry representatives, government representatives (all levels) and members of the science and social science communities.

It requires open dialogue about how all shareholders deal with change and “learning for a change”. (Peter Senge)

The national, collaborative initiative announced in Ottawa on May 16, 2002, of the Cultural Human Resources Council (CHRC), Human Resources Development Canada and Canadian Heritage, to update collective information about human resource needs in the cultural sector, is a beginning. This initiative is designed to examine trends in: government policy, globalization, new technologies and changing demographics. While the national Steering Committee includes representatives from culture, government and education it does not include representation from the science, business, or technology communities. A systems thinking approach would include members from these communities. Topics for discussion would therefore not only examine the above and but other examples such as:

• Mechanisms for artistic and scientific collaborative research (multidisciplinary)

• Alignment of the funding policies and programs of governments and among the arts and cultural funding agencies and the scientific and research funding agencies

• A strategic alignment of arts and cultural development policies; science and technology policies; and skills and talent development policies at the federal and provincial levels

• Mechanisms to finance the research and development stages of experimental, pre- commercial and non-commerical creative

expressions of content which entail new technological and artistic developments

• Artist/scientist residency programs which would support collaboration between independent artists and science and technology development groups such as The Artist-in-Residence for Research Program (pilot) between the Canada Council for the Arts and the National Research Council of Canada

“Living systems [like businesses]” or like education and culture “cannot be directed along a linear path. Unforeseen consequences are inevitable. The challenge is to disturb them in a manner that approximates the desired outcomes.” (Jossey-Bass, & Michael Fullan, “Understanding Change” in Leading in a Culture of Change, 2001, pp. 45 & 46)

Undoubtedly the lack of synthesizing the research into a tightly knit set of conclusions will disturb some readers. The challenge for the reader is in reviewing and assessing the content in all the documents. The challenge is to identify leaders in all shareholders groups who can lead from within and who will work to shift boundaries regarding human resource development issues in the creative arts. It is insufficient to only define the “success” of cultural expression in terms of gross domestic product or consumption on a per capita basis. Cultural expression is so much more than inputs and outputs. It is short-sighted to think of cultural expression in terms of supply and demand (eg. there is more demand for films than for visual arts and crafts, therefore tax incentives will apply to the former and not the latter).

It is not enough to define multidisciplinarity in terms of a variety of arts disciplines communicating and working together to create content and forms of expression for consumers, audiences and collectors at home and abroad. The issues are far more complex than that. It involves exploring the intersections of the arts and sciences in new ways by actively seeking information from people with a variety of backgrounds and cultures.

The issue of enhancing lifelong learning and work transitions in the fine and performing arts is exceedingly complex. There are multiple questions with multiple answers. However, what is certain is the need for more learning conversations among shareholders. Further, these learning conversations need to extend beyond the providers of education in the fine, visual and performing arts, representatives of the cultural sector (artists and arts organizations) and government agencies involved in culture. The conversations need to include learners, scientists, social scientists, physicians, members of the legal and accounting professions, engineers, business managers, computer programmers, entrepreneurs, and leaders of industries.

Understanding changes in economic activity and employment patterns and being able to cope with these changes comes from fostering engagement in the processes and moving beyond discipline or workplace centricism and to remember that

“Art is very often about crossing boundaries, because creativity is about seeing things in new ways. Art opens people’s imaginations to a wider world. And creative thinking, risk-taking, and openness to the new are qualities that are valued in many fields besides the arts.” Dr. Shirley L. Thomson, Director, Canada Council for the Arts

Quoted from http://www.allaianceforarts.com/artcetera/votequote.htm

Research Model Developed by the Steering Committee Post –Secondary Education System Fine, Visual and Performing Arts Research Ecology

Leaders Leaders Lifelong Lifelong Learners L Learners

<= Health <= Growth G E <= Diversity <= Quality

Leaders Leaders Lifelong W Lifelong Learners Learners

TECHNOLOGY Learners Education System POLICY Government Workplace Sectors • Culture • Sciences and Social Sciences • Businesses and Industries

SHAREHOLDER: LEARNERS SHAREHOLDER: EDUCATION

Ins Outs Ins Outs Formal Formal Formal Formal Informal Informal Informal Informal Hard/Soft Hard/Soft Hard/Soft Hard/Soft

Money Fulfillment Facilities Learners Instructors Workers Security Vision Energy Inspiration Structure Knowledge Technology Budgets Skills Policy Technology

Curiosity Concepts/Works Vision Dreams Public good Learning focus Vision Inspiration

SHAREHOLDER: WORKPLACE SECTORS SHAREHOLDER: GOVERNMENT

Ins Outs Ins Outs Formal Formal Formal Formal Informal Informal Informal Informal Hard/Soft Hard/Soft Hard/Soft Hard/Soft

Economies Society Questions Products Taxes Employment Policy Values Policies Grants Skills 15 Funding Policy

Rules/Regulations Infrastructure Political Orientation Visibility

1.1. Research Methodoloy

Steering Committee and Project Listserv

“We need creators. By Steering Committee membership was drawn from the education, virtue of their government, culture, business and technology sectors. inspirational and intuitive nature, creators often challenge the The membership on the Steering Committee was diverse in order status quo, placing them at the very cusp of to deal with the structural, political, symbolic and humanistic social change and the foundation of all our frames (Bolman & Deal, Reframing Organizations) associated with cultural an education in arts and culture and the various assumptions enterprises.” regarding the value of such an education in a government Department of Canadian Heritage, accountability framework of key performance indicators. Report Number 09 The membership also provided the opportunity to explore mental models, myths, conceptions and assumptions regarding the role of the artist in contemporary society where many of our ideas and sensibilities about change, such as our economic and technology models still come from the world of Newtonian physics despite the “Quantum Age”. (Wheatley, Leadership and the New Science)

A prelimnary research review indicated that the make-up of many committees involved with human resource development issues in arts and culture were a collective identity of similar interpretations. The representation of this PIC Steering Committee allowed for multiple and divergent interpretations so that the committee could discover what was meaningful to a person, group or organization and then extropolate from there to the organizing dynamics or the web of relations between the identified shareholders as outlined in

16 research model developed by the committee: the Fine, Visual and Performing Arts Research Ecology.

The model and the following topics formed the basis of dialogue and debate:

• lifelong education and learning in the fine arts, visual and performing arts • barriers to effective workplace transitions • barriers to ongoing professional education and training (certificate programs, graduate programs, teacher training) • existing post-secondary fine arts curricula • abilities-based learning outcomes initiatives • labour market and employability skills data • knowledge base and critical skills shortages data • human resource issues, generally, but primarily in the specific sectors associated with the fine arts i.e., visual arts, media arts, performing arts, design, music and sound recording.

A listserv was set-up so that committee members could interact with the research team on process and outputs and recommend improvements to the research methodology.

The core topics were expanded to include the following questions which were also posted to the listserv:

• “Science will…produce What will this new millennium bring for the the data…but never the arts and the creators of art? full meaning. For perceiving real significance, we shall need…most of all the • Does technology enhance and support the arts, brains of poets, [and] or do the arts enhance and support technology? also those of artists, musicians, philosophers, historians, writers in general.”

Lewis Thomas, Scientist

• What skills do today and tomorrow’s artists need?

• How are a variety of institutions nurturing artistic sensibilities and broadening the fundamental skills needed by artists?

• What do the various disciplines in the arts share with the communities of which they are a part?

• What connections can be developed among the artistic and cultural communities and the research, scientific, business, and high-tech communities?

• ‘I can assure you, there is What knowledge and skills will be needed by little in my own experience artists in the foreseeable future – and do we which is so consistently rewarding as helping to have the appropriate means to monitor their realize works of art…The arts are intrinsic to a availability? sense of a nation. They are intrinsic to the cultivation of a shared • What practical approaches and strategies could identify. They are intrinsic to a prosperous help ensure that artists in BC acquire and economy.” develop these skills to succeed?

David Lemon (Vancouver businessman, arts supporter, in an • Is there a need to foster increased collaborative address to the Board of Trade Business and Arts projects, research and development between Awards Luncheon, the various creative arts disciplines themselves November, 1993) and between the arts and cultural communities, the arts and the business sector, and the arts and the scientific and technology development communities?

• How might new technologies and the new metaphors of science be employed in the education of artists?

18 • How might the insights of the artist contribute to the advancement of knowledge in the new sciences and to technological development?

• Do the prescribed abilities-based outcomes of current creative arts curricula meet the expectations of learners, parents, employers, and government(s)?

• Is it important for the respective creative arts discipline curricula to differentiate ability-based learning outcomes from employability skills? If yes, how are the respected creative arts discipline curricula differentiating ability-based learning outcomes from employability skills?

• “A liberal arts and science Currently, learning and certification of mastery education nurtures skills and are structurally combined. As learning talents increasingly valued by modern corporations. Our becomes unbundled from traditional courses companies function in a state of constant flux. To prosper we need and credentials, new mechanisms for the creative thinkers at all levels of the demonstration of mastery have emerged, such enterprise who are comfortable dealing with decisions in the as, the greater attention being paid to the bigger context. They must be able measurement of performance and to communicate, to reason, create, write and speak for shared demonstration of mastery. Are the creative arts purposes…” keeping pace with these changes? If so, how? Excerpt from a statement by If not, why not? What strategies need to be leaders of Canadian high- technology corporations, Canadian formulated? Conference of the Arts: http://www.ccarts.ca • Are their learning opportunities within the current creative arts curricula for developing network scholarship?

• Are there internationalization initiatives within the provincial system for enhancing intercultural competencies?

“A flourishing of the arts and culture will be critical to a • Is there potential for multidisciplinary and rebirth of economic and activity and of pride in our province.” multi-sector partnering for developing new

Hon. Gordon Campbell, Premier, Province of British Columbia 19

New Era Platform

policies, programs, practices and procedures that promote post-secondary education-to-work transitions?

• How should these collaborations be fostered and models developed?

• What would a 21st century performing arts, visual arts, media arts, design, music and sound recording curricula look like?

Literature Review (All Shareholders)

“People tend to think of The review examined strategic relations between education culture as being elite, but in and the arts, and the arts and new technology, the changing needs fact when you think that culture is public libraries, of education, students and the workplace, and the value placed on the museums you take your the arts and an arts education. A broad range of materials created kids to, reading a book or a magazine, let alone an overview of current arts-related and work transition issues. The watching television or going to a movie, in a sense it’s in review included a range of reports produced by arts organizations, every community across professional organizations and licensing bodies; studies produced the country and it touches everybody’s life.” or commissioned by governments, business, labour, and the

Terry Cheney, Consultant, artistic, scientific and technology development communities; February 10, 1998 policy documents; arts/business/industry periodicals; creative arts and arts education websites; conference reports and abstracts; government data bases, books, and lecture notes. This helped identify learner needs and transition processes and systems.

Reference materials for an economic profile, and perspective, of British Columbia include: British Columbia statistics, national and provincial labour market information, demographics for participation in the arts and spending on the arts. Census reports, industry reviews, program proposals, books on related topics, online articles, and information gathered from conferences, lectures and events as listed in the bibliography (Addendum and Bibliography)

20 Institutional Research (Shareholder: Education)

A template was developed for mail distribution to public post- secondary education arts institutions across British Columbia through the network of Deans, Program Directors and Coordinators, PLA Coordinators, the Visual Art and Design Articulation Committee, the provincial CE Deans and Directors Committee.

The template used data gathered from agency, college, institute, university-college and university calendars and web sites, and Opening Doors, the CEISS post-secondary education database. Each institutional contact was asked to review the template and correct for errors, omissions and changes in curriculum. As program templates were returned, additional information was gathered on prior learning assessment and career and co-op programs. This data was reviewed by Emily Carr Institute of Art and Design representatives Sheila Hall, Prior Learning Assessment Coordinator, and Dawn Whitworth, Career and Co-op Coordinator.

The research team followed up the distribution with telephone calls, faxes and e-mails to encourage participation and to develop as rich a data base as possible. This process took two years with 18 out of 35 institutions responding. Appendix A includes the institutional template program charts which were again updated through the research method described in the next section.

Post Secondary Education System Questionnaire (Shareholder: Education)

Based on field testing of a survey, a letter of intent and “Culture is the questionnaire was distributed to all the province's institutions psychological, spiritual, mental well being of (a) involved in fine and performing arts programming. The CE Deans community.” and Directors and articulation committees were asked to be the

Zaz Bajon, institutional contacts and to forward the program charts and General Manager, questionnaire to the most appropriate institutional contact. The Manitoba Theatre Centre. letter, questionnaire, and chart were sent by mail and fax in April 2000 to all institutions followed by a phone call, e-mail, and fax. Responses were complied through the fall of 2000. Some institutions did not respond. However, the response received from some institutions provided exceedingly thorough information. Changes or additions to the institutional program charts were made accordingly, and the questionnaire information was tabulated. (Appendix B)

Post Secondary Education Student and Private Sector Questionnaire (Shareholders: Learners and Workplace Sectors)

Students were surveyed in order to establish what their needs were to aid transitions to the workplace. The survey was distributed by e-mail, fax, and mail to the province’s public post-secondary institutions with creative arts programs followed up by additional e-mail and phone calls.

Private sector representatives from the arts, culture and business sectors also received a copy. A private sector contact list was developed from attending arts and culture conferences and events, professional associations and Steering Committee recommendations. This produced minimal results from the cultural sector (11) and the post-secondary education system's students enrolled in fine arts, visual arts and performing arts programs(93). The institutions that did respond were: Langara College, Northern Lights College, Okanagan University College, Kwantlen University College and Emily Carr Institute of Art and Design. Those students and individuals who did respond provided exceptionally detailed information. (Appendix C)

Careers in Culture (Shareholders: Learners and Workplace Sectors)

Using resources prepared by the Cultural Human Resources Council, Statistics Canada and UNESCO a sample of cultural occupations and the education requirements for entry into the specific sub-sectors of the cultural labour force was developed. (Appendix D)

Cultural Sectors in the Fine and Performing Arts:Interview Transcriptions (Shareholder: Workplace Sectors – Culture)

A contact list was developed using professional, Steering Committee and conference contact lists. An interview template was developed (Appendix E) for distribution to artists at various stages of their careers, arts programmers, arts administrators, gallery directors and curators, performance artists, musicians,

22 dancers, filmmakers and video producers, new media developers, community relations officers, designers, art conservationists, directors of professional associations, government officials and arts educators. Potential interviewees were advised that the interview would be conducted by phone and taped for transcription. Transcribed interviews along with a release form were mailed and faxed to all respondents. Of the fifty-eight representatives who originally agreed to participate, only twenty-seven agreed to publication. (Appendix C and Appendix E)

Environmental Scan of Artist –Run Centres (Shareholders: Learners and Workplace Sectors - Culture)

“Artist-run centres serve a variety of different communities and artists, have diverse mandates and are recognized for their integral role for facilitating the careers of emerging artists, and for cultural dissemination and discourse.” An environmental scan of the centres in the province appears in Appendix F along with a copy of CARFAC’s Minimum Copyright Fee Schedule for 2002.

Directory of Private/Public Post Secondary Fine and Performing Arts Institutions in British Columbia (All Shareholders)

The directory is a sampling of the post-secondary education institutions, public and private as well as a listing of cultural organizations and venues in BC’s cultural sector. The majority of discipline areas described in the Context section is covered. A copy of BC’s Cultural Policy, taken from the government’s web site is also included. (Appendix G)

Conferences, Lectures and Events (All Shareholders)

The research team attended various conferences and lectures for arts, culture, education, and workplace transitions. At these events contacts were made and key sources of information were obtained such as copies of legislation, materials on new programs and services for the creative arts, policies under review, and themes for education and training in the 21st century. An inventory of these materials is in Appendix H.

Student Outcomes Data (All Shareholders)

An overview of CEISS studies is located in Appendix I as well as relevant Prior Learning Assessment Recognition resources

Private Training Instruction (All Shareholders)

A review of On Track student outcomes for the years 1998 – 2000 is included in Appendix J.

1.2 Report Organization

“Cutting edge entrepreneurs, The report is organized into eleven documents. This first document scientists, thinkers and politicians provides an overview of the context and content of the research have known for centuries that creativity not only leads to great art, and a bibliography. Each of the ten appendices functions as an but also to options, discoveries, interrelated “chapter”. Appendix A is an environmental scan of solutions, better products, successful innovative businesses post-secondary education in the fine, visual and performing arts. and better societies… Creativity Appendix B, Appendix C and Appendix E communicate a experts say we can all learn to be more creative. And in today’s diversity of perspectives on education and training in the creative changing work environment, arts, workplace transitions and the “health” of the provincial creativity is a way of thinking and being many of us can’t afford not to economy as it applies to the fine, visual and performing arts. develop.” Appendix D is a “snapshot” of careers in the culture sector. Appendix F is a scan of the province’s artist-run centres which Lindsay Elliott, “Free Your Mind… and the Creativity will follow”, Realm serve as a vital conduit and transition space for emerging artists. Magazine,Fall 1999, p.13. The listings in Appendix G are an attempt to “capture” the scope, diversity and distribution of education, association and event resources and opportunities. Appendix H offers research collected at a variety of conferences, lectures and events. The data in Appendix I and Appendix J is provided for assessment on two levels: that which is reported and that which is not reported (are the instruments for data collection in need of re-design).

2.0 Context

As noted in The Future of BC Workforce- Trends, Diversity, Occupations, British Columbia in The Future, BC Work Info Net, with the big increases in the use of information technology in the workplace, the increase in self-employment and changes in the

24 'traditional' look and feel of jobs, the future of work is definitely changing.

As more people from different cultures and speaking different languages have entered the BC workforce, the work place reflects a changing richness and diversity. Changes in political and social policy at various levels of government have tried to address the issue of job opportunities of equity groups such as First Nations, Visible Minorities, Persons with Disabilities and Women.

By the year 2010, a large part of BC’s workforce, those born between 1947 and 1966, will be retiring. By the same estimates, BC's working age population (15 and over) will have increased by a total of 13.3 per cent. The number of people between the age of 15 and 29 will have increased by 5.0 per cent. The percentage of British Columbians participating in the workforce is only predicted to increase from 61.4 per cent to 63.3 per cent by 2010. This means that there will be more retired people and older workers than young working-age people in the province.

However, the number of younger workers entering the workforce will be smaller than the number of those retiring. Basically, this means that in the future, a large part of the BC population will rely on the work of a younger workforce. While the net effect could be less competition for jobs, occupational opportunities will change as some jobs disappear and others emerge, more and more of which will require a range in technological competencies and advanced communication skills.

It is predicated that demand for services will increase in areas such as health care, tourism and the content industries. The increased dependence on information technology will mean that more jobs will be performed over the Internet, and outside of traditional office locations. More and more services will be delivered using the Internet.

An education in the arts Employers are already hiring short-term and contract workers encourages high achievement. instead of full-time employees. Much of the provinces job growth Study of the arts encourages a suppleness of mind, a toleration is based on entrepreneurial activity as people start their own for ambiguity to make trade-offs businesses. While offering greater freedom in employment, among alternative courses of action. Study of the arts helps contract work, short-term work and self-employment requires students to think and work across considerable knowledge, skill, initiative and perseverance. traditional disciplines. They learn both to integrate knowledge and to "think outside the boxes." An education in the arts teaches students how to work cooperatively. An education in the arts builds an understanding of 25 diversity and the multi-cultural dimensions of our world. An arts education insists on the value of content, which helps students understand "quality"as a klA di

Small business is a major employment generator. While large business employment has declined by almost 10 per cent, small businesses have largely maintained their work forces (it has declined by only -0.7 per cent). The number of self-employed (with and without paid help) has increased in BC by 3.6 per cent. Between 1990 and 1998, the number of people without paid help doubled, and there are now twice as many self-employed people without paid help than self-employed persons with paid help. Employees in small businesses continue to be paid less than their counterparts in large businesses. In 1998, half of all jobs were in the small business sector.

The highest growth industries in small businesses are tourism, high-technology and value-added (secondary) manufacturing. In the high technology sector, small businesses made up 98 per cent of high technology employers and more than half of all high technology sector employees in 1998. Despite the “dot com” meltdown and subsequent layoffs of IT personnel, the sector is projected to grow in those areas which are related to the content industries (film, new media, music, sound recording, and new media publishing).

Education in the creative and liberal arts, and education in the humanities, and social sciences is important to British Columbia’s arts and culture sector and to the province’s competitiveness in a global economy. According to Canadian economist John Kenneth Galbraith, “those communities that are richest in their artistic tradition are also those that are the most progressive in their economic performance and most resilient and secure in their economic structure.”

Theories that inform governments’ contemporary wisdom on the globalization of the information economy need to evolve beyond accounting for “Basic and High-level Technism”(Robert Allen in Education and Technological Revoutions, 1999), and the uses and functions of information, to integrate cultural, social, and politcal factors. (Shalini Venturelli in From the Information Economy to the Creative Economy, 2001).

An education in the fine and performing arts provides learners with the knowledge, skills and abilities to cope with, and even master,

26 fast-paced changes in technology, globalization, and shifts in demographics. Graduates of programs in the creative arts are able to think creatively, communicate effectively, and work collaboratively. In a knowledge based society and economy, creative thinking that results in problem identification and then solving is crucial to the social and economic well being of the country. Further, creative thinking through arts education helps to foster understanding of international, national and regional cultures.

Research projects conducted at Harvard through Project Zero’s programs have, for over thirty years, sought to understand learning, thinking, and creativity in the arts, at individual and institutional levels, Investigations have included:

• Designing strategies for creating a “culture of thinking” in the classroom that encourages students to think critically and creatively

• Evaluating various of efforts by cultural institutions ro enrich education in the arts by bringing artists into schools as mentors, performers, or teacher trainers

• The development of the “Theory of Multiple Intelligences” that suggests individuals perceive the world in at least eight different and equally important ways – linguistic, locical- mathmatical, musical, spatial, bodily kinesthetic, natualist, interpersonal, and intrapersonal—and that educational programs should foster the development of all these forms of thinking (Dr. Howard Gardener)

Gardner’s research at Harvard University indicates that we may have as many as eight intelligences: Linguistic intelligence is the capacity to use language, one’s native language, and perhaps other languages, to express one’s mind and to understand other peoples’. Poets specialize in linguistic intelligence, but other writers such as ethnographers, playwrights or lawyers, or persons for whom language is an important work competency, also highlight linguistic intelligence.

People with a highly-developed logical-mathematical intelligence understand the underlying principles of some kind of a causal system, the way a scientist or a logician does, or can manipulate numbers, quantities and operations the way a mathematician does. Spatial intelligence refers to the ability to represent the spatial world internally in one’s mind - the way a choreographer navigates the dance floor or a sculptor represents a more circumscribed spatial world. Spatial intelligence is displayed and used in the arts and in the sciences. Bodily kinesthetic intelligence is the capacity to use the whole body or parts of the body-hand, fingers, arms - to create a solution to a problem, generate something, or develop some kind of a production. The most evident examples are people in the performing arts such as dancing or acting. Musical intelligence is the capacity to think in music, to be able to hear patterns, recognize them, remember them, and perhaps manipulate them for purposes of composition or performance. Interpersonal intelligence is the understanding other people. It's an ability we all need, but is at a premium if you are an educator, manager, advocate, leader or politician where communication and people skills are essential to credibility and sustainability. Intrapersonal intelligence refers to having an understanding of self of knowing who you are, what you can do, what you want to do, how you react to things, what things to avoid, and what things to gravitate toward; this understanding is the basis for lifelong learning.

“Strong, creative communities are known Naturalist intelligence designates the human ability to discriminate among to attract business and living things (plants, animals) as well as sensitivity to other features of the industry, bringing employment natural world. opportunities and additional wealth to the There is a growing body of research that suggests that when arts are developed the community. Industries of the and included as part of the core curricula, students have more and better emerging information- chances of achieving their greatest potential. "The arts are a major area of age economy value quality-of-life issues for human cognition, one of the ways in which we know about the world and their employees, and express our knowledge," Gardner writes. "To withhold artistic means of are attracted to communities, regardless understanding is as much malpractice as to withhold mathematics." of geography, that actively support arts and Whether one is teaching at the high-school level or executives in a continuing- culture.” education setting, studies report fairly regularly that the students remember as (from Creative Connections: Arts and Culture in British Columbia Communities, Union of British Columbia Municipalities, 28 1997) little as 10% of what they hear (or 25% of what they see), but as much as 90% of what they actually do. Learning is both an individual and group process; people also learn in a variety of ways, and at different rates. Education in the creative arts fosters the multiple intelligences so vital in this twenty-first century.

Specific projects such as the Museum of Modern Art’s Visual Thinking Curriculum (an examination into the educational impact potental of the curriculum), and Reviewing Education and the Arts on what can be learned from the massive number of studies about the effect of arts education (multi-arts, visual arts, music, drama, and dance) on cognition and learning in non arts domains are confirming the critical thinking/creativity synergy.

An education in the arts can prepare graduates for transfering their knowledge and skills in multiple ways from the cultural sector, to the education sector, health sector, social and urban planning sector, management sector, science sector and the technology sector.

Community development at the local level, such as those projects undertaken by the Regional Culture Plan Steering Committee, an intermunicipal project supported by the Greater Vancouver Regional District are designed to expand the contributions of the arts and culture sector and distribute the benefits region-wide through:

“enabling coordinated planning and development of region-serving cultural facilities and services to meet region-wide needs and opportunities

“facilitating cultural economic development initiatives to ensure that the opportunities for growth in the cultural sector are fully realized as part of maintaining a healthy and diverse regional economy

“improving information exchange and understanding amongst both providers of and participants in cultural activities within the region, including residents and visitors”

Community development at the provincial level through The Assembly of “Community development is seen as BC Arts Councils’ Community Cultural Development initiatives are also a process by which designed to extend arts, cultural and heritage skills for the benefit of people come together to address common changing communities and organizations. The organization’s vision concerns or problems in a systematic fashion, includes: strengthening their sense of community and becoming empowered “Art created with communities and not for communities through the process. If the arts are seen as ‘a part of’ the community “community processes where artists are integrated, equal partners, as well as opposed to ‘apart from’ the community, as illustrators, interpreters or observers the chances for this kind of community building are greatly enhanced.” “community art projects which encourage our critical thought and action

(Bernie Jones, community development “many people from many sectors engaged in community arts processes and planning which are longer-term and unpredictable, but produce measureable results using new criteria

“the production of art which has meaning that is recognized and understood my community members

“partnerships which cross traditional boundaries and put people and resources together in new ways that benefit everyone

“the continuing development of a body of community-building skills such as facilitation, consensus-building, collaboration, listening, communication

“opportunities for all British Columbians to participate in the production of culture, to develop cultural literacy and to speak directly and profoundly of their own experience.”

The themes of community cultural development are not exclusive the the cultural sector; they are also being developed, practiced and tested in health care, education, social services, government and the private sector. In Canada, Australia, Europe and the United States, people are exploring the potential of new alliances,

30 knowledge-sharing, mandate renewal and initiating connections with new categories of partners.

2.1 The Learning System

British Columbia government expenditure for education programs in 1998/99 was $5.9 billion. Government expenditures will virtually remain constant to 2004/5 though demand for educational services will increase. The Ministry of Education is responsible for primary and secondary education, while the Ministry of Advanced Education is responsible for post-secondary education.

The provincial public school system is a free, universal, non- sectarian system covering all grades from kindergarten to grade 12. Attendance is compulsory for children between 5 and 16 years of age. The system is currently made up of 59 school districts and one Francophone Education Authority. Each district has an elected board of trustees which governs under the School Act.

There are five publicly funded universities in British Columbia: the University of British Columbia and Simon Fraser University located in the Vancouver area; the University of Victoria and Royal Roads University in the Victoria area; and the University of Northern British Columbia in Prince George. British Columbia also has an extensive college and institute system providing academic, technical, vocational, career and adult basic education programs. The programs are administered through 11 community colleges, five university-colleges (which offer selected courses of study leading to bachelor degrees), five institutes and the Open Learning Agency.

Appendix A is a comprehensive overview of programs and courses in the creative arts as well as distance education and online learning programs.

What follows is a short synopsis of of publicly funded post- secondary education providers:

Universities (NA = curriculum in fine, visual and performing arts not available)

Simon Fraser University

Bachelor degrees relevant to the following cultural sectors: animation, film, video, design, dance, drama/theatre arts, fine arts and music; Masters in Fine Arts

University of British Columbia

Bachelor degrees relevant to the following cultural sectors: animation, film, video, drama/theatre arts, fine arts, and music all with co-op program opportunities; Masters degrees relevant to animation, film, video, drama/theatre arts, fine arts and music; Doctoral degrees in drama/theatre arts, fine arts and music; Diplomas relevant to animation, film, video and music sectors; Certificates relevant to drama/theatre arts and multimedia studies

University of Northern British Columbia (NA)

University of Victoria

Bachelor degrees relevant to the design, drama/theatre arts, fine arts and music sectors; Co-op programs available at the undergraduate level; Masters in applied design, drama/theatre arts, and music; Doctoral degrees relevant to drama/theatre arts and music sectors; Diploma relevant to fine arts sector; Certificates relevant to fine arts and music sectors.

Specialized University

Royal Roads University (NA)

University Colleges

32 Kwantlen University College

Bachelor degrees relevant to the applied design sectors; Diplomas relevant to the design, fine arts and music sectors; Certificates relevant to the design, fine arts and music sectors; Associate degree relevant to music sector.

Malaspina University College

Diplomas relevant to the applied design, drama/theatre arts, and music sectors and various courses in applied design, drama/theatre arts, fine arts and music relevant to the respective sectors.

Okanagan University College

Bachelor degrees relevant to the design and fine arts sectors Diploma relevant to the fine arts sector

University College of the Cariboo

Diplomas relevant to design and fine arts sectors Certificate relevant to the fine arts sector

University College of the Fraser Valley

Diplomas relevant to the design, drama/theatre arts and fine arts sectors Associate Degree relevant to the drama/theatre arts sector. Co-op programs available.

Colleges (NA = curriculum in fine, visual and performing arts not available)

Camosun College

Diplomas relevant to the applied design and music sectors

Capilano College

Diploma and various courses relevant to the animation, film and video sectors; Diploma relevant to the applied design sector; Advanced Certificate and Diploma relevant to the crafts sector; Advanced Certificate, Diploma and various courses relevant to the drama/theatre arts sector; Certificate and Diploma relevant to the fine arts sector; Bachelor’s Degree, Diploma, University Transfer Block and various courses relevant to music sector.

College of New Caledonia

Certificate and various courses relevant to the applied design and fine arts sectors

College of the Rockies

Diploma in New Media Communications

Douglas College

Diplomas relevant to the drama/theatre arts and music sectors Certificate relevant to music-related sector

Langara College

Diplomas relevant to the applied design, drama/theatre arts, fine arts and music related sectors Certificates relevant to the applied design, multimedia and photography sectors

North Island College

Diplomas relevant to the applied design and fine arts sectors Certifcate relevant to the applied design sector

Northern Lights College

Diploma and certificate relevant to the applied design sector Diploma relevant to the fine arts sector

Northwest Community College Associate Arts degree

Selkirk College

Diplomas relevant to the music sector Diploma relevant to the multimedia sector Certificate relevant to the fine woodworking sector

Vancouver Community College

Diplomas relevant to the applied design, crafts and music sectors Certificates relevant to the applied design and multimedia sectors

Provincial Institutes (NA = curriculum in fine, visual and performing arts not available)

British Columbia Institute of Technology

Certificates relevant to the applied design sector Diplomas and certificates relevant to the broadcast sector

Emily Carr Institute of Art and Design

Bachelor degrees relevant to the design, fine arts and media arts sectors Certificates relevant to the design, fine arts and multimedia sectors

Justice Institute of British Columbia (NA)

Aboriginal Institutes (NA)

Nicola Valley Institute of Technology

Institute of Indigenous Government

Open Learning Agency (Open University, Open College, Knowledge Network)

Bachelor degrees relevant to the design, fine arts and music sectors

Learner responses to the education and training provided by public institutions can be found in Appendix C and Appendix I. Appendix B includes responses to the Post-Secondary Education System Questionnaire and describes institutional best practices.

Non-public post-secondary education BC has grown significantly. By July 1, 2002 there were 1117 private training and education providers registered with the Private Post-Secondary Education Commission (PPSEC) operating in the province up from 774 at the end of 1993. Of these, 257 are accredited.

In the Fine, Visual and Performing Arts the following institutions are registered:

Acting: Canadian College of Film and Acting Lyric School of Acting Incorporated METHODICA Acting Studio for Film and Theatre SHEA HAMPTON’S Acting from Source William Davis Centre for Actors’ Study

Animation: Centre for Digital Imaging and Sound (CDIS) Replica 3D Animation School VANARTS Vancouver Film School

Digital Arts/ BODWELL Internet School Multimedia: CATO Centre for Arts and Technology Centre for Digital Imaging and Sound IDA Institute of Digital Arts Vancouver Film School (VFS)

Fashion Design Helen LEFEAUX School of Fashion

Film: K.E.R.E.D.A. Kereda Oval Film Training Centre Canadian College of Film and Acting Centre for Digital Imaging and Sound Gulf Islands Film and Television School Interior Film and Television Training Centre METHODICA Acting Studio for Film and Theatre TREBAS Institute Vancouver Film School

Fine Arts: Mount Royal College of Business and Fine Arts The Victoria College of Art

Motion Picture: Victoria Motion Picture School Ltd.

Music: Allegro Music School Incorporate British Columbia Conservatory of Music Hot Sole Music Incorporated Vancouver Academy of Music Victoria Conservatory of Music

Performing Arts: Canadian College of Performing Arts Vancouver Performing Arts Centre

Photography: AMPRO Photo Workshops Photography School Western Academy of Photography Video: Video In Studios

The following institutions are accredited by PPSEC:

• AMPRO Photo Workshops Photography School • BODWELL Internet School • Canadian College of Film and Acting • Canadian College of Performing Arts • CATO Centre for Arts and Technology • Centre for Digital Imaging and Sound • HELEN LEFEAUX School of Fashion • IDA Institute of Digital Arts

• Interior Film and Television Training Centre • Mount Royal College of Business and Fine Arts • TREBAS Institute • VANARTS • Vancouver Film School • Victoria College of Art • Victoria Motion Picture School Ltd. • Western Academy of Photography • William Davis Centre for Actors’ Study

Overall, when learners were asked what was the main reason for enrolling in their private institution training program, 54 per cent cited job skills, 29 per cent degree attainment, 7 per cent job skills and degree attainment and 20 per cent other reasons (such as personal reasons). Students from applied programs (mainly the career, technical and vocational students) were more likely to be oriented to employment, with 67 per cent citing job skills, 10 per cent degree attainment, 7 per cent job skills and degree attainment, and 27 per cent citing other reasons.

In response to whether their main reason for enrolling was met, 85 per cent indicated it was either completely or mostly met. For arts and sciences completers, 82 per cent reported they had completely or mostly met their original reason for enrolling.

Regarding the degree to which students found their studies worthwhile, overall 37 percent reported they were completely satisfied with their studies. 39 per cent of students were completely satisfied in applied programs compared to 35 per cent for arts and science students. Within applied programs, the greatest proportion of students reporting that they were completely satisfied with their studies were those in the shortest duration programs (53 per cent of those in 0-6 month programs ranging down to 29 per cent of those in upper division programs. However, this measure of “completely satisfied” might be thought of as the extreme end of the satisfaction continuum. Overall, 83 per cent of students reported they were either completely or somewhat satisfied with their studies. This held for both applied program students and those from arts and sciences.

Nearly two-thirds (61.8 per cent) of graduates originally chose their programs on the basis of interest or perceived their academic

38 abilities were best suited for that field of study in a particular discipline as their main reason for enrolling. Less than one-third (29.5 per cent) of graduates identified career-related reasons for selecting their fields of study.

Graduates from Arts (71.3 per cent), Fine and Performing Arts (78.0) and Science (75.2 per cent) were most likely to report their main reason was interest in subject matter or perceived they were suited to a particular discipline. The most likely to report career as their main reason included graduates from Education programs (78.0 per cent) and Health programs (51.5per cent).

In response to the statement “I have learned a great deal in this program”, one-third (33.3 per cent) strongly agreed and a further 62 per cent agreed. Less than 5 per cent either strongly disagreed or disagreed with the statement.

The proportion of graduates who indicated they had learned and developed the following types of skills to a great extent or some extent included:

• Ability to analyze and think critically (93.7 per cent) • Ability to solve problems (88.7 per cent) • Ability to work effectively with others (83.6 per cent) • Ability to think creatively (76.2 per cent) • Ability to write well (76.9 per cent) • Ability to use mathematics appropriate to their field (69.0 per cent) • Ability to use a computer (54.5 per cent)

Appendix J provides data from the On Track Outcomes reports produced by CEISS for the government as part of the relevance, quality and accountability framework.

British Columbia continues to experience population growth from natural increase and immigration. The province is also experiencing a net increase in the traditional post-secondary age group (18-24 year olds). The population is aging. Statistics Canada estimates for 2001 indicated that almost 25 per cent of the population was between the ages of 45-64 years. By 2005, this is projected to increase by an additional three per cent. As post- secondary education becomes the prerequisite for employment, demand for access to post-secondary education and training will

increase. In the Ministry of Advanced Education Service Plan 2002/2003 – 2004/2005 the following challenges and opportunities are described:

“ The post-secondary education sector must design and fund programs that are relevant to the rapidly changing demands of the economy and labour market while recognizing the fiscal challenges facing the provincial government. This includes demand for part- time and retraining programs as the economy undergoes restructuring.

“The post-secondary education sector must enhance ties with community, regional and provincial shareholders to ensure that the post-secondary education system reflects the needs of local communities as well as provincial priorities.

“Technological advances (such as distance learning) must be utilized as much as possible to increase the availability of relevant post-secondary education in a changing economy and labour market.”

While policy documents such as this refer to a provincial learning system, upon examination of documents produced by organizations and educational members of this system, it becomes apparent that while the learner has a range of programs to chose from, there are still ongoing learner support issues that impede lifelong learning related to changes in learner demographics, changes in learner expectations, and the need for more transparency and flexibility regarding transfer credit and prior learning assessment credit.

Ted James in Learner Support and Success: Determining the Educational Support Needs for Learners into the 21st Century observes that institutions are facing critical challenges that threaten their success and new barriers that hinder progress, especially for the provision of educational support services. They are being asked to serve increasing numbers of learners, many who have non-traditional or particular needs on reduced operational budgets.

The challenge for institutions is in meeting the increased demand for education and training by the province’s young people and adults. Some changes that are occurring include the following:

40 • More multi-generational blending • Multicultural diversity growing • Greater participation by First Nations learners • Extended participation by learners with disabilities • Rising number of part-time learners • Increasing financial burden for students • Additional disadvantaged learners

Consequently, there are changes in learners’ expectations, such as:

• Desire for just-in-time service • Need for program flexibility • Need for individualized support • Desire for non-traditional formats • Demand for accountability • Desire for employment outcomes

In order to meet the changing needs and expectations of learners, institutions will need to re-consider how the delivery of services can be improved and adopt the following strategies:

• Providing services holistically • Adjusting attitudes • Shifting to self-service formats • Expanding the range of support • Making effective use of technology • Collaborating to provide services • Learners helping learners

James research also indicates that institutions must re-think the funding of services, addressing the following strategic goals.

• Revisions to formula funding mechanism. Current provincial funding mechanisms are in revision. Specific funding for support operations is needed, reflecting multiple variables, including semi-fixed costs, dispersed learning, and demand-driven services, especially ones that are legally required. • Special purpose funds. Changes in the way targeted funding is provided for disadvantaged groups need to reflect actual learner needs and numbers rather than the standard allocations for each institution.

• Direct user fees. Finding ways to have a fair user-pay method for recouping expenses (e.g. on paper, lab materials, or technology costs) all need further exploration. Needy students need to have better access to financial aid mechanisms and those students who can afford higher fees need to pay a greater share of delivery costs. • Contract fees for services. Some educational support services can provide opportunities for entrepreneurial activity that can earn revenues beyond their expenses, such as educational, vocational and other assessments to individuals or companies. • Partnerships. Many successful partnerships with sponsors have helped defray equipment, facilities, or operation costs for service units.

Regarding support for service providers he comments that the quality of service delivery depends on the quality of the means of supply. Addressing the availability of technology and technical support, as well as the professional development of human service providers will be necessary. Collecting information to measure and improve the impact of the following services for learners is also needed.

• Access to technology and technical support • Training and rejuvenation. Appropriate training support is needed to assist personnel to adjust attitudes, provide culturally-sensitive services and maintain high quality service standards. • Measuring the impact of services. Through the Key Performance Indicator process, indices should be established, data collected, and service impact documented. Local feedback mechanisms, such as customer satisfaction surveys or suggestion boxes, can provide valuable information to drive service quality improvements.

James’ research becomes particularly important when considering the needs of artists who require professional development or credential upgrading. Factors such as location and time of course/program delivery, cost and making use of technology become critical success factors. However, for many artists, professional development and credential upgrading is beyond their scope due to such issues as:

42 • Insufficient financial resources to self-fund continuing education programs and courses

• Insufficient knowledge to access online learning

• The current structure of financial aid programs (non-credit programs and courses are non-eligible)

• Lack of a system-wide approach to prior learning assessment recognition

• Insufficient time to allocate to taking a course (i.e. the need to continue working)

• Lack of access to technology

• Insufficient course offerings for distance education (the majority are academic in nature not studio-based)

Toward a Learning Society, Learning Economy: An Action Plan for Canada (brief submitted to the House of Commons Standing Committee on Finance regarding pre-budget consultations, September 1, 2000 by the Association of Universities and Colleges of Canada [AUCC]) identifies the key priorities of a learning society: education, innovation, creativity, collaboration, synergy in knowledge creation between the arts and sciences, dissemination of knowledge throughout the community, and sharing opportunities among all citizens. As noted in the brief:

“In the last 20 years, the keys to success have changed dramatically. The ability to learn and to generate and share ideas and knowledge have become critical sources of comparative advantage and hence the determinants of the quality of life and the foundation of our social cohesion. Through learning, we can equip individuals to face today’s challenges, not simply in their role in the workplace but also as citizens in a global civil society in a period of great change. Through learning, individuals, firms and organizations acquire tools needed to flourish in today’s world and most importantly, to turn the forces of globalization to their advantage. Through learning, communities develop and prosper. Through a fair sharing of opportunities, we can ensure that all segments of society in all regions of the country can participate

fully in and benefit from the learning society and learning economy. By focusing on learning, society can create the conditions that support its successful development in a learning economy.”

The AUCC defines the core functions of educational institutions as education, research and community outreach. The organization regards the sharing of learning opportunities as a necessity, not a luxury. “A society cannot afford to leave untapped the potential of large segments of its population and it should not risk undermining its social cohesion by marginalizing whole segments of its citizenry.” This statement is crucial to the lifelong learning needs of artists.

In making the case for post-secondary education institutions to meet the community needs at the local, provincial, regional and national levels, the brief cites the decline in funding for operational budgets. Despite the 2000 budget increase in provincial transfers by 2.5 billion over four years (post-secondary education and healthcare), there is “still a long way to go before core operating budgets will be restored to their pre-1992 levels. At a national level, government support for core operating budgets on a per student basis, is 16 per cent less today in real terms that it was in 1992 despite the fact that it has grown in other countries. These constraints on operating budgets further illustrate the importance of universities to recover the indirect costs of research.”

The membership of the AUCC includes the following BC post secondary education institutions:

• The University of British Columbia • British Columbia Open University • University College of the Cariboo • Emily Carr Institute of Art and Design • University College of the Fraser Valley • Malaspina University College • University of Northern British Columbia • Okanagan University College • Royal Roads University • Simon Fraser University • University of Victoria

Institutions such as these have formed and are forming the intellectual, social, political, cultural, and economic currency of the 21st century through teaching, research and community service.

In terms of education and training the province also includes 1117 registered private post-secondary education and training institutions of which 257 are accredited. For learners, accreditation is important for accessing student financial aid programs. However, in the absence of private/public institution articulation agreements, learners remain disadvantaged in terms of financing their lifelong education. Appendix J provides a snapshot of the private education providers in the province.

Canada’s Innovation Strategy, Knowledge Matters and Achieving Excellence released in February, 2002 describes the federal government’s policy directions regarding the pursuit of social and economic goals.

Knowledge Matters articulates the importance of post-secondary education to Canadians entering the workforce and the need for enhanced access to that education, particularly for aboriginal Canadians and people with disabilities. The consultation document outlines important issues such as student financial assistance, physical and institutional capacity to accommodate more students, and the role that post-secondary education institutions play in providing the knowledge and skills, and conducting the research that is vital for the country’s citizens to “thrive in the international knowledge economy.”

It is important to note that Canadian universities educaiton more than one million people every year. This includes full and part- time students at every leve. This number includes 400,000 lifelong learners enrolled in continuing educaiton programs.

By federal government estimates, in the next five years, the proportion of new jobs requiring degrees will grow up to 25 per cent from its current 17 per cent of existing jobs.

Achieving Excellence outlines an innovation strategy and the role that post-secondary institutions play in research and development. This consultation document highlights the following issues:

funding indirect costs of research, increasing efforts to commercialize the outcomes of research, and the need to attract, retain, and nurture graduate students, researchers, and faculty.

In Canada, post-secondary education institutions perform one-third of the research and development activities. In 1999 university research accounted for $21 million in royalties, $55 million in equity, approximately 900 invention disclosures, some 350 new patents and 232 new licenses.

The Association of Universities and Colleges of Canada (AUCC), in a February 12, 2002 press announcement commented:

“ We commend the federal government for establishing the dialogue to articualate a long term vision of a skilled population and an innovation economy, and Canada’s universities look forward to actively participating in the process…These papers provide a framework for the continuation of the significant initiatives the government has already undertaken in these areas and set the stage for future activities.” (AUCC President Robert J. Giroux)

Knowledge Matters: Skills and Learning for Canadians notes that people are the country’s greatest resource. The document describes ways for Canadians to benefit from a knowledge-based economy. To improve Canada’s innovation performance the research identifies four challenges: knowledge performance, skills, the innovation environment and strengthening communities. The government set priorities for knowledge performance include:

• Supporting the indirect costs of university research • Leveraging the commercialization potential of publicly funded academic research • Providing greater incentives for the commercialization of world-first innovations • Providing more incentives to small and medium-sized enterprises to adopt and develop leading-edge innovations • Rewarding Canada’s innovators • Increasing the supply of venture capital

During the European League of Institutions of the Arts conference in Strasbourg, November 1992, 450 representatives of Arts Institutes representing all fine, visual and performing arts disciplines approved a Manifesto for Arts Education in Europe:

“The creative arts have to be recognized for what they are: one of the major formations of human thought – contributing to lived experience in parity with science and philosopy. Therefore arts education institutes have not only an educational but a civic responsibility to meet the challenges currently faced by humankind. Consequently arts institutes are deeply affected by the variouos technical and political developments of our time. They should neither seek to back away from this complexity, nor should they feel compelled to look for special treatment.”

In 1998 the Commonwealth of Australia published The Research in the Creative Arts Project, a joint study of the Australian Council of University Art and Design Schools and the National Council of Heads of Tertiary Music Schools. The project was a comprehensive study of research outputs in art, craft, design, music and drama designed to identify a set of performance indicators and weightings in the creative arts.

A summary of the debate recommended extending the meaning of research in the creative arts from writing about the arts to broadening the definitions of research to include artistic

performance and practice. The study noted that “we are faced with an inequitable and confusing situation where a substantial degree of high quality creative arts research is neither supported as research nor even recognized as such by the major funding organizations.” ( Dennis Strand, Canberra School of Art, The Australian National University, May 1998) Strand’s Creative Arts Research/Research Equivalent Checklist for Performance uses a high, medium and low ranking system based on the question: “to what extent does the performance meet the following critieria?

• Advancement or extension of knowledge

• New discoveries

• Innovate ideas, techniques, technologies

• Solutions to problems

• Refinements or reinterpretations of methods, techniques, existing knowledge

• Conceptual advances

• Constructive critiques and synthesis

• New means of dissemination

He also reports a distinction between creative arts research and professional practice:

“We must be particular about which of our activities we claim as being ‘research’. Artists who perceive their responsibilities simply as carrying on professional practice, with no major challenges to themselves in areas of originality, risk-taking or boundary-pushing, will almost certainly be dismissed if they claims to be undertaking research.”

In the fine, visual and performing arts, the majority of grants available to artists at the federal and provincial levels could be categorized as supporting professional practice. If the country and

48 the province want to improve knowledge performance, policies and funding mechanisms for research in the creative arts need to be developed.

Priorities for the skills challenge include producing new graduates by :

• Providing financial incentives to students in graduate studies programs, and double the number of Master’s and Doctoral fellowships and scholarships awarded by federal granting agencies • Creating a world-class scholarship program • Establishing a cooperative research program to support graduate and post-graduate students, and in some circumstances, undergraduates that would combine academic education and training with applied research in the workplace

Excerpts from the Federal Government Hansard for May1, 2002 in respect of Motion 478 (“ That, in the opinion of this House, the government should consider introducing a tax credit based on the repayment of Canada Student Loan principal, to a maximum of 10 per cent of the principal, per year, for the first ten years after graduation provided the individual remains in Canada”), provide the following statistics:

“ By the year 2004, 72 per cent of all jobs will require three years of post-secondary education…since 1990/91, tuition has risen 126 per cent or six times faster than the rate of inflation…from 1990 to 2000 the debt load for Canadians and families has quadrupled from $8000.00 to $25,000.00….the federal government has cut $7 billion from federal transfers resulting in a per capita funding for post-secondary education that is 17 per cent lower than it was ten years ago…Another fact is that federal support for post-secondary education has now dropped to 34 per cent, the lowest level in thirty years…in British Columbia, where there was a tuition freeze in effect for five years, enrolments for low and moderate income students increased.”

The knowledge economy requires people with “soft skills”, defined by the Conference Board of Canada as a wide range of abilities including managing information, the ability to communicate effectively, analytical and critical thinking, leadership skills and adaptability to change:

“Fundamental Skills The skills needed as a base for further development You will be better prepared to progress in the world of work when you can:

Communicate • read and understand information presented in a variety of forms (e.g.,words, graphs, charts, diagrams) • write and speak so others pay attention and understand • listen and ask questions to understand and appreciate the points of view of others • share information using a range of information and communications technologies (e.g., voice, e-mail, computers) • use relevant scientific, technological and mathematical knowledge and skills to explain or clarify ideas

Manage Information • locate, gather and organize information using appropriate technology and information systems • access, analyze and apply knowledge and skills from various disciplines (e.g., the arts, languages, science, technology, mathematics, social sciences, and the humanities)

Use Numbers • decide what needs to be measured or calculated • observe and record data using appropriate methods, tools and technology • make estimates and verify calculations

Think & Solve Problems • assess situations and identify problems • seek different points of view and evaluate them based on facts • recognize the human, interpersonal, technical, scientific and mathematical dimensions of a problem • identify the root cause of a problem • be creative and innovative in exploring possible solutions

50 • readily use science, technology and mathematics as ways to think, gain and share knowledge, solve problems and make decisions • evaluate solutions to make recommendations or decisions • implement solutions • check to see if a solution works, and act on opportunities for improvement

Teamwork Skills The skills and attributes needed to contribute productively You will be better prepared to add value to the outcomes of a task, project or team when you can:

Work with Others • understand and work within the dynamics of a group • ensure that a team’s purpose and objectives are clear • be flexible: respect, be open to and supportive of the thoughts, opinions and contributions of others in a group • recognize and respect people’s diversity, individual differences and perspectives • accept and provide feedback in a constructive and considerate manner • contribute to a team by sharing information and expertise • lead or support when appropriate, motivating a group for high performance • understand the role of conflict in a group to reach solutions • manage and resolve conflict when appropriate

Participate in Projects & Tasks • plan, design or carry out a project or task from start to finish with well-defined objectives and outcomes • develop a plan, seek feedback, test, revise and implement • work to agreed quality standards and specifications • select and use appropriate tools and technology for a task or project • adapt to changing requirements and information • continuously monitor the success of a project or task and identify ways to improve

Personal Management Skills The personal skills, attitudes and behaviours that drive one’s potential for growth

You will be able to offer yourself greater possibilities for achievement when you can:

Demonstrate Positive Attitudes & Behaviours • feel good about yourself and be confident • deal with people, problems and situations with honesty, integrity and personal ethics • recognize your own and other people’s good efforts • take care of your personal health • show interest, initiative and effort

Be Responsible • set goals and priorities balancing work and personal life • plan and manage time, money and other resources to achieve goals • assess, weigh and manage risk • be accountable for your actions and the actions of your group • be socially responsible and contribute to your community

Be Adaptable • work independently or as a part of a team • carry out multiple tasks or projects • be innovative and resourceful: identify and suggest alternative ways to achieve goals and get the job done • be open and respond constructively to change • learn from your mistakes and accept feedback • cope with uncertainty

Learn Continuously • be willing to continuously learn and grow • assess personal strengths and areas for development • set your own learning goals • identify and access learning sources and opportunities • plan for and achieve your learning goals

Work Safely • be aware of personal and group health and safety practices and procedures, and act in accordance with these”

52 The New Millennium Worker describes the Knowledge Worker as:

• literate • creative • motivated • analytical • communicative • able to conceptualize • able to interrelate with others • able to think independently • willing to learn and continue learning

The two charts that follow describe employability skills profiles for individuals and for those who recruit individuals into small and medium-sized organizations. The sources are: The Canadian Conference Board of Canada and the Employability Skills Framework for British Columbia.

Employability Skills Profile: The Critical Skills required of the Canadian Workforce

ACADEMIC SKILLS PERSONAL MANAGEMENT TEAMWORK SKILLS Those skills which provide the SKILLS Those skills needed to work with basic foundation to get , keep and The combination of skills, attitudes others on a job and to achieve the best progress on a job and to achieve and behaviours required to get, keep results the best results and progress on a job and to achieve the best results

Canadian employers need a person Canadian employers need a person Canadian employers need a person

who can: who can demonstrate: who can:

Communicate • Positive attitude and Behaviour Work with others Understand and speak the • languages in which business Understand and contribute to the is conducted • organization’s goals Self-esteem and confidence • • Listen to understand and learn • Understand and work with the Honesty, integrity and personal culture of the group • Read, comprehend and use ethics • Plan and make decisions with written materials including • A positive attitude toward graphs, charts, and displays others and support the outcomes learning, growth and personal • • Write effectively in the health Respect the thoughts and opinions languages in which business • of others in the group Initiative, energy and • is conducted persistence to get the job done Exercise “give and take” to achieve group results Think • Seek a team approach as • Think critically and act appropriate logically to evaluate Responsibility • Lead when appropriate, situations, solve problems and mobilizing the group for high make decisions • The ability to set goals and performance • Understand and solve priorities in work and personal problems involving life mathematics and use the • The ability to plan and manage results time, money and other • Use technology, instruments, resources to achieve goals tools and information systems • Accountability for actions effectively taken • Access and supply specialized knowledge from various fields (e.g., skilled trades, technology, physical sciences, Adaptability arts and social sciences)

• A positive attitude toward Learn change • Continue to learn for life • Recognition and respect for people diversity and individual differences • The ability to identify and suggest new ideas to get the job done creatively

54 The Skills Most Sought by Recruiters in Small- and Medium- sized Organizations SKILLS SET SPECIFIC SKILLS AND QUALITIES Knowing the business Act with “common sense” in the work context. This means acting in way that is sensitive and responsive to customer expectations and needs, dealing effectively with customers; talking and writing in a way that is relevant to the organization through knowledge of the business and its activities, identifying with the company.

Exploiting information technology Be willing to learn new uses of information technology.

Behaving appropriately Act ethically and with integrity; be productive, co-operative, accountable, responsible, flexible and positive (especially about change).

Speaking and listening Receive, comprehend and interpret complex instructions; talk with, provide to seek and clarify information from co-workers, customers, clients and those in authority, in person and by telephone.

Maintain personal standards Be concerned with personal well being; maintain standards of hygiene and dress which conform with an organizations expectations.

Writing Write clearly, concisely and to the point, consistently conforming to grammatical conventions with an organization’s expectation.

Handling numbers Extract and record numerical data and carry out calculations with high levels of accuracy, involving addition, subtraction, multiplication, division and the use of percentages.

Responding to problems Be alert to what is happening around one and be able to identify, investigate, evaluate and report (concisely and with clarity) orally and in writing, potential and actual problems.

Take responsibility for own learning, learn through working with others, from manuals Continually learning and from mistakes.

Manage the use of time; master, plan and undertake a number of activities that are

interrelated or overlap in time. Planning

Work within and contribute to the effectiveness of a team, respecting differences; take Working in teams responsibility and be willing to make decisions.

Set up and operate equipment that can require selection from options of different settings. Using equipment Read to extract information and to interpret instructions from short notes and prose.

Reading

Given the preceding inventories of skills an education in the fine, visual and performing arts is invaluable preparation for the workplace:

Academic Skills: reading, writing, speaking and listening; e.g. the arts are substantive disciplines that can facilitate students learning at every level to master academic skills more quickly and with greater retention.

In Frames of Mind Dr. Howard Gardner wrote that we learn not just through the linguistic and mathematical methods of traditional schooling but through multiple intelligences: logical/mathematical, verbal-linguistic, visual-spatial, bodily-kinesthetic, musical- rhythmic, intrapersonal and interpersonal. Study after study supports cognitive psychologist Howard Gardener’s theory of multiple intelligences, which places the arts firmly in the cognitive domain. (Harriet Mayor Fulbright, http://www.newhorizons.org/ofc_cabcartheart.html)

Thinking Skills: thinking creatively, making decisions, solving problems, seeing things in the mind’s eye, knowing how to learn, and reasoning; e.g. consider how in each of the arts, the above skills are exercised, challenged and developed.

“The exercise of judgment in the making of artistic images or in their appreciation depends upon the ability to cope with ambiguity, to experience nuance, and to weigh…tradeoffs among alternate courses of action. These skills represent not only the mind operating in its finest hour, but are precisely the skills that characterize our most complex adult life tasks.” (Elliot W. Eisner, Professor of Education and Art, Stanford University.(http://www.artsednet.getty.edu/ArtsEdNet/Advocacy/B eyond/signals.html)

Personal Management Skills: individual responsibility, self- esteem, sociability, self-management and integrity; e.g. consider how the actor or musician or painter or dancer develops these skills both as a member of a group and as an individual responsible for his/her contribution to the whole. Self- esteem and confidence come from recognizing and applying one’s strengths to succeed.

Peter Senge (MIT) in The Fifth Discipline describes the disciplines to be practiced by individuals interested in organizational learning

56 (systems thinking, personal mastery, mental models, building shared visions and team learning) as more like artistic disciplines that traditional management. (http://www.newhorizons.org/ofc_cabcodd15.html)

Interpersonal Skills: working on teams, teaching others, serving clients, leading, negotiating, and working with people from culturally diverse backgrounds; e.g. how being a member of a theatrical cast or of an orchestra or of a cooperative visual arts project develops these skills.

• An education in the arts builds an understanding of diversity and the multi-cultural dimensions of our world. • Arts education students also experience the strong connection between personal (or group) effort and quality of result. Educating for the Workplace through the Arts – BusinessWeek, October 1996.

Resources: allocating time, money, materials, space, and staff; e.g. planning and producing a dramatic performance or concert, planning for and creating an installation, or producing a multimedia work

“When we involve students in creative problem solving, we invite their participation in the learning process. Instead of telling them what to think, the arts engage the minds of students to sort out their own reactions and articulate them through the medium at hand. Their beings become embedded in the task so that they learn from the inside out rather than from the outside in. Such figuring- out requires critical thinking, analysis, and judgement; students tend to stay on task because they are creating their own world, not replicating someone else’s. Being able to think independently is the basis of creativity. It is also an engaging way to learn.”

Charles Fowler This material originally appeared in Educational Leadership, November1994 (http;//www.artsednet.getty.edu//ArtsEdNet/Advocacy/strong.htm)

Information: acquiring data, organizing and maintaining files, interpreting and communicating, and using computers to process information; e.g. managing a theatrical or dance production or organizing multi-media exhibit.

“Computer technology and interactive media rely heavily on the language of the arts in terms of images, sounds colours, and movements. The arts and other forms of cultural heritage also form a growing part of the content of the Internet.”

Beyond The Three Rs. Transforming Education with the Arts. The Getty Center for Education in the Arts

Systems: understanding social, organizational, and technological systems, monitoring and correcting performance, and designing or improving systems; e.g. the connection between motivation, learning, assessment, and practical application leading to the development of whole systems perspectives.

“ The young musician has usually begun her study by the age of 7 or 8 and, at 15, is looking forward to a lifetime of increasing mastery. She understands that learning is a life-long process and not something that is “done” on the day she gets her diploma.” The Arts are Nice, But…Stephanie Perrin (http://newhorizons.org/ofc_cabperrin.html)

Technology: selecting equipment and tools, applying technology to specific tasks, and maintaining and troubleshooting technologies; e.g. choosing the brushes, pigments and other materials for a visual arts project or knowing how to attend to technical problems during a performing arts rehearsal.

Changes in the tuition structure and student financial aid policy at the provincial level will make it more difficult for learners interested in fine, visual and performing arts programmes to puruse undergraduate and graduate studies with tuition increases at the undergraduate level, in some institutions, raised as much as 300 per cent. Further, as Appendix A indicates, not all provincial institutions have cooperative programs let alone cooperative research programs that are workplace related.

Students in BC will be paying more for an education in the fine, visual and performing arts. Artists in the emerging category will find it difficult to raise money for tuition and supplies at the minimum wage of $6.00 per hour.

The Executive Summary of MAETT's Educational Technology Policy Framework recognizes that the system includes "an appreciation of artistic and intellectual life to help individuals understand their own and other cultures and to develop skills necessary for success in the global community."

However, access to fine arts education is unevenly distributed throughout the province as is access to creative arts project funding particularly for those who are just beginning their careers. While some of the province’s institutions do offer fine, visual and performing arts courses and programs at a distance (Appendix A), the majority are academic courses. With the exception of the InterArts Program (formerly TechBC, now Simon Fraser University , Surrey, ) and Emily Carr Institute of Art and Design’s (ECIAD) I Projects and Telling Story courses, the development of studio-based, online courses is not keeping pace with institutions in the United States, Europe and Australia.

As noted in The Evolution of E-Learning by the Advisory Committee for Online Learning “ the average cost of a course developed under SchoolNet’s pilot NoteMakers program was $47,000…By way of contrast, Moe and Blodget, in their study for Merill Lynch, have estimated that the cost of an ‘effective, engaging online course’ could be as high as US $1 million.”

While the Ministry of Advanced has allocated 8 new FTEs to ECIAD for the C2T2 Emerge initiative, given the challenges of research and development, the investment seems modest at best.

A provincial, territorial and federal strategy for online learning and a consortium approach to the development of learnware products and course management systems would help to improve learner transitions through the post-secondary learning system and into the workplace by ensuring the relevance of learning materials at all levels, identifying specific standards and expectations for learning, and providing consistent methods to recognize learning that occurs throughout the educational system.

Learner perspectives and expectations regarding transitions through the education system as well as into the workplace are provided in Appendix C. Learners are also represented in Appendix I which deals with Student Outcomes Data.

2.2 Cultural Working Environment

In the report, Strengthening Management Practice in Canada’s Cultural Sector: A Learning Strategy produced in 1995 by the Centre for Cultural Management, University of Waterloo, the researchers identified the following issues and strategic shifts of impact on the cultural sector.

1.0 Economic and Market Forces: • many communities face the prospect of structural unemployment • growing stratification of "haves" and "have-nots" puts increasing pressure on social services • new sources of wealth creation needed in communities to replace declining industries (shift from resource to information economy)

Declining levels of public sector funding:

• continued pressure on all levels of government to reduce expenditures • increased competition (e.g. with health care, education, social services) for public funding • greater competition for private sector support • growing reliance on revenue generation and earned income • likely closure of some institutions, downsizing or restructuring of others • much of future growth in cultural activity (and employment) likely to occur outside of traditional, not- for- profit institutions

Rising demand for cultural products and experiences linked to growing knowledge economy, tourism and service industries:

60 • the cultural sector is a source of highly-skilled, value-added employment that has grown at more than twice the rate of the national labour force over the past 20 years • liberalized trade, vertical integration of major multinational media giants and technological change raise fears of market saturation and job loss unless sector can maintain international competitiveness • cultural activity must be linked more closely with community economic development strategies

Emergence of "Post-Fordist" cultural industries:

• new technologies are breaking down hierarchical models of mass production and consumption through a decentralization of production and a fragmenting of markets • 2-tier culture - globalizing forces (Sony, Time-Warner) and "localizing" forces (either geographic communities or communities of interest) • this combined with the declining influence of federal government means a reduced focus on national culture and identity in favour of greater local and regional cultures and identities

Line between for-profit and not-for-profit sectors blurring:

• traditional distinctions between state-subsidized "high culture" and market-driven commercial or popular culture are crumbling with declining government funding • forced abandonment of supply-side policies ("build it and they will come") in favour of demand-side cultural policies and strategies • need for strategies that overcome assumed dichotomy of being commercially-viable or having cultural integrity; strong examples exist of communities (e.g. First Nations) pursuing cultural strategies that protect cultural interests and advance an equity agenda while simultaneously generating profits • how do we protect our investment in an existing cultural infrastructure while adapting to new needs? how do we retain the best of what we have while making way for new institutions needed to respond to different realities

2.0 Social and Cultural Forces

Growing cultural equity demands:

• the issue is not simply a question of broadened access to existing cultural activity but deeper questioning of what constitutes culture in matters of public policy and who defines these choices; e.g. "what culture? whose heritage?"

Changing cultural products and services in response to community and consumer demands:

• greater "service ethos" driving institutional change; e.g. in museum sector shift from functionally-driven (collecting, preserving, interpreting) toward more mission-driven institutions within enhanced public service model • heightened service ethos understood as the principle node around which organizational innovation will take place in the struggle for survival in a post-industrial, information-driven society and economy • greater specialization of cultural products offset by blurring of lines between art, culture, entertainment, recreation etc. - expansion of what is understood to constitute a city's cultural resources (see Regional Cultural Plan Steering Committee Initiatives of the Greater Vancouver Regional District) • growing demand for cultural products and experiences linked to emergence of new "cultural ethos" with greater attention to matters of mind and spirit

Lifestyle changes:

• aging baby boom with (supposedly) more time and disposable income • emergence of "learning society" with demand for more flexible, continuous and learner-centred approaches driving demand for cultural products and experiences

3.0 Technological Forces

New digital communications and information technologies are profoundly affecting creation, production, distribution and conservation of cultural products

• increasingly accessible technologies provide the potential for the "decentralization and democratization" of cultural production • multimedia blurring distinctions between art forms/disciplines and cultural products • interactive media blurring line between cultural producers and consumers - increasingly each has value-added role to play in cultural production which is understood more as an on-going process • shift from an "industrial" mode of cultural development with its focus on tangible cultural products and institutions to a "post- industrial" (and post-modern) mode that does not abandon these concerns but shifts its emphasis to electronic "products" in the context of a more complex cultural system involving cultural processes, functions and human relations

Parallel growth in power of communications giants (e.g. Rogers Communications, Time Warner):

• companies interested in cultural content as well as communications infrastructures (telephone, cable, computer systems) • governments find it increasingly difficult to regulate these giants and global flow of information

Technology as management tool:

• enhanced use of technology linked to strengthened management capabilities needed in a competitive environment • technology as means of increasing value for dollar investment

4.0 Public Policy Forces Role of government changing:

• deficit management means that governments are searching for new, non-fiscal solutions to problems • movement from top-down "spend and regulate" model of government to that of facilitating and enabling - establishing the shared frameworks for action and increasing the capacity of others to solve problems • in the cultural sector the shift is from "supply side" to "demand side" strategies (e.g. helping to build audiences and participation rather than more facilities)

• creation of new strategic alliances between government (public sector), corporate interests (private sector) and not-for-profit ("third sector") • governments moving from a subsidy to an investment mode of support across a range of cultural activity - e.g. overcoming legal barriers that prevent government loans to commercial - but socially desirable - cultural producers and distributors, the use of semi- autonomous investment companies • emerging knowledge economy and society require re-examination of basic power relations of workplace, marketplace and household; traditional mechanisms of government make it difficult to respond to redistribution of power in the knowledge economy

Heightened attention to cultural issues:

• growing recognition of the economic significance of culture and cultural production • growing recognition of the socio-political significance of culture - e.g. issues of identity, diversity, equity • equity demands of minority communities raising questions regarding continued legitimacy of arm's length principle in cultural funding; increasingly cultural policy being understood in the context of fundamental human rights for which the state has responsibility • growing significance of culture as local and regional development issue

Redefining the public interest in culture:

• movement from "merit" principle to "merit plus need" in distributing funds - how do we assess need? how do we assess the effectiveness and/or impact of public investment? • loss of confidence in "trickle-down" theory of excellence at centre as basis of entitlement • need for stronger rational for public funding - "art-for-arts-sake" inadequate basis for advocacy • shift to model of "funds for services" rendered by the arts and cultural sector to public and corporate sector interests • movement from "shareholder" to "shareholder" model - shareholder now has "special interest" connotation

64 5.0 Preliminary Implications for Curriculum Development

Curriculum developers will need to pay greater attention to:

• an increasingly complex environment calling for more specialized management skills and knowledge - specialized by management function and sub-sector or discipline • financial management skills linked to efficiency and value for money demands • entrepreneurial skills linked to revenue generation and income management needs • greater sophistication in marketing strategies needed for more specialized and demanding audiences • human resource planning and management in organizations - e.g. delayering and restructuring, performance review, project management, greater focus on process and team skills, staff motivation, etc. • human resource planning for individuals linked to growth in numbers of self-employed contractors - e.g. career management and promotion, project management, multiskilling • use of emerging technology for both cultural production and cultural management • intellectual and conceptual skills needed to "redesign, restructure, reposition" - rethinking missions and operating models, generating "new maps" needed to navigate changing environment • sound and compelling advocacy strategies and competencies new leadership competencies linked to ongoing management of change - e.g. critical thinking and problem-solving, cross- cultural understanding, facilitation and conflict resolution etc. • "learning to learn" - skills to support continuous learning as core professional responsibility and necessity in face of rapidly changing environment • ideas, principles, values as a necessary context for management skills - new perspectives (e.g. postmodernism) have profound implications for our understanding of the needs and requirements of the arts and culture in Canada • professionalization - growing pressure to define the field of thought and practice, address career models, competency profiles, accreditation, training standards, etc.

• need for better ways of linking growing body of research on cultural policy and management to teaching, learning and professional practice

Federal government priorities as outlined in Tomorrow Starts Today, Knowledge Matters, Achieving Excellence and Building a Human Resource Strategy for Canada’s Cultural Sector combine funding strategies, with tax revisions and incentives for the innovation environment that is internationally competitive as well as provision for effective decision making for new and existing policies and regulations. For the community initiative priorities focus is on global clusters and innovation performance at the local level.

Statistics for 1997 indicate that nearly 1.5 million Canadians were self-employed representing almost 10 per cent of total employment. Between the years 1976 and 1995, self-employment almost doubled. For the same period total employment grew by less than 40 per cent. Growth in self-employment can be attributed to a number of factors: downsizing, sub-contracting, growth in the service sector and advances in technology and communications for home-based businesses. By 2001, a third of Canadians had “non- standard jobs” as a result of part-time, contractual or temporary work. The self-employed comprised 16 per cent of the workforce.

The federal government response to the Standing Committee on Human Resources Development’s report regarding amendments to the Employment Insurance as released in November, 2001 were:

“Coverage for self-employed and other Canadians in ‘non- standard’ jobs has been a recurring EI policy question. The basic tenets of EI were designed when most Canadian workers were in ‘standard’ jobs that were full-time, permanent, and involved a traditional employer-employee relationship.

“However, the labour market has changed….The Government of Canada continues to study the labour market realities and challenges faced by non-standard workers.

66 “EI coverage for self-employed through regular benefits has always presented a policy challenge. The self-employed have a greated degree of control over their employment than salaried employees. This fact makes it difficult to identify when a self- employede person is involuntarily unemployed, as opposed to when they have voluntarily stopped working. Addressing this ‘moral hazard’ issue, as well as how to collect premiums and establish entry requirements, are examples of the policy design challenges.

“No less challenging is the diversity among the self-employed. They work in a variety of occupations and are concentrated at both extremes of the spectrum in terms of education and incomes. While some want access to EI coverage, particularly special benefits (maternity, parental, sickness), many oppose mandatory inclusion. The Standing Committee, and its witnesses, also demonstrated this divergence of views.

“The Government would welcome further study by the Standing Committee on support to the self-employed. Further exploration on the diversity of views and key issues such as mandatory versus voluntary coverage could be the focus of such a study. International experience and public and private sector models could also be considered. This study would complement the consideration of policy approaches to meeting the needs of Canadians in non-standard work arrangements, whether through EI or other vehicles.”

The arts and culture sector in Canada consists of 100,000 micro and small businesses. More than 53 per cent of those in the sector are self-employed. According to Human Resources Development Canada, self-employment in the cultural sector represents 75 per cent of job growth.

At 53 per cent, this is about four times the level for the labour force as a whole. Visual artists and craftspersons have a particularly high rate of self-employment. Underemployment of artists is significant with a higher percentage of artists working

part-time in their occupations than is the norm for the labour force as a whole.

By 1999 one fifth of BCs workforce was self-employed. Most of these people work without paid help. Less than one third have paid employees; the vast majority work on their own or with the help of volunteers who are often family members. In the province, few artists work full-time at their occupations and those that do earn approximately 20 per cent less than the provincial average. The number of self-employed individuals in the cultural labour force is almost double (29 per cent versus 15 per cent) that of the labour force as a whole. The majority of artists are self-employed. An additional 24 per cent are both self-employed and employees.

In 1993 the Thompson Commission suggested there were 22,000 cultural workers in BC. The 1996 Census put the figure at 54,000. By 2000, Ministry of Advanced Education, Training and Technology estimates put the number over 60,000 with most of the growth attributable to the film industry. Estimates for the year 2001 put the number of people working in information, culture and recreation at over 106,000.

In 1992 the Government of Canada introduced status of the artist legislation which became effective in 1995 as the Status of the Artist Act (Appendix H) the general principles of which are the government’s recognition of:

“(a) the importance of the contribution of artists to the cultural, social, economic and political enrichment of Canada;

“(b) the importance to Canadian Society of conferring on artists a status that reflects their primary role in developing and enhancing Canada’s artistic and cultural life, and sustaining Canada’s quality of life;

“(c) the role of the artist, in particular to express the diverse nature of the Canadian way of life and the individual and collective aspirations of Canadians;

68 “(d) that artistic creativity is the engine for the growth and prosperity of dynamic cultural industries in Canada; and

“(e) the importance to artists that they be compensated for the use of their works, including public lending of them.”

However, Quebec is the only province with statutory recognition and administration of employment relations within the arts and cultural sector. Further Quebec and Canada established separate tribunals to adjudicate matters arising from their respective status of the artist legislation.

In 1993, a BC Advisory Committee on the Status of the Artist was established to respond to the needs of the province’s cultural workers (Appendix H). Burt Harris presented the Committee’s Background Papers on Collective Bargaining, Visual Artists and Collective Bargaining, Employment Standards, Agents, Workers’ Compensation and Occupational Health and Safety, Pensions, and Income Tax. Visual Artists and Collective Bargaining pointed to the diffulties faced by artists in collectively negotiating improvements to their economic and working situations.

In December 1998, the Canadian Artists and Producers Professional Relations Association Tribunal , in the “Matter of an Application for Certification Filed by The Canadian Artists’ Representation/Le Front des Artistes Canadiens (CARFAC) declared that CARFAC was the association most representative of artists in the sector – “that the sector suitable for bargaining is a sector composed of all independent professional visual and media artists in Canada who are authors of original artistic works of research or expression commissioned by a producer subject to the Status of the Artist Act and expressed in the form of painting, sculpture, printmaking, engraving, drawing, installation, performance art, craft-based media, textile art, fine art film and video art, fine art photography or any other form of expression of the same type, excluding:” (Appendix H)

• Artists covered by certification granted to the Conseil des métiers d’art du Québec

• Artists covered by certification granted to the Regroupement des artistes en arts visuels du Québec

• Artists covered by the certification granted to the Canadian Association of Photographers and Illustrators in Communications

• Artists covered by the certification granted to the Association des réalisateurs et réalisatrices du Québec

• Artists covered by the certification granted to the Writers Guild of Canada

• Artists who identify themselves as craftspeople rather than visual artists.

Many artists, particularly visual artists are independent contractors rather than employees or members of unions in sub-sectors such as film and theatre. As such they lack the statutory collective bargaining rights of other cultural occupational groups in BC. “ In an artist association, scale agreements that set out minimum rates and working conditions are ususally drafted unilaterally, but once ratified by the engager, it becomes an agreement between the two parties not unlike those resulting from collective bargaining.” ( Ken Dietrich-Campbell in Visual Arts Voice, Volume 4, Number 1, Winter 2000. p 7) CARFAC’s “ Minimum Copyright Fee Schedule 2002” (Appendix F) is representative of this approach. “With voluntary recognition, artists can take advantage of the administration and statutory protections in place for collective bargaining with employers. But without voluntary recognition and support of provincial legislation, it is extremely difficult for artists to collectively negotiate improvements in their economic and working conditions.” (Dietrich-Campbell, p7)

In BC Arts News, Viewpoint, Spring 2000 Bill Horne, Western Vice Representative for CARFAC noted that “twelve years after Parliament passed Bill C-60 (Exhibition Right in the Copyright Act), many public galleries don’t pay the fees required by law. This creates a shortage of venues for professional artists lacking other income sources, and puts them in competition with

70 ‘emerging’ artists…” Some galleries manage to plan for $12,000/year in artists’ fees in their operating budgets; why don’t others learn from them.?”

In the same issue, a different viewpoint was expressed by Sue Morhun, Manager of Community and Heritage Services and director of the Langley Centenniel Museum and National Exhibition Centre:

“A desire to require community museums and galleries to adopt a minimum fee structure for artists is well intentioned but unlikely to secure hugh support. Why? Everywhere in BC, community museums and galleries are struggling just to keep the doors open- let alone be good stewards of extraordinarily diverse collections, ones entrusted to us by the community we serve, or to reach out and involve a wide range of constituencies – of which artists are but one component.

“Rather than demand that museums meet a set fee structure, I would encourage groups such as CARFAC to first join with the museum and gallery community to secure a greater public understanding of the economic and social value of the activity we all produce. Public support translates into political will. All of us need to thrive, not just survive.”

In February 2000, The Labour of Art, prepared by Sandra I. Banister for the Ministry of Small Business, Tourism and Culture further elaborated on those identified areas in the Status of the Artist Act, for improving artists’ working conditions in British Columbia:

• The Workers’ Compensation Act and the Occupational Health and Safety Regulation

• Art Agency Agreements

• Status of the Artist Legislation Review

• Artist Legal Advice Program

• Dissemination

Bannister reviews the legislative developments following the report of the Advisory Committee on the Status of the Artist and provides recommendations for further action:

Bill 63, passed on January 1, 1994 broadened the Workers’ Compensation Act to extend coverage to individuals within the cultural sector who had previously been excluded such as performers and dependent contractors. Second, self-employed artists could now elect to purchase personal optional protection, though the prerequisites cannot always be met.

In 1995 the Employment Standards Act was revised to include employees in the cultural sector, although dependent and independent contractors remained excluded.

The Advisory Committee recommended a statute with provisions for art agency contracts however, the government did not act on this recommendation. Banister notes that there is almost no cost to government associated with this type of legislation except for enforcement of penalties for non-compliance.

Banister recommends an alternative to stand-alone Status of the Artist legislation (collective bargaining and art agency agreements) from the BC Labour Relations Board to a Cultural Sectoral Council. A Greater Vancouver Regional District (GVRD) intermunicipal group, the Regional Cultural Plan Steering Committee has been working on such a proposal. If implemented, it could form the basis for a newly invigorated Status of the Artist initiative.

Regarding an Artist Legal Advice Program, Bannister notes that artists in Ontario have had access to such a program since 1986. “An artists’ legal advice program, to be funded at least in part by the Legal Services Plan, should be investigated in conjunction with the Ministry of the Attorney General. Lawyers with expertise in legal matters affecting artists would provide artists with free

72 summary legal advice on any issue related to their art. This would require additional funding for the Legal Services plan.”

With the restructuring of the provincial government and the downsizing of departments self-employed artists will no longer have access to community legal aid when non-unionized jobs or contracts are breached or when there are problems with provincial or federal assistance programs.

On the topic of dissemination, Bannister recommends that the provincial government develop a web site or add to an independent site to facilitate education and communication within the cultural sector and to provide access to model agreements (contracts), government forms and grant applications. This has partially been accomplished through the site maintained by the Alliance for Arts and Culture at http://www.allianceforarts.com , and the Canada/BC Business Service Centre at http://www.smallbusinessbc.ca/ where artists can download the PDF, Art as a Business.

In the section on financial issues, Bannister observes that the Advisory Committee recommendations to establish an arts council to administer arts funding was implemented with the creation of the BC Arts Council However, the issue of tax incentive plans (the exception being the film and television industry) for investors such areas as sound recording or tax credits for visual artists (against provincial income) exempting the first sale of original work, or for artists who are employees but unable to deduct equipment and supplies, such as musicians has not been implemented.

For the arts community in the province, federal and provincial policies, regulations, and taxation need improving for the the micro and small medium sized businesses and the self-employed.

Appendix C and E provide a diversity of responses to the issues of the knowledge and skills requirements for the cultural sector and employment opportunities. Appendix D outlines careers in culture.

2.3 Human Resource Development

Knowledge Matters quotes December 2001 budget measures such as increased support for sector councils, an extension to the education tax credit to those who receive taxable assistance for post-secondary education; and an exemption for income tax of tuition assistance for adult basic education provided under specific government programs. Goals for post-secondary education include increasing Masters and PhD students at Canadian universities by 5 per cent per year to 2010.

Post-secondary education action items to be discussed with the provinces include:

• Furthering improvements to student financial assistance to better support students in need and to improve their participation rates

• Improving student financial assistance programs to help Canadians to upgrade their education and training through part-time study

• Enhancing student mobility through institutional transfer credit, and prior learning assessment recognition

• Exploring how to support community colleges and recognizing the valuable role they play in the education system

• Increasing the number of qualified people to effect the country’s innovation strategy

In 1995, following an extensive examination of human resource issues in the cultural sector, the federal government provided funding to establish the Cultural Human Resources Council (CHRC). The mission of the council is to initiate, co-ordinate and promote human resources planning, management, development and training in the cultural sector. (Appendix H)

74 In 1998, Judi Piggott, (interview in Appendix E) the Director of Training and Human Resource Development for the Alliance for Arts and Culture, recommended the development of a BC Cultural Sector Information, Resource and Referral Service. A steering committee composed of shareholder groups was established and a province-wide survey completed. An obvious goal of a provincial sectoral council would be the improvement of artists’ working conditions.

TUDBASE – Table 14, Degrees conferred by Faculty/School/Department in the Fine & Performing Arts for all degree granting institutions in the province provides the following snapshot:

Credential Type: Bachelor

2000/01 1999/00 1998/99 1997/98 1996/97 1995/96 1994/95 73 406 434 428 365 362 344

Credential Type: Masters

2000/01 1999/00 1998/99 1997/98 1996/97 1995/96 1994/95 6 87 79 91 72 61 75

Credential Type: Doctorate

2000/01 1999/00 1998/99 1997/98 1996/97 1995/96 1994/95 4 7 7 5 14 13

Tuition, funding of student spaces (FTEs), grants, loans, loan repayment and availability of contract teaching and teaching fellowships are all factors that impact participation rates.

For British Columbians wishing to pursue graduate studies in the fine, visual and performing arts, the reduction in provincial transfer payments, tuition increases and revisions to the student financial aid program are significant factors requiring evaluation and action at both the federal and provincial level if the above action items are to be achieved.

As to transfer credit this is both an interprovincial and provincial issue. The BC Council on Admissions and Transfer’s Articulation Committees do not all operate in a similar fashion. Those for music and theatre have been working on transfer enhancement projects while the committee for film has not met for years. The Music Pre-Major Transfer Agreement, intended to clarify and simplify transfer arrangements for students wishing complete a Bachelor of Music degree involves the Schools/ Departments of Music at Capilano College, Douglas College, Kwantlen University College, University of British Columbia, University of Victoria and Vancouver Community College (information pending). The Articulation Committee for Visual Arts and Design (formerly Fine Arts) essentially hears and discusses government and institutional reports.

While Prior Learning Assessment Recognition (PLAR) is on the agenda of Human Resources Development Canada as evidenced by the Recognition Learning Conference held in Halifax in late October, 2001, it is no longer a provincial government priority. With the funding reductions to the Centre for Curriculum, Transfer, and Technology and the focus on online learning, the move away from PLAR funded institutional positions is likely to impact lifelong learning initiatives for those in the arts and cultural sector. With sub-sectors in BC such as communication design requiring credential upgrading and moving towards accreditation as in Ontario and soon in Manitoba (Appendix H, An Act respecting the Association of Registered Graphic Designers of Ontario), the reduction in PLA services will make it more difficult for these micro and self-employed business owners to pursue the requisite professional development. (Appendix I provides details on PLAR in text and chart form)

The arts, cultural and intellectual property sectors of Canada are growing at faster rates than other economies as a whole. Broadly defined the cultural sector employs nearly twice as many people as traditional, resource-based sectors such as agriculture, forestry, and mining combined. From 1990 to 1999 the cultural sector workforce in Canada grew by 28.28 per cent compared with the overall workforce for the same period which only grew by 11 per cent. Thirty-four per cent of the sector or 278, 319 people were

76 employed in cultural industries and institutions (artists, composers, dancers, etc.). Forty-five per cent or 361, 596 non-culture workers were employed in government, service, manufacturing, wholesale and retail occupations. Twenty-one per cent or 169, 342 culture workers were employed in occupations such as graphic, product and furniture design. Over 70 percent have some post-secondary education.

The breakdown of cultural workers by discipline, according to data from the Industry Profile: Human Resources Culture Occupation (www.hrdc.gc.ca/sector) for 1999 was:

• Fine and commercial arts: 30 per cent • Communications and publishing: 21 per cent • Audio-visual and performing arts: 20 per cent • Writing: 13 per cent • Heritage: 8.4 per cent • Music: 8 per cent

Of paramount importance to the emerging artist, is the role that the artist-run centres play in the province. These centres are vital to those who are establishing their careers in the creative arts. They represent the much needed vehicle for dissemination and audience development, critique and adjudication, and segue to granting programs such as those of the BC Arts Council and Canada Council. An environmental scan of the centres is in Appendix F.

2.4 Cultural Economics

The overall direct and indirect economic activity contributes 30 billion to the country’s annual gross domestic product.

In the early 1950s, Canada had only four professional orchestras; today almost every Canadian city has a symphony orchestra. In the late 1960s, the country had only a dozen professional theatre companies; now there is over 350. According to the Canadian Conference of the Arts, over 13 million Canadians annually attend performances in dance, theatre, opera, and music. By 1995/96 production revenues for film, video and television had increased from $600 million five years earlier to $900 million dollars.

According to the BC Government 2001 Financial and Economic Review, employment in the information, culture and recreation sector of the province grew from 64,100 people in 1987 to 106, 200 in 2001. Greater Vancouver Regional district statistics for 1997 indicate that, 12 per cent of the employed labour force or 107,000 people were in culture sector jobs (direct, indirect and induced) contributing $3.45 billion in direct, indirect and value- added Gross Domestic Product. For that same year, 79 per cent of Greater Vancouver residents attended cultural events, 51 per cent reported being personally involved with the arts, and 30 per cent indicated that they attended festivals.

In the interim report, Arts and Culture in Greater Vancouver: Contributing to the Livable Region, the Regional Cultural Plan Steering Committee Research Highlights from Phase I noted that attendance at municipally owned cultural facilities was over 3 million. Over 1000 productions and 1200 exhibitions were mounted.

In the United States, between 1940 and 1998, the number of artists in the labour force grew at a rate approximately two-and-a-half times faster than that of all workers in the labour force. By 1998 artists comprised 1.47 per cent of the nation’s labour force. The number of artists and intellectual property professionals in publishing, software and video grew faster than the US labour force as a whole.

In the European Union the cultural sector averaged an annual growth rate of 2.1 per cent from 1995 to 1999. The growth was concentrated in areas where demand for content was greatest. Cultural occupations grew at an annual rate of 4.8per cent while non-cultural occupations such as administration, declined. According to a report commissioned by the European Commission DG Employment and Affairs and released in June 2001, it is estimated that there are 7.2 million people working in the cultural sector

In 1993-94, governments in Canada spent about $5.8 billion ($4.45 billion in 1986 dollars) on culture (operating expenditures, capital expenditures and grants and contributions). The federal government spent $2.8 billion, while provincial and territorial governments spent $1.9 billion and municipalities, $1.4 billion.

In 1997/98, total spending by all three levels was $5.56 billion, a decline of 1.7 per cent from 1996/97, and 5.4 per cent lower than a peak spending period in 1992/93. Federal outlays were down 3.9 per cent to $2.67 billion in 1997/98, provincial-territorial spending fell below 1 per cent to $ 1.72 billion while municipalities allocated $1.48 billion, a 2.6 per cent increase from the previous year.

In 1999/2000 government spending on culture for all three levels of government combined was $5.9 billion dollars. (Statistics Canada figures released on My 27, 2002) However, as noted in the June 6, 2002 Bulletin for the Canadian Conference of the Arts “when expressed in constant dollar terms, government spending on culture, at all three levels, has in fact declined over the last decade from a high of [$6.490 billion] in 1990/91 down to [$5.869 billion] in 1999/2000—a decrease of 9 per cent.”

In Federal Government Expenditures on Culture in British Columbia, 1987-88 to 1997-98 (Regional Cultural Plan Steering Committee) the summary of findings notes:

• Under-funding of the cultural sector in BC is experienced in all arts disciplines, cultural industries, and heritage sectors

• Federal government spending on culture in BC has never been higher than 45 per cent of the per capita national average (in 1997/98 the province received only 34 per cent of the national average)

• BC currently ranks ninth out of the ten provinces in federal expenditures on culture, per capita.

• Distribution of federal spending on disciplines ranked broadcasting first with 37.6 per cent, followed by film and video at 32.6 per cent, performing arts at 7.1per cent, literary arts at 5.2 per cent, multidisciplinary activities at 4.0 per cent, visual arts and crafts at 1.9 per cent and sound recording at 1.1 per cent.

By contrast, federal sport funding had increased over the same period. Corporate sponsorships to the performing arts have increased slightly but not enough to take up the slack; arts groups have had to work much harder to attract and retain these new supporters.

Canadian Heritage’s Tomorrow Starts Today investment in Canadian arts and culture of more than $500 million dollars over four fiscal years (originally announced as being over three fiscal years) , is likely only to restore federal investment to 1993/94 levels.

In a second report for the Regional Cultural Plan Steering Committee, Government of British Columbia Expenditures on Culture, 1987-88 to 1997-98, the province’s per capita spending on culture for the reporting period was significantly below the average of the other provinces. Despite an increase of $12 to $24 billion, in current dollars, for the decade covered by the study, on a per capita basis, BC ranked seventh out of ten provinces for five years, eight for four years, and ninth for one year. With the exception of film and video, were the province ranks first, most disciplines were under- funded when compared to the other provinces.

At the municipal level, Greater Vancouver municipalities allocate $22 million to cultural spending (programs and infrastructure). However, resources and programs vary and there is a lack of coordination between municipalities.

2.5 BC’s Cultural Profile

Canadian artists and designers with provincial connections have earned international recognition and awards for their work. A very small sampling includes:

• Animation: Al Sens, Marv Newland • Author/Curator: Doris Shadbolt • Ceramics: Sally Michener • Cultural Policy: Max Wyman, writer/broadcaster and President of the Canadian Commission to UNESCO

80 • Dance: John Allyene [choreography], Jeff Hyslop [performance], Anna Wyman [choreography] • Design: Simon Chang [fashion design], Martha Sturdy [product, furniture, and sculptural design] • Documentary Filmmaking, Film Historian and Conservation: Colin Browne • Feature Filmmaking: Mina Shum • First Nations Art: Robert Davidson, Bill Reid, • Film/Video/Photo Installations: Stan Douglas • Film/Video: Paul Wong • Furniture Design: Michael Grace • Independent Critics/Curators: Keith Wallace • Media Arts: Dana Claxton, Sara Diamond • Musical Composition, Classical: Harry Adaskin, Michael Conway Baker, Jean Coulthard • Musical Composition, Contemporary: David Foster, Ann Mortifee, Shari Ulrich • Musical Performance: Bryan Adams [rock], Nelly Furtado [pop/rock], Judith Forst [opera], Diana Krall [jazz], Ben Heppner [opera], Sarah Mclachlan [pop/folk] • Music Producers: Bruce Fairburn, David Foster, Mike Plotnikoff. Bob Rock, Randy Staub • New Media/Audio Artists: Thecla Schiphorst, Ron Wakkary • Photo-based Artists: Deanne Achong, Roy Arden, Ken Lum, Jeff Wall • Playwright: John Gray • Screen Performance: Nicholas Campbell, Jackson Davies, Jillian Fargey, Brendan Fletcher, Janet-Laine Green, • Song Writing: Dane DeViller and Sean Hosein • Stage Performance: Jay Brazeau, Gabrielle Rose, Joy Coghill • Television Production: Jane Austin • Theatrical Artistic Direction: Bill Millerd • Visual Art: Gathie Falk, Rodney Graham, Mary Longman, Liz Major, Derek Root, Gordon Smith, Jack Shadbolt • Visual/Media Arts: Jayce Salloum

In-depth interviews of other representative creators, disseminations, producers, and those with various arts and

government organizations can be found in Appendix C and Appendix E.

. Provincial festivals, exhibitions and events have also contributed to BC’s international reputation. Examples include:

• BC Festival of the Arts (funding discontinued June 2002) • Bard on the Beach Shakespeare Festival • Dancing on the Edge: Festival of Contemporary Dance • Jessie Richardson Theatre Awards • International Woman in Arts Award (first award given to Governor General Adrienne Clarkson by Doris Shadbolt at Vancouver Art Gallery, June 18, 2002) • Leo Awards (BC Film and Television Industry) • Merritt Mountain Music Festival • Surrey Art Gallery • Vancouver Art Gallery (VAG • Vancouver Chamber Music Festival • Vancouver East Cultural Centre • Vancouver Film Festival • Vancouver Fringe Festival • Vancouver International Jazz Festival • Vancouver Folk Music Festival • Victoria Independent Film & Video Festival

For a more comprehensive listing, refer to Appendix G.

Artists and creators are among the most highly educated but least well paid workers in Canada, falling into the bottom half of all the occupational categories identified by Statistics Canada. In 1995, painters, sculptors and other visual artists earned an average of just over $18,000 per annum, less than taxi drivers, hotel clerks, and hairstylists; artisans and crafts persons earned even less, under $17,000, below farm workers, cashiers, and "ironing, pressing and finishing occupations".

Graduates holding a culture degree earned less than those graduating with non-culture degrees ($30,500 compared to $39,150 in 1995. Those graduating from schools and colleges also earned less ($25,500 compared to $29,600).

82 Further, culture graduates are more likely to hold temporary or multiple jobs.

British Columbia has the talent, human resources, the education and training institutions, and the technology to be a world leader in innovative creative arts practices that amplify our province's knowledge bases, celebrate our creative and cultural diversity and inform our social and human values.

The creative arts contribute to lived experience in parity with the humanities, the pure sciences, social sciences and medicine and yet the existing measures to provide for lifelong education and training in the arts and to support the income of creators in these areas can best be described as modest.

The emerging employment sectors for artists are multidisciplinary requiring collaborative research and development skills that inter- link the creative arts sectors and the cultural communities and link the creative arts and cultural communities with other sectors such as business, and the scientific and technology development communities. This calls for the development of shared visions through continuous dialogue and effective bridging between these constituencies and education providers. The following citations add credence to the concept of shared visions, innovation and invention:

“Throughout the industrialized world, initiatives are underway which combine artistic creativity, scientific discovery, and technological development. In general, these initiatives reveal a new basis for thinking about creative invention—a basis which breaks old moulds of isolating artists, scientists, engineers, and philosophers—to a model which permits, indeed promotes, multidisciplinary inquiry and the development of new media art and innovation.” (Nordcity Group Ltd. New Media Research and Innovation, Arts Policy Directorate, Department of Canadian Heritage, June 5, 1997.p.i.)

“Why is the making of government cultural policy of such key importance? Because in our knowledge-based economy, the well- being of society depends on the minds—on a multiplicity of questing, restless individual minds working with a large degree of freedom and some degree of support. It rests ultimately on a

quality that corporations call innovation, and individuals call creativity.” ( Dr. Shirley L. Thomson, director, Canada Council fo the Arts.)

“It is becoming increasingly difficult within our traditional course and degree structures to produce graduates who are competent critical thinkers, know enough about selected specialities, and have the capacity to continue to learn and navigate to obtain information germane to their needs. Even those who succeed in achieving these goals must substantially retool themselves in three to five years.”(Michael G. Dolence and Donald M. Norris. Transforming Higher Education, a Vision for Learning in the 21st Century. Society for College and University Planning. 1995. P.23.)

“The exercise of judgement in the making of artistic images or in their appreciation depends on the ability to cope with ambiguity, to experience nuance, and to weigh…tradeoffs among alternate courses of action. These skills represent not only the mind operating in its finest hour, but are precisely the skills that characterize our most complex adult life tasks.” (Elliott W. Eisner, from The Signals of Art in the Workplace by William F. Kieschnick, ArtsEdNet)

“First, we need the arts to express feelings words cannot convey. Second, we need the arts to stir creativity and enrich a student’s way of knowing. Third, we need the arts to integrate the fragments of academic life. Forth, we need the arts to empower the disabled and give hope to the enchanted. Above all, we need the arts to create community and to build connections across generations.” (Dr. Ernest Boyer, President of the Carnegie Foundation for the Advancement of Learning)

“We believe the skills the arts teach – creative thinking, problem- solving, and risk-taking, and team work and communications – are precisely the tools the workforce of tomorrow will need. If we don’t encourage students to master the skills through quality arts instruction today, how can we ever expect them to succeed in their highly competitive business careers tomorrow?” (Richard Gurin, Chief Executive Officer, Binney & Smith)

“Arts education provides a practice of morality…the belief in the fundamentals of persistence and integrity to achieve success.” (Wynton Marsalis, Jazz Musician)

"The Inter-Arts program of Columbia College Chicago “teaches dancers to paint, writers to compose music, musicians to create sculpture. In the process, students gain insight into their own disciplines, broadening and deepening their perspectives as artists and performers.” “Inter-Arts offers students the courage to reinvent their lives and the skills to implement it, “ says Suzanne Cohan-

84 Lange, who chairs Columbia’s interdisciplinary-arts department.” (Zoe Ingalls, Teaching Dancers to Paint, Writers to Compose,…The Arts, B8, Chronicle of Higher Education, June, 1998)

As Dr. Catherine Murray of Simon Fraser University noted in her keynote address at the the November 1999, Symposium on Arts and Culture in the New Economy:

"Creativity is what links all aspects of our cultural sector in BC today, and it also links the sector to other areas dependent upon innovation in the knowledge economy. Creativity is essential to our cultural institutions, our artists and our cultural industries. Creativity is what defines our cultural sector, and it is what must be encouraged if it is to prosper.”

Creativity is what defines our cultural sector, and it is what must be encouraged if it is to prosper. We need to ask how we should reformulate cultural policy to sustain creativity.

The knowledge economy is forcing a closer link between education and culture in policy fields. Consequently, provincial arts and cultural policy will become more and more important in the next ten years in building the creative continuum in the arts and culture sector of the new economy. We need to think differently about continuous learning of the cultural environment in BC and identify areas where we need to build knowledge bases.

In an increasing knowledge-based economy, an education in the arts can help meet the challenge of sustaining a competitive workforce by teaching ways of thinking and by promulgating creativity and understanding the creativity of others. As previously noted, an education in the visual and performing arts develops management skills in the allocation of time, money, space and staff. In learning how to convey meaning, artists develop competencies in communication skills. When engaging in artistic activity they learn about problem solving disciplines and new thinking skills in developing new work.

Some researchers, such as American University professor Shalini Venturelli, predict that the cultural sector will become the leading edge economy of most economies in this century--- as

“information economies evolve into “creative” economies. Venturelli says:

“The Creative Economy is no longer based on mass production of goods. Instead, it is about the possibilities for most people in a society to participate in originating new cultural forms. Hence, the environmental conditions most conducive to originzlity and synthesis as well as the breadth of social participation in forming new ideas are the true tests of cultural vigor and the only valid basis of public policy. On this basis, culture can be seen as the key to success in the Information Economy and…for the first time in the modern age, the ability to create new ideas and new forms of expression forms a valuable resource base of a society and not merely mineral, agricultural, and manufacturing assets.” (Shalini Venturelli, From the Information Economy to the Creative Economy, 2001, p 12)

In the last decade the rift between industrial economies and information economies has grown wider with the introduction of infrastructure networks for distributing ideas. As such anti-trust or competition law (origins derived from supply, demand, and means of production) is ill-equipped to deal with the monopolization of knowledge and ideas. “As proprietary control over ideas spreads through the information network, the ability to work with existing ideas to innovate new forms becomes reduced, thus creating the economic and social irony of information scarcity coexisting within an environment of enlarged access to information.” (Shalini Venturelli, From the Information Economy to the Creative Economy, 2001, p9)

For Venturelli, the cultural challenge is not its inherited or cumulative body of art, aesthetic forms, symbolic meaning systems, practices and institutions from its past, but the inventive and creative capacities of its present. He postulates that a culture exists in time only to the degree that it is innovating, creating, and dynamically evolving the context in ways that promote the production of ideas across all social classes and groups. As such

“… the most significant issue confronting us today concerns the possibilities available for most people to participate in originating new cultural forms. Hence, the environmental conditions most conducive to originality and synthesis as well as the breadth of

86 social participation in forming new ideas comprise the true tests of cultural vigor and the only valid basis for cultural policy.” .” (Shalini Venturelli, From the Information Economy to the Creative Economy, 2001, p10)

Literacy in this century includes the ability to understand and communicate in both verbal and non-verbal symbols. An education in arts and culture fosters cultural literacy which includes “the abilities to read and understand music or a text, to create or analyze a poem or painting, to craft a letter or essay, to design web site, and to understand the ‘hidden persuaders’ in a political or commercial advertisement. Cultural literacy also includes the ability to understand oneself and others in a broad cultural context. “(Ann Galligan, Creativity, Culture, Education and the Workforce, 2001, p 17)

Elliot W. Eisner, the Lee Jacks Professor of Education and Art at Stanford University on the matter of a high-performance workplace, where individuals need even greater levels of quick and flexible patterns of thinking provides the following:

“Today we need people who can use their minds nimbly and who can respond to rapidly changing contexts. We need individuals who can think within the possibilities of the materials with which they work and who can pursue ends that are not prescribed by others, but, rather, formed through their own perceptual vision.”

The United Kingdom has started to work on integrating education and workforce policies based on the above assumptions. In the report, All Our Futures: Creativity, Culture and Education by the National Advisory Committee on Creative and Cultural Education, Professor Ken Robinson outlines the British strategy:

“If we are to prepare successfully for the 21st century we will have to do more than just improve literacy and numeracy skills. We need a broad, flexible and motivating education that recognizes the different talents of all children and delivers excellence for everyone. Five main themes emerge in the report:

“challenges that are involved in rethinking education policy and practice;

“ways to develop the creative potential of all learners regardless of their individual learning styles;

“fostering of creative expression, recognizing the balance between teaching knowledge and skills, while encouraging innovation;

“development of cultural understanding that includes both the traditional and the new; and

“recognition that creative and cultural education are not merely curricular subjects, but rather functions of an overall educational system.”

While neither the US or Canada have pursued these conversations to the degree that the UK has, many of the issues are familiar to their policymakers.

Professor Howard Gardner’s research for Harvard University’s Project Zero indicates that education in the arts has the capacity to create additional pathways for learner achievement, reaching out to those who learn kinesthetically as well as those you learn visually. Gardner’s theory of overlapping ways of knowing, multiple intelligences, includes the spatial, musical, kinesthetic, interpersonal, and intrapersonal.

Yet, despite this body of research and the data on the arts and cultural labour force (being highly professional and well educated) it s often not compensated appropriately as noted in sector studies conducted by agencies and organizations such as Human Resources Development Canada, Canadian Conference of the Arts, CARFAC, WORKINFONET, and the Regional Cultural Plan Steering Committee of the GVRD. .According to research conducted by Associate Professor, Ann Galligan of the US-based Centre for Arts and Culture, “artists earnings range from 71 per cent to 89 per cent of mean professional salaries.”(Creativity, Culture, Education and the Workforce, 2001, p 11)

Education policy and actions, require the commitment and engagement of multiple shareholders (see research model) at all levels of government, all levels of the education system, all levels of the lifelong learning cycle, community leaders and organizations, business leaders and organizations, and all levels of

88 the cultural sector (artists, administrators, organizations, foundations).

Effective partnerships take many forms and should include arts, community, and cultural organizations; provincial and municipal agencies, secondary and post-secondary institutions, unions in the arts and education, artists, artist-educators, parents, learners, employees from the and various sectors. Their goals could involve curriculum development, advocacy and outreach, funding, community development, or non-monetary, in-kind support. Such partnerships could also foster co-op education and mentorship opportunities.

As defined in All Our Futures: Creativity, Culture and Education, the creative industries are a subset of the intellectual properties and content sectors:

• advertising • architecture • communication design • computer services • fashion design • industrial design • motion picture industry –television, theatrical and home video • music and music publishing • new media • performing arts • publishing- newspapers, journals, and magazines • radio, television and cable broadcast industries • recording industry – records, tape, CDs, • software – data processing, business applications and interactive entertainment software on all platforms

In the evolving information economy in Canada and BC, content is expected to play an ever increasing role. Without information and original content the “information highway” is an infrastructure without a purpose. Canada has developed a vibrant cultural sector with a diverse publishing industry and acclaimed music, film, television and new media industries. Financial and program incentives at the federal level ( Canada Music Fund, The Canadian Television Fund, Canada Feature Film Fund, Telefilm Canada,

Canada Council for the Arts, Multimedia Fund) , Canadian content requirements and other support mechanisms (Canadian Radio- Television and Telecommunications Commission, Canadian Broadcasting Act) tax measures ( Canadian Film or Video Tax Credit Program), policies regarding foreign investment and ownership (Investment Canada Act) and measures to protect intellectual property (ongoing amendments to the Canadian Copyright Act) have encouraged the creation, production and distribution of Canadian cultural products in the Canadian marketplace.

This policy/regulatory framework is echoed in other countries such as France, Germany, Italy, Mexico, Spain, Sweden, the United Kingdom and the United States.

The content value chain begins with source creation, where individual creators, such as authors or programmers, produce outputs, such as text or code, thus producing original content material. Content development involves specially trained individuals, such as editors or directors, adding value to the source content by providing general or specific instructions as to the type of products and requesting changes throughout the creation process in line with knowledge of market needs and expectations. Packaging refers to the transformation of content into products such as books or CD-ROMs. The combination of the two latter activities should improve upon the original created material by processing and packaging it so that it is of greater use and value to the intended audience. In the distribution activity, actors, such as retail outlets or broadcasters, provide the services/mechanisms that allow end users to purchase/access the content. Last there is the end-user access link or individuals, such as consumers or professionals, or businesses who access the material and use it to improve their lifestyle, knowledge or competitiveness.

Most content industries in Canada, especially in content development and packaging, are characterised by separate English- language and French-language firms, serving these two respective markets. Many large content producing firms are foreign-owned or have substantial foreign ownership. Foreign ownership of firms is more apparent in the English-language segment of the content industries than it is among French-language content firms. In traditional content industries, most of the economic activity is generated by a few large firms… This does not appear to be the case yet with new media, or the non-traditional content industries,

90 as most firms are small, though some larger firms are beginning to emerge.

Firms in the content industries are primarily concentrated in the urban centres of Ontario and Quebec, however, British Columbia is registering increased activities… Technology is expected to make location less important in content industries not just for creation but also for distribution, opening opportunities for individuals and firms outside urban centres.

The content industries in Canada generate 10s of billions of dollars of economic activity on an annual basis. The International Intellectual Property Alliance (IIPA) estimates that in 1999, core copyright industries in the US alone generated over $450 billion, nearly 5 per cent of the GDP, and contributed more than $79 billion in international sales. While almost one million people in Canada work in the fields mentioned above, in the US the estimate is 4.3 million.

The Creative Industries Task Force (CITF) in the United Kingdom estimated that by 2001 the sector generated over ₤112.billion and employed approximately 1.3 million people accounting for over 5 per cent of GDP.

It is often suggested that the content industries will provide increased employment in the information economy. If employment growth is measured by the creation of permanent employment positions in the traditional content industries, the picture may be disappointing but an increase in salaries and wages provides an indication that work (including freelance work) in these industries is probably relatively stable and is on the increase in sectors such communication design, the motion picture industry, new media and software development industries, the recording industry, and the broadcast industry.

There appears to be a shift in the mix of full-time, part-time and freelance work. This is shown by the data on permanent jobs (decreasing) and wages and salaries (stable/increasing) having different trends… More new industries are expected to arise as the convergence of telephone, television, computer and cable industries continues. This will create new opportunities, new work and new threats. Traditional positions are more and more

vulnerable to elimination as technology changes, while other new positions are created because of the technology.

Within the content industries certain segments appear to depend very heavily on part-time and freelance workers. Self-employment is very common for creators of original content. Overall, content industries are characterised by higher than average levels of self- employment and highly educated workers. Cultural workers often have multiple jobs within "cultural" industries and wide differences are found in income earned from various "cultural" activities. The Cultural Labour Force Survey, conducted by Statistics Canada, found that over 30 per cent of workers in the cultural sector were self-employed compared with 15 per cent for the economy, while another 24 per cent of cultural workers were both self-employed and held jobs as employees. For cultural industries (roughly traditional content industries or the cultural sector excluding arts and heritage workers), 30 per cent were self- employed. Within the cultural workforce surveyed, 45per cent had university degrees compared with the Canadian labour force where only 15per cent of workers had university degrees. In the past, content industries have been dominated by male workers but this is a shifting demographic as the information economy evolves.

The content industries, like all industries, may be constrained or helped by the regulatory environment in which they exist. Culture is important in Canadian public policy as evidenced by the “Tomorrow Starts Today” initiatives of the federal government. As content industries have a significant cultural aspect to them, governments in Canada have more closely regulated and helped them than most other industries. Regulations can do several things: constrain the type of product offered, e.g., broadcasting entities are restricted to specific music genre; constrain the origin of the product offered, e.g., Canadian content requirements in broadcasting; or control the level of competition, e.g., cable industries. Some believe that regulations negatively influence profits, while others feel that the regulator may become "captured" by an industry and represent their interests, not the public’s, leading to monopoly profits. Subsidies and other forms of support may be used to induce desirable outcomes, possibly with more success than regulation.

However, as noted in Canadian Culture in a Global World, (Department of Foreign Affairs and International Trade, Government of Canada, 1999, p 23) , “new technologies combined

92 with more liberal trade policies are creating pressure on the cultural policies that have served to create a strong and diverse Canadian culture. The challenge for Canada is to achieve a balance between measures which aim to foster cultural expression and our international trade obligations. The changes in our cultural marketplace highlight the urgent need for government and the cultural industries to review our cultural policies and refine our cultural strategies. To keep cultural goods and services from being treated like commodities—to maintain and enhance our cultural diversity—we must be aware of the changes that are occurring around us, and be prepared to respond.”

This issue of balance is seen by Venturelli as the challenge for every nation such that it is “not how to prescribe an environment of protection for a received body of art and tradition, but how to construct one of creative explosion and innovation in all areas of the arts and sciences.” He adds that “ a nation without a vibrant creative labour force of artists, writers, designers, scriptwriters, playwrights, painters, musicians, film producers, directors, actors, dancers, choreographers, not to mention engineers, scientists, researchers and intellectuals does not possess the knowledge base to success in the Information Economy, and must depend on ideas produced elsewhere.” (The Information Economy to the Creative Economy, Venturelli, 2001, p 12, 16.)

Content Industries in Canada, Information & Communication Technologies, Industry Canada http://strategis.ic.gc.ca/SSG/it04113e.html

While the number of the province’s creative workforce is still growing, individual artists are still struggling to keep pace economically with similarly educated professionals. If the arts and culture sector (including the intellectual properties/content sectors) continues to grow as predicted, policy makers will need to consider the ramifications of this inequity for local, provincial and national competitiveness.

“How education affects artists’ earning power may be a factor. Although artists have nearly as much education as other

professionals, there is evidence that artists are less able to convert additional years of education into greater earnings and that educational attainment may have a less positive impact on their earnings than it does on the earnings of other professional workers.” “(Ann Galligan, Creativity, Culture, Education and the Workforce, 2001, p 47)

As such it may become necessary to offer economic incentives to strengthen the attractiveness of joining and remaining in the arts and culture labour force. Many incentives are embedded in copyrights and contractual arrangements between artists and cultural and entertainment organizations. For example, the model used in BC’s Film sector could be applied to the visual arts and crafts sector. Union agreements and litigation are also factors that need to be considered. Artists and policy makers will need to look beyond the educational and cultural agencies to find policy tools that can inform and influence the current working conditions for many artists.

The arts and cultural labour force is comprised of artists working for commercial ventures, educational institutions, and for profit and not-for-profit organizations, and those who work part-time (field relevant or other) or are self-employed, freelance workers. As the largest growing employment sector in BC is the small business sector, the lessons of independent artists and creative cultural works may prove instructive.

“While the fluid nature of self-employment and freelance work contribute to both the attraction and difficulties of working in the arts, the lack of an established, financially-beneficial, career- ladder, compounds workforce problems, particularly as artists establish families.” “(Ann Galligan, Creativity, Culture, Education and the Workforce, 2001, p 50)

As members of the workforce age and their salaries fail to keep pace, attrition rates have risen. An artist’s income is often derived from non-arts income. For many, reliance on income generated from their arts practice, puts them at below the poverty level. This is partly due to the under-resourcing of the non-profit sector in which many artists work but where the conditions translate into low wages, no health or pension benefits, and discontinuity in paid employment.

In background papers prepared for the Center for Arts and Culture, John Kreidler, Executive Director of Cultural Initiatives, Silicon Valley observes:

“Professional artists and teachers with arts training are key resources in strategies to improve the quality of education. Moreover, independent nonprofit arts organizations are often major providers of in-school and after-school educational programs that supplement the resources of public and private schools. Sociologists are also finding evidence that civil society can be promoted through the engagement of the public in cultural activities that build trust between individuals and groups…A link also exists between technological/business innovation and the presence of a creative ecosystem of artists and scientists who can freely exchange and critique the work of peers. “ (“(Ann Galligan, Creativity, Culture, Education and the Workforce, 2001, p 52)

Careers in the arts are not easy to pursue due to a lack of a cohesive distribution of professional training and business skills development. This is amplified by lack of financial stability, issues of copyright, global marketing and distribution, housing, health insurance and pension inequities and workplace conditions.

BC needs a comprehensive strategy that links education and cultural labour force development at the national, provincial and municipal levels.

All three levels of government need to work more closely together. There should be closer links between the national, provincial and local education initiatives – to learn from best and worst practices and to identify common elements from which models might be developed and disseminated. There should also be closer links with the various cultural sub-sector organizations and committees to avoid redundancy and maximize resource allocation. Models of best practices thematic discussion documents from one sub-sector should be transferred to another. Post-secondary institutions should expand their work with the school system in evolving meaningful arts and humanities curricula.

“As the economies of ideas and expression are recognizes to play a central and strategic role in everything we do, from politics to banking, from education to consumption, from the organization of

the state and the socio-legal systems to organization of culture and self-identity, it will become impossible to defend the current design of an information age grounded in industrial economics and traditional concepts of culture or knowledge. Whether answering the challenge and closing the gap takes a few years or a century, the historical pressures to revise our approach to these issues is a certainty. Now or in the future, we will one day find ourselves on the threshold of an international political settlement to resolve these fundamental principles of a Creative Economy and an Information Society. Which nation will transform its domestic policy first and lead the international debate, and which will be surpassed in innovation capacities, forced to spend decades catching up through costly misjudgments?” (Venturelli, p 36)

In her symposium abstract for Arts and Culture in the New Economy (Appendix H), Dr. Murray of Simon Fraser University describes a six-part continuum of the key elements of social and cultural activity. What follows is a summary of her recommendations for the province.

To support creativity:

• A report card on the effectiveness of our educational curriculum in building skills in arts and cultural creation in the new economy. • Monitor access to federal human resource development funds, and act as a catalyst for strategic partnerships to better access such programs • Create incentives for firms to offer paid on- the-job training • Create incentives for co-ventures using multi-disciplinary intellectual property • Build a databank of success and failure stories of cultural knowledge enterprises • Vie for the location of a new media NCE to catalyse R & D in the area (NEWMIC is an example of this) • Consider a BC Status of the Artist Act

In primary and middle schools, there is still a vacuum in arts education. The jointly sponsored Arts in the Communities projects dealing with children and young people is being evaluated to assess its long-term potential. It is imperative that BC has a voice in directing this audit.

96 Most of the federal policy focus on creativity is on professional training for arts and cultural industries, giving priority to the development of coop and intern programs. Federal support goes to some 18 institutions, but it is not at all clear that BC gets its fair share. Yet, we are developing arts and cultural training institutions on a world scale: Emily Carr, Vancouver Film School, the Goh Ballet Academy, to name a few.

Direct on the job training support for individuals is a provincial area of jurisdiction. It is, however, not clear how the direct training support for individuals in BC is geared to arts and culture in the new economy and we need to call a report card on this. The BC Arts Council has made a start in such a study. What remains is to broaden it to include all non-traditional and emergent cultural industries, and not for profit and profit sectors.

There is more direct federal involvement in this area in the past five years. For example, Human Resources Development Canada contributed about 36 or $72,000 for internships in 99-2000 to be delivered by the Canadian Film and Television Production Association. Canadian Heritage’s Young Canada Works delivers similar opportunities for interns in partnership with arts and heritage organizations. BC must monitor its access to such federal human resource development funds, and act as a catalyst for strategic partnerships from the arts and culture sector to better access such programs.

However, the key for firms working in the sector is paid on the job training for their employees, an important competitive advantage. Canadian firms in general, and BC ones in particular (due to the smaller scale of operations) in the arts and cultural sectors have not been leaders in this regard.

BC should review ways of supporting paid on the job training by its employers, and publicly recognizing and providing incentives to firms who are leaders in this area for knowledge workers.

Recommendations to support production:

• Cooperate with the Federal government to ensure and enhance actual qualitative BC content in cultural works • Research how the aesthetic of production is changing with new technologies

Financing:

• BC must lobbly to increase federal subsidies to arts and culture out of the fiscal dividend • New financing sources should be found from institutional investors • Consult to develop incentives for BC heritage structures • Lobby for tax relief for legitimate expenses of volunteers associated with unpaid work.

Distribution:

• Have the Knowledge Network support arts and culture in the new economy or sell it • Vigorously pursue consumer protection and competition law • Further develop marketing for the BC arts and cultural sector:

Preservation:

• Push for preserving and cataloguing of BC moments in the CBC • BC collections should be put on line for a Canadian cultural archival information network (Digital Collections is essentially a federal initiative)

Consumption:

• Push for effective analyses of our multicultural groups in their patterns of cultural participation • Press Statistics Canada to remedy gaps in statistics in new media, trade in services, and intellectual property – and new areas such as design and tourism • Regularly track arts and culture trends

Valuation:

• Facilitate one stop shopping for BC copyrights • Research the distinctiveness of BC cultural products • Regularly monitor tastes, values and attitudes of BC citizens and cultural consumers to help guide creators in understanding their audiences • Evaluate a BC Charter of Cultural Rights

98 • Become a leader in policies to promote cultural diversity

Canadian Film and Television Production Association (CFTPA) (in co-operation with l’Association des producteurs de film et de télévision du Québec), The Canadian Film and Television Production Industry: A 1999 Profile. February 1999.

Over the last three years, the Canadian film and television production sector has been one of the fastest growing sectors in the Canadian economy. In 1997-98, there were 31,000 direct jobs in this sector (an increase of 2.2per cent from the previous year), and the total export value of the industry reached an all time high of $1.5 billion. However, the viability of the industry remains uncertain without positive economic conditions and a policy and regulatory framework that overcomes structural obstacles blocking market access for Canadian movies and TV programs. Contributing to these obstacles are the much lower funding levels for Canadian programs than US programs, forcing Canadian programs to compete at a disadvantage with their US counterparts. Clearly, the film and television industry has great potential both culturally and economically. Thus, in addition to increased funding, the growth of the film and television should be supported with human resources and an effective training infrastructure. To this end, the CFTPA is looking forward to expanding the scope of their Mentorship Programme in 1999 and the coming years by providing more individuals with “hands-on” experience related to their career goals. Together with continued public sector support, the Canadian film and television industry will be able to continue to grow and make inroads in strengthening their presence in both the Canadian and overseas market.

Canadian Conference on the Arts, Arts in Transition Project (http://arts.uwaterloo.ca/ccm/documents/ait/ait_body1.html)

The goal of the Arts in Transition Project is to support a means of building an environment conducive to the long-term sustainability of the arts. To do this, several things have to be addressed. First, a general restructuring needs to take place that embraces diverse organizational change. Second, a means of more effective cooperation between the public funders and the arts community needs to be developed. Third, an effective means of obtaining operating grants to support a healthy ecology in the evolution of the arts needs to be established. Finally, the relevance and integration of arts in the community needs to be increased. The latter will largely be addressed through educational efforts such as the following:

♦ Working with and recognizing artists’ and educators’ different and complementary skills so they can successfully undertake school programs. ♦ Enhancing education and outreach activities of arts organizations with communities and new audiences. ♦ Introducing a community-based arts practicum as part of the curriculum for fine arts students. ♦ Researching “best practices” in education and outreach programs ♦ Teaching arts animation and communication skills

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Cultural Human Resources Council, Forum 98: Soaring into the Future, September 11-13, 1998.

Among other issues, Forum 98 examined ways to facilitate partnerships in delivering lifelong learning to Canadian artists and cultural workers. Lifelong learning will depend on collaborative cross-sectoral efforts, and close attention to the details of needs assessment, planning, “wall-to-wall” delivery, and close attention to changing learning needs and methods. Half this sector is self-employed and thus unable to access employer-funded training and professional development.

Cultural Human Resources Council, Creating success: CHRC’s Human Resources Strategy.

30per cent of the cultural labour force is exclusively self-employed and another 25per cent reports some work on a self-employed basis. The following inferences can be drawn from an analysis of Statistics Canada 1991 Census data and the 1993 Culture Labour Force (CLF) Survey: 1. Self-employed individuals have limited access to infrastructure to support training 2. On-the-job training is the most influential (49per cent) followed by Professional Development (18per cent). 3. Time (32per cent) and cost (46$) were the main reasons for not taking training. 4. Raising awareness of the importance of training and providing a map to training is a critical need 5. 65per cent of the CLF reported an impact of technological change on their involvement with the sector, but only 28per cent of the CLF reported receiving training as a result of this change.

Because Canadian universities offer little or no career management training to artists, internships and mentoring relationships are critical to this sector. There is also a need for comprehensive information on cultural careers as many who choose careers in this sector are uninformed or misinformed. This sector could also be given an economic boost by introducing curricula oriented to export marketing of cultural products and services.

Cultural Human Resources Council, Study of Human Resource Needs in the New Media Industry, July 3, 1998 (http://www.culturenet.ca/chrc/document/subsect/newmediakos.htm)

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The new media industry has expanded considerably in the past few years, creating a major human resource challenge for new media firms. Literature indicates a shortage of creators and interactive designers, producers, artists/graphic designers, programmers, sales representatives, administration personnel, system developers, and marketing experts. Other human resource challenges are keeping employees up-to-date on the latest skills and technology and international competition for workers, especially from the United States. However, the greatest challenge is not a shortage of workers, but a shortage of qualified workers with business skills and an overall broad skills set, perhaps due to inadequate training programs offered by schools. Shortcomings of educational institutions were thought to include: ♦ Lack of training relevant to industry needs ♦ Training that is not sufficiently specialized or focussed ♦ A lack of attention paid to the basic skills or building blocks that are needed to work in the sector.

Skills most likely to be considered important in the industry were: ♦ Cross-functionality (broad based talent and an overall sense of the industry in order to adapt to multiple roles). ♦ Interpersonal and personal skills ♦ An ability to understand consumer/client needs

More specifically, valuable skills identified were creativity, technical skills, business skills, communication skills, and content skills. The mix of skills in a particular individual was also identified as important. Some respondents reported difficulties recruiting multi-functional workers, and others had difficulties recruiting specialized workers. This appears to be dependant on firm size (small firms prefer generalists and large firms specialists). Nevertheless, key informants indicated specialized training as the most critical training need. Other major training needs identified are programming skills, practical business skills, and training for high growth areas (e.g., animation and game design). A large majority of respondents also felt that both artistic and technical skills were important to have and that this need is not being met by the educational system. Again, this depended on company size, occupation, and project size. Barriers to workplace training include cost (often in relation to government support), time (due to the fast paced nature of the industry), the availability of trainers, and the availability of good/relevant courses.

Cultural Human Resources Council, Roundtable on Training in the Cultural Sector, Synopsis Report, March 29 – 31, 1996 (http://www.culturalhrc.ca/english/document/tbron2e.htm)

102 The purpose of the 1996 Roundtable on Training in the Cultural Sector was to confirm key training issues, review options, and develop action plans. A Discussion Paper commissioned by the Steering Committee to help participants prepare reviewed five main Roundtable themes.

1. Training needs to take into account the high rate of self-employment in the cultural field; balance training new entrants against limited job opportunities in some fields; improve access to training for women, ethnocultural communities and/or aboriginal people; and take advantage of new opportunities in global markets.

2. The government’s role is shifting from “patron” to “partner” (i.e., moving away from grants to contributions, and requiring regular evaluation of how money is used). The cultural sector or sub-sector will have to effectively allocate scarce dollars.

3. There are gaps in training curricula, such as not enough business skills development, a need for lifelong learning, increased training in computer/communications technology, and a need for more “experiential” training directly from practitioners to students.

4. There is chronic underfunding of training programs and the organizations that provide them. High program costs are creating “affordability” barriers for students and an unhealthy reliance is placed on tuition fees and government.

5. Canada’s current mix of training providers has developed partly by historical accident. Artistic and cultural training is delivered in many places, but programs often overlap and professional development programs are often absent.

Underlying almost every discussion that took place at the Roundtable were four themes:

1. Integration. Participants strongly agreed that people and organizations in their sub- sector should be linked much more closely, sharing information on training issues and artistic activities.

2. There was an optimistic view on new information technologies. Participants saw them as a means to improve internal communications and boost the sector’s productivity and competitiveness.

3. There was a spirit of entrepreneurship and self reliance, demonstrated by calls for more training in business skills and appeals for integration and consolidation of internal sectoral resources.

4. There was a thirst for knowledge about Canadian training programs.

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There was also considerable agreement among participants about the goals and objectives of training models. For example, training needs to be accessible to all Canadians who qualify for it. Some participants also felt that artistic training needed to mirror the place of the artist in society by being visionary. It also seemed accepted that because the sub-sectors were not well-equipped to deliver training themselves, training should be delivered in collaboration with existing colleges, universities and specialized institutions in consultation with “market-based” partners like employers. The issue of sustainability arose in nearly every group and many participants felt goals could only be achieved if current funding levels were at least stabilized. Regarding roles and partners, participants felt the range of actual and potential partners was very diverse. These partnerships were divided into two types: those among players already inside the cultural sector or sub-sectors, and those between those in the sector and those outside, such as Canadian industries or foundations that could contribute resources. Many participants also pointed out that the cultural sector would want to retain some level of ownership in activities or training programs being supported. However, they also felt that employers need to play a larger role in defining training needs and contribute more funding and in-kind resources for training programs. Participants also confirmed the need for closer alliances between sub-sectors and training providers, especially in the post-secondary system, more communication among post-secondary institutions about the objectives of arts and cultural training, and more work to develop training programs that would complement one another.

Cultural Human Resources Council, Needs Assessment and Prioritization for the Transition Initiatives Program: Submitted by the CHRC Self-employed Caucus.

Self-employment is an issue that affects all of the cultural sub-sectors. The Self- employed Caucus believes the following three recommendations need to be implemented in the interests of the self-employed:

1. Ensure the structure of the CHRC incorporates the self-employed. 2. Ensure the Sectoral Committee for the Self-Employed reviews and assesses policies and priorities identified by the sub-sectoral committees prior to implementation by CHRC. 3. Promote accessibility of self-employed individuals and associations to the CHRC with a two way information flow.

Within this sector are self-employed individuals with different training needs, and it is only in the area of new technologies training and business/marketing/career management skills training that there is roughly an equal need for workers of all experience levels.

Most critical is training that will allow self-employed workers to: ♦ Create and produce their work ♦ Market and promote their work locally, nationally, and internationally

104 ♦ Secure contracts, commissions, or employment ♦ Preserve and protect their professional and legal rights ♦ Manage their own business affairs ♦ Make other contributions to their artistic communities ♦ In some cases, move into a new area of work.

Cultural Human Resources Council, Priority Human Resources Development Needs in the Canadian Cultural Sector: Report from CHRC’s sub-sectoral committee on Audio Visual and Live Performing Arts (http://www.culturalhrc.ca/english/document/subsect/avipae.html)

Canada’s audiovisual and live performing arts are integral to its economy and culture. In 1993-4, this sector accounted for almost 268,000 jobs, and direct and indirect activity in this sector was $8.41 billion. Production in this sector provides entertainment, information and education through film, television, video, radio, CD-ROM, theatre, dance and opera. Individuals in this sector are generally highly educated. However, even with high levels of education, they must learn more specific skills when they enter the workforce. Additionally, because of the constantly changing nature of the sector, these individuals must be committed to lifelong learning. Professional training is vital for the health of the sector. Indeed the use of non- Canadians in areas of this sector probably indicates there are not enough Canadians at an appropriate level. Two factors were identified that can be used to determine the ranking of training projects to be funded:

1. Priority should be given to activities that initiate a long-term approach to the development of people skills rather then those addressing temporary problems. 2. Priority should be given to initiatives that provide experiential learning opportunities.

The Committee also has identified specific training needs in the area of business skills, technology skills, skills upgrading, and special needs for new entrants. The nature of these skills vary according to the occupational group (i.e. individual creative and interpretive artists will require different skills than administrators) and training opportunities need to be tailored accordingly. Another consideration is that trainers must be able to effectively transmit skills to another; simply having a successful career in the sector is not a guarantee of this. However, trainers must also have contemporary and useful skills that are relevant to the real world. This balance is difficult to achieve and supports the merits of experiential training programs. Finally, because individuals outside major centres may have problems accessing training opportunities, distance learning techniques should be considered, possibly through electronic means.

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Cultural Human Resources Council, Priority Human Resources Development Needs in the Canadian Cultural Sector: Report from CHRC’s sub-sectoral committee on Music and Sound Recording (http://www.culturalhrc.ca/english/document/subsect/musice.html)

Like the rest of the cultural sector, there is a relative oversupply of labour for the positions available in the music industry, and most workers in this sub-sector are generally self-employed. The consequences of high degree of self-employment are lack of access to existing social programs, uncertain engagement activities, and the difficulty of regulating conditions through the traditional collective bargaining system. The training of new entrants to the workforce often neglects the realities of self- employment. More time needs to be spent on audition techniques or marketing, stage presentation, contract law, public relations, and the overall mechanics of operating a small business. Unfortunately, because it is difficult for people in this sector to accumulate adequate resources to undertake training opportunities, it is difficult for workers to rectify this deficiency. Most musicians and technicians that wanted to take training but did not (40per cent and 20per cent, respectively), cited the absence of time and money as the reason. To survive in the industry, individuals must engage in lifelong learning. The most successful programs offer “on-the-job” experiences. Technological change is also a key factor affecting virtually this whole sub-sector. It has reduced opportunities for some (i.e. studio musicians), while increasing them for others (i.e. independent artists). Musicians had the highest training need in this area. Furthermore, it is necessary to be computer literate to manage a business.

The following skills have been identified as the most pressing:

♦ Business skills. The sub-sector believes that the quality of the musician’s marketing and business skills matters more than musical ability. ♦ Technology skills. Administrators, managers and artists need to understand the new distribution systems, especially the Internet to promote their products. ♦ Skills upgrading. Skills need to be developed to closely match the needs of employers. ♦ Special needs of youth. Educational institutions must ensure curricula provides business and life skills. ♦ Information and analysis of existing training programs. Coordination within this sub- sector must be improved to use limited resources more efficiently.

Feature Film Advisory Committee Members, Report of the Advisory Committee. Ottawa, Canada: Minister of Public Works and Government Services Canada, 1999.

Canadian filmmakers work in a less than hospitable environment. On average, Canadian films capture only 2-3per cent of box office receipts and more than 85per cent

106 of the money Canadians spend at movie theatres go to non-Canadian businesses. Canadian film budgets have also been dropping in the past few years, restraining filmmakers’ storytelling and restricting artistic range. Initiatives need to be taken to ensure filmmakers have secure financing and can set aside reasonable funds for promotion.

Overall, the following initiatives are necessary to adequately support the film industry:

♦ Structural changes need to be undertaken in tax programs supporting Canadian feature films to improve their effectiveness. ♦ New federal investment is necessary. ♦ Existing institutions and programs must be consolidated and refocused to maximize their benefit to the feature film industry.

More specifically, among other measures, the federal government should infuse a minimum of $50 million into a New Feature Film Fund that would increase the financial resources available for Canadian feature film production. 80per cent of this fund should reside in an envelope automatically triggered by the performance measure of Canadian box office receipts and international success the applicant has received. The remaining 20per cent should be accessible to projects that do not meet the criteria of the automatic funding envelope. Among other things, this portion would be directed to new and emerging filmmakers and mentoring and training programs. The Committee believes that a modest additional investment in training would reap substantial gains. While training related to technical crafts will be necessary to sustain the industry’s growth, it is especially important to broaden the training required for new directors, screenwriters and producers. Mentoring and internship programs administered by producers and film companies have been effective in developing skilled technical and administrative production staff. The Committee sees great value in bringing in new entrants into film production management as well as the critical areas of development, accounting, marketing, and communications.

Priority Human Resource Development Needs in the Canadian Cultural Sector: Report from CHRC’s sub-sectoral committee on Visual Arts and Crafts

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also disqualifies them from government training assistance that is provided through employers. The main challenges to making a living for artists are shrinking gallery and institutional markets. The sub-sector is highly educated, with an individual typically possessing a post- secondary education in fine arts. Craftspeople in particular see the lack of available training and professional development as a key gap. Despite the challenges to earning a living, young people continue to enter these fields and enrollments in fine arts programs have not declined. Artists and craftspeople have expressed a desire to increase arts awareness and appreciation among Canadians to boost domestic sales. HRDC and CHRC have helped the sub-sector identify strategic human resource development initiatives. This work has identified the following key objectives in promoting lifelong learning opportunities for artists and craftspeople:

♦ A critical need to develop entrepreneurial or business skills to “maintain a practice.” The sub-sector has noted that art schools and fine arts programs do not prepare students for the realities of managing their business affairs. ♦ A need to improve artists’ and craftspeoples’ technical skills ♦ Overcoming barriers to professional development.

In order to achieve these objectives, CHRC has called for artist input in the development of model curricula for institutions that would include training in business skills, marketing and other commercial aspects of operating a business. CHRC has also underlined a need for short-term and longer-term mentoring, internships, or apprenticeship programs.

CHRC has also identified the following strategic program priorities:

♦ Developing business skills ♦ Bridging the gap from school to work (youth initiatives) ♦ Cataloguing and analysing available training

Finally, CHRC has noted that the federal government’s movement towards devolution of responsibility for training to provincial governments must be proactively monitored by the cultural sector.

Cultural Human Resources Council, Now Hear This! Careers in Music and Sound Recording

New technologies and an increase in demand for entertainment will provide potential for those thinking about entering the music industry. For example, with more TV specialty channels, new programs will be produced. For people in music and sound recording, this means that new variety programs will need singers and musicians.

108 Movies of the week will need film composers and soundtracks, and there will be anthems to sing, news themes to write and live performances to record. CD-ROMs, whether adventure games or training tools, also need music and sound. Additionally, once acoustic transmission is sorted out on the Internet, audio-based applications on the Internet will be a growth area of unlimited potential. While many people are attracted to the music business because of fame and fortune, there are actually more jobs off the stage than on. For example, numerous people are involved in the making of a CD. Of course, there is the recording artist who sings or plays on the CD. But there are also studio musicians who enhances an artist’s sound with his or her musical abilities, songwriters, personal managers, music business attorneys, artist and repertoire representatives who find talent for a record company, record producers, recording engineers, mastering engineers, and art designers. Additionally, before a CD reaches the consumer, a number of other people come into play, such as video directors, video jockeys, artist development representatives, promotion representative, sales/marketing representative, record distributors, music publishers, radio music directors, and music journalists. A similar size of team of people is required to put on a concert, musical festival, or creating a film score. Success in the music industry takes much more than just talent. To survive in the fiercely competitive music business, one needs a solid grounding in marketing and promotion, résumé-writing, auditioning, contract negotiation, and copyright law. Moreover, while the above-mentioned positions clearly require a knowledge and appreciation for music, equally important for most of them is some mix of business and communication skills. Community and government support for singers, songwriters and musicians can influence the viability of an individual pursuing music as a full-time career. In Quebec, singers, songwriters and musicians can forge a viable career at home in their province. The reasons are: • Quebec companies control a substantial part of distribution and retailing. • The industry quotes a 65per cent French and 30per cent Canadian content on radio. • The industry obtains a significant part of its funding from provincial and federal governments. • Artists can sell as many as 100,000 or 200,000 copies of a CD in Quebec alone. • Music and sound recording in Quebec forms part of a vibrant entertainment industry, which includes records, festivals, concerts, radio and television. • Quebec has its own music and video awards show.

Moving towards a career in music

Anyone considering a career in music should know about the four “musts”- education, communication skills, networking, and experience. Without a good education, the chances of striving in the music industry are not very good. Most employers look for

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people with college/CEGEP diplomas and university degrees, especially in administration, business, and technical work. Today, if someone wants to succeed in the music business, they can choose from many college/CEGEP and university programs as well as specialized training in workshops and seminars. Even on the creative or interpretive side of the business, a diploma or degree will help, especially if you add marketing and business skills. Just some of the positions in the music industry that university provides preparation for are those of conductor, composer, arts administrator, film composer, music therapist, music teacher, record company executive, publicist, music journalist, entertainment lawyer, music librarian, and video game composer. Building contacts is also especially important in the music industry, a “people” business where contacts really count.

Cultural Human Resources Council, The Spotlight’s On Careers in Film, Television, Radio and the Live Performing Arts

For every performer, there are hundreds of people working to make that performance happen. Administrators run arts and broadcast organizations, technicians handle, sound, lighting and film production, and workers such as make-up artists, costume designers and prop handlers provide support services. Many people have exciting, satisfying and enriching careers behind the scenes. For these career paths, you need creativity, technical training and great problem solving, communications, and teamwork skills. Film, television, and video production is the world’s fastest growing cultural industry with hundreds of different kinds of career paths. Although government support for theatre and dance is declining, both the theatre scene and dance scene in Canada are lively and vigorous. Many radio stations have also been downsizing, but there will be opportunities for freelance employment. Regardless of the area of interest, the safest employment strategy is to become multi-skilled, versatile, and able to work in a number of different workplaces. The development of transferable skills, such as communication skills, discipline, teamwork, is also necessary, as these are demand in every career path. There are generally four different educational routes to careers in film, television, radio and the live performing arts: universities, colleges/CEGEPS, National professional training institutions ad studios.

Council of Ministers of Education, Canada (CMEC), A Report on Public Expectations of Postsecondary Education in Canada, February 1999.

Foreward

The importance of post-secondary education in Canadian society has never been greater. Knowledge, information, and education are critical, and growing numbers of people of all ages are pursuing post-secondary education.

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Introduction

“Education is lifelong learning process…the future of our society depends on informed and educated citizens who, while fulfilling their own goals of personal and professional development, contribute to the social, economic, and cultural development of their community and the country as a whole.” (quoted from Joint Declaration – future Directions for the Council of Ministers of Education, Canada (CMEC), September 1993, p. 2.

Functions of Post-secondary Education

The same forces that are transforming society (e.g. globalization, advances in information and biotechnologies, new communication tools) are also impacting post- secondary education. While recognizing profound forces for change, broad consultation has confirmed a consensus on the most important functions of post-secondary education as a whole: • To inspire and enable individuals to develop their capacities to the highest potential levels throughout their life (for individual growth, self-sufficiency, and fulfillment for the effective contributions to society and the economy) • To advance, preserve, and disseminate knowledge and understanding. • To serve the learning and knowledge needs of an adaptable, sustainable, knowledge-based economy at local, regional, and national levels. • To foster the application of knowledge and understanding to the benefit of the economy and society. • To help shape a healthy, democratic, civil society (adapted from the 1997 report of the national Committee of Inquiry into Higher Education, chaired by Sir Ron Dearing, United Kingdom.

In general, colleges and technical institutes, including private training institutions, are rooted in their communities and designed to serve as the primary vehicle for adult education and training. Usually, their principal mandate is to respond to the training needs of business, industry, and the public sector, in addition to the educational needs of vocationally oriented secondary school graduates. Partnership with the private sector in the design and delivery of course material is common. College and institute programs can also be a stepping stone to a university education or an opportunity for university graduate to obtain skills that are more directly targeted to the employment market. A key expectation of the educational system is that it provides students with mobility and portability. Students should be able to obtain credit for prior learning as they transfer between programs, institutions, and the labour market. Governments need

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to ensure that there are no barriers to interprovincial mobility that unreasonable inhibits access.

Responsibilities of Governments

Governments also have roles in the areas of policy, legislation, funding, quality, and accountability. • Governments develop goals and clarify public priorities, needs and expectations that serve to shape their policies and practices and in turn inform the operations and decisions of institutions responsible for program delivery. • Governments provide a regulatory framework for the overall sector, including private education providers, and promote differentiation and complementarity of institutional roles in order to facilitate a diversity of learning environments. • Governments provide funding to post-secondary education because it is in the public interest to do so. Examples of such funding may include core activities and capital needs of institutions, learner assistance, and research support. Public funding reflects the sectoral and institutional mandates and the provincial/territorial expectations, needs, and priorities. Governments maintain a funding regime that is obkective and transparent and that allows for medium-to long term planning. • Both governments and institutions are accountable to shareholders in relation to public expectations. Governments ensure public accountability of institutions and of post-secondary education as a whole. Effective accountability goes hand in hand with the responsibility citizens have conferred upon governments and institutions.

Expectations at an individual level: Learner outcomes

1. Lifelong learning. Learners and graduates have acquired a taste for lifelong learning and the capacity for self-directed study. 2. Field-specific learning. Graduates exhibit field-specific learning, problem solving and analysis skills, and a capacity to access and use knowledge in their chosen area of study. 3. Generic and employability skills. In addition to field-specific knowledge, graduates are equipped with the skills needed to search for, acquire, hold, or create employment. This includes effective oral and written communication skills, self- motivation, the ability to work independently and as part of a group, critical thinking, and problem solving. 4. Individual development. Graduates have the ability to fully participate as citizens in a democratic society. They have intercultural sensitivities, inter-personal competencies, and leadership skills. They also have the capacity to deal with uncertainty and change.

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Mobility and Portability

The concept of mobility entails movement • Among educational programs, institutions, and sectors • Between the work force and the learning environment • Between regions of Canada • Between Canada and other countries

Expectations

At the institutional level: • Mobility and portability within the PSE sector. Institutions, individually and collectively, accommodate learners transferring between difference components of the PSE secotr, different institutions, and different programs (e.g., through credit transfer, recognition of credentials, and articulation agreements). • Informed choice. Institutions provide the information necessary for learner decisions and movement between programs and pathways appropriate to learner needs and interests (including personal development, career relevance, cost).

At the individual level: • Mobility for access. Individual learners relocate as needed to access specialized programs and learning environments, wherever they may be located. This is a factor in the provision of student assistance. • Mobility for lifelong learning. Learners move freely between the labour force and the learning environment throughout their lives.

Relevance and Responsiveness

At an institutional level: • Lifelong learning. Institutions (either individually or in partnership with other institutions, industry, and/or government) meet the lifelong learning needs of individuals and society. • Community interactions. There is active and systematic engagement of institutions (in relation to their education, service, and research roles) in local and regional matters in recognizing that - the social and cultural fabric of a community is enriched by a dynamic interaction between the PSE institution and its community; and - learning communities are key economic units in the global economy.

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At an individual level: - Employer role. Employers discuss and articulate their needs and provide feedback on how well the sector responds to their common needs.

Accountability

At an individual level: - Learner feedback. Learners, including graduate students, provide effective and timely feedback on the quality of learning opportunities and learning outcomes and on programs and research conditions. That learner feedback has operational significance within the institution.

Council of Ministers of Education, Canada (CMEC), Postsecondary Expectations Project, Learner Pathways and Transitions, Summary Report, January 1999.

Introduction

The Learner Pathways and Transitions project was designed to look at four different sets of transitions for learners: first, between secondary and post-secondary education; second, through post-secondary education; third, from post-secondary education to the labour market; and fourth, between educational institutions, particularly those in educational sectors (e.g. college-to-university, university-to-college). This project addresses the first three sets of transitions. The fourth set of transition will be the subject of a separate report by the government of New Brunswick.

The Challenge Papers

The transition from secondary to post-secondary education

Three of the challenge papers dealt with various aspects of the initial transition from secondary to post-secondary education such as that • Student decisions on careers and post-secondary education are taken with insufficient knowledge of career and educational opportunities. • Secondary schools must improve the teaching of the “fundamentals” and universities must pay more attention to upgrading skills weaknesses before allowing students to enter into disciplinary studies. • Policy makers should pay more attention to the “net price” of education and put more emphasis on non-repayable student aid for low-income students.

114 The transition through post-secondary education

Three of the challenge papers dealt with transition through post-secondary education and especially issues relating to retention and academic success. Some issues raised are that • Governments need to find ways to reduce the cost of education using new partnerships and new technologies, while at the same time finding ways to make education more responsive and more flexible in order to meet the needs of students and labour market. • The most important interventions are those made closest to the student (i.e., at the course/curriculum level rather than institution-wide). These interventions are designed to ensure that students are more aware of the general skills they are acquiring, and that they are provided with a more supportive learning environment in which they can meet the academic and social challenges that they face on the road to adulthood. • Institutions must make a more concerted effort to develop the “whole student.” They need to make sure that students have the necessary time and support to engage in extra-curricular activities that develop many of the “soft” skills, and the need to ensure a close connection between educational programs and the world of work.

The transition through post-secondary education to the labour market

There is an urgent need for institutions, governments, and other partners to work to improve students’ transition to the work force by providing more support to measures such as co-op, work-study, career services, and mentoring programs. Institutions also need to be more diligent in integrating the teaching of “employability skills” into the broader curriculum.

The Roundtables

Several cross-cutting themes emerged from the roundtables. First, and perhaps most important, was the nature of the education-career nexus. There was broad agreement that growing up, gaining an education, and learning how to seek and maintain employment were all interrelated rather than sequential (e.g., first school, then work). It was also generally felt that students from secondary school onward need to be more exposed to the world of work in order to understand what work is and what types of work exist. Second, crucial decisions affecting the education-career nexus must be taken by students well before they enter post-secondary education. Increased exposure to and

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preparation for post-secondary education were seen as crucial for secondary students, as was increased real-life exposure to different types of work and careers. Third, there was a widespread perception that educational costs are a real and rising challenge to a successful secondary-to-post-secondary transition. Fourth, there was concern about the level of academic preparedness for post- secondary education, and a perception that secondary schools were either unaware of post-secondary standards or simply not teaching the standards very well. Fifth, the gap in teaching styles and learning environments between the secondary and post-secondary environments is seen as unnecessarily large, and is a contributing factor to dropouts and stopouts. Sixth, there was near-universal support for improved credit transferability and articulation of college and university programs. In western Canada, this practice is already widespread but needs to be improved in Toronto and Halifax where credit transfers between universities and college systems only exist within certain highly localized arrangements. Seventh, participants believed that retention was an important issue, but were adamant that “dropouts’ do not represent failure. Students may dropout only to reappear at another institution, they may find employment or the skills they are seeking prior to finishing their program. Eighth, with respect to improving retention, there was wide support for altering existing curricula to give greater centrality to student development. There was a feeling that arts and social science programs in universities in particular do not do a very good job of explaining the relevance of their programs to students, and that many programs suffer from being too focussed on the preferences of the faculty rather than the needs of the student. Many also said that academic and social support mechanisms need to be more integrated into the curriculum. While most participants believed these measures need to be taken, speaking participants felt this was an area where institutions must take the initiative. Government intervention would be unwelcome micro-management. Ninth, with respect to labour market transitions, participants believed that more attention needed to be paid to helping students with their job-searching abilities. They firmly believed students graduate with skills to make them employable, but not always the skills to find work after graduation because students often do not know what skill sets they possess and thus cannot explain them to employers. Also, students – especially those in arts and sciences – do not always know the wide range of careers their skills might allow them to pursue. Student job searches also seem geared towards large employers rather than small business or self-employment and entrepreneurship which also limits their job possibilities. Several solutions were offered for these problems. First, institutions need to do a better job of developing students’ “soft” skills and to take more time to explain to students what skills they are learning and how they might be employed on the work place. Second, ways should be found to encourage entrepreneurship in students, perhaps by developing centres of entrepreneurship in each institution that have a mandate to make students more aware of the opportunities available in the small business sector.

116 Tenth, there was a feeling that employers need to do a better job articulating their human resource needs. While CEO’s may praise “soft” skills, the companies’ human resource professionals may have different views on the necessary balance between “soft” and “hard” skills, and recruiting agents may be more geared towards specific “hard” skills. Additionally, many educators believe employers have unrealistically high expectations of graduates. Finally, participants were sensitive to the desire of governments and others to promote “learning efficiencies,” but were concerned this agenda might result in pushing students to get in and out of post-secondary institutions as quickly as possible. Many felt that this was inconsistent with the need to promote lifelong learning (which implies multiple short stays in education throughout one’s life) and with the realities of student life and the labour market.

Possible Actions

Introduction

Participants in all three roundtables believed that the transitions from secondary to post- secondary education were the most crucial. If this set does not go well, it is not likely the other two will go well either.

The transitions from secondary to post-secondary education

The first obvious place for action is in creating a greater alignment between secondary and post-secondary institutions. This would address two key concerns expressed at the roundtables and in the challenge papers, namely academic standards of first-year post-secondary students, and the difficult gap in required learning styles at the secondary and post-secondary levels. One suggestion to address this is to create partnerships between college and university presidents, high school principals, and school board members to break down the largely artificial barriers between different education sectors. Another plan of action is to provide secondary students with better information on the career-education nexus. This would include giving three types of information to secondary school students and their parents: information about different kinds of careers and career planning, information on how different types of education can lead them to different careers, and detailed information on different types of educational opportunities. The third action area is student assistance. As government finances permit, the balance of aid provided in grants and loans should be shifted towards grants, sending a message to low-income students that they will be supported in obtaining post-secondary education provided they make a significant academic effort on their own.

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The transitions through post-secondary education

Participants identified three action areas in improving students’ progress through post-secondary education. First, participants recommended improved arrangements for credit transfers, especially between the university and college sectors. At the Toronto and Halifax roundtables, a great deal of frustration was expressed about students being able to freely move between institutions. Second, institutions must improve the learning environment for students, particulalry by providing more assistance for the individual learner and clarifying learning outcomes for the learner. In particular, institutions were seen as being too wedded to the single lecturer model – the oldest technique in the world - which was seen as inadequate to help a diverse group of students with varied learning styles and strategies acquire the numerous “hard” and “soft” skills necessary to function in a modern society. A need was also identified for institutions to find ways of helping students to combine school and work and to provide an improved extracurricular atmosphere in order to develop the “whole student.” The third action is for more attention to monitoring and tracking students as they progress through and out of post-secondary education. Understanding where dropouts go is crucial to understanding the nature of attrition at post-secondary institutions.

The transition from post-secondary education to the labour market

The major action area is to improve students’ job-searching abilities and prospects. This is partly a curriculum issue for institutions. Students need to be clearer about what skills they are learning and about the range of career options open to them once they possess these skills. It is, however, also an issue of improving collaborations between businesses, institutions, and governments to assist students in their job-hunting skills. Most participants saw improving career employment offices on campus and improving the quality and quantity of mentoring opportunities available to students as the highest priorities. The responsibility for this should ultimately rest with the institutions, but governments could still play a catalyst role in bringing greater community and business involvement in the lives of young people. A special role was also noted for promoting entrepreneurship among students and in encouraging matches between graduates and small businesses (small business often being a sector unknown to students and unable on its own to recruit new graduates owing to time and resources constraints).

The role of partnerships

Underlying many of the priority action areas is a need for greater cooperation and partnerships between institutions, governments, business, and the community. There are

118 currently very few standing bodies in which these groups can meet to discuss both their expectations of one another and how better use of their common resources can improve the lot of them all. In the case of secondary-post-secondary transition, greater cooperation across education sectors and the participation of business and the community are necessary to provide students with the knowledge they need to make informed educational and career choices. In the case of credit transfers, governments must join with universities and colleges in order to ensure greater learner flexibility. In the post- secondary to labour market transitions, greater communication is needed between institutions and business in order to improve the ability of students to learn about the labour market and find good jobs after graduation.

Standing Committee on Canadian Heritage, A Sense of Place – A Sense of Being: The Evolving Role of the Federal Government in Support of Culture in Canada, Ninth Report, June 1999. (http://www.parl.gc.ca/InfoComDoc/36/1/CHER/Studies/Reports/cherrp09-e.htm)

CHAPTER 2: CREATORS

Based on the importance to support Canadian creators in shaping our cultural identity, the Committee recommends that:

1.1 The Canada Council for the Arts, as the main source of federal support for creators, continue to provide grants to creators that enable them to devote themselves full-time to a creative project. The government should encourage long-term and sustainable support to creators.

1.2 The additional resources required by the Canada Council for the Arts to implement 1.1 should be provided.

1.3 The Department of Canadian Heritage, in partnership with the Canada Council for the Arts develop a plan to secure the funding proposed in Recommendation 1.2 and report back to this Committee within one year of the tabling of this report.

Based on the necessity to clarify the rights and obligations of the self-employed, many of whom are artists, the Committee recommends the following:

2.1 That the Department of Heritage ensures ongoing federal initiatives examining issues of self-employment include the interests of self-employed artists and creators.

2.2 That the Minister of Canadian Heritage appoints a task force to review self- employment issues in the cultural sector. The task force should include representatives from the Department of Revenue, the Department of Finance, and the

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Department of Human Resources Development. Recommendations should be reported within one year.

Based on the new challenges new technology brings, the Committee recommends the following:

3.1 Existing federal programs should also support the creation of traditional cultural materials (books, music, films and images) in electronic formats. The Department of Canadian Heritage, in consultation with the Department of Industry and the Department of Finance, should encourage investment in enterprises that market and sell access to these products; and 3.2 The Minister of Canadian Heritage, in consultation with the Department of Industry and the Department of Finance, develop a strategy that implements Recommendation 3.1. In response to the challenges of digital technologies bring to copyright issues, the Committee recommends that legislation implementing the two World Intellectual Property Organization (WIPO) Treaties should be introduced by the government and enacted by Parliament as soon as possible. The Government of Canada should also take appropriate measured to ensure that amendments to the Copyright Act keep pace with technological change. In recognizing the value of the federal law Status of the Artist, the Committee recommends that the Department of Canadian Heritage invite its counterparts in provincial governments to put in place complementary legislation relating to the status of the artist.

CHAPTER 3: TRAINING

The support given to Canada’s arts training institutions by both public and private sector over the past forty years has not always been a model of constancy or generosity. However, the quality of Canadian performing arts companies and the Canadian film and television industry strongly relies on the training provided by our national training institutions. The existence of national training institutions is a unique defining feature of the cultural sector. Even as labour-market training is being devolved to the provinces, the government of Canada retains its cultural mandate and responsibilities. Continuing federal support for the cultural training infrastructure is essential.

The Need for Training

Canada has a number of schools and training centres that specialize in discipline- specific instruction to prepare Canadians for professional careers in the performing and audio-visual arts. These include, with the year of their establishment:

• The National Theatre School (1959) • The National Ballet School (1960)

120 • The National Youth Orchestra (1960) • The School of the Toronto Dance Theatre (1968) • The Royal Winnipeg Ballet School (1970) • Les Ateliers de danse moderne de Montréal (1985) • The Dancer Transition Resource Center • The National Circus School (1986) • The School of Contemporary Dancers in Winnipeg

Canada’s film and television training organizations include:

• The Canadian Film Centre (1986) • Canadian Screen Training Centre/Summer Institute of Film and Television (1986) • The National Screen Institute (1986) • L’Institut national de l’image et du son (1989)

These and other institutions provide professional training to Canadians with the talent and stamina to endure the rigorous demands of their profession. The teaching faculty is drawn from the most experienced professionals in each field. The curricula and training programs are based on fundamental and changing needs of the professions. On December 1, 1991, a federal task force on professional training in the arts in Canada submitted its report, Art is Never a Given, to the Minister of Communications (now Canadian Heritage) and the Minister of Employment and Immigration (now Human Resources Development). As the following table shows, the report identified the number of post-secondary institutions offering specific categories of professional arts training in Canada.

Number of Post-Secondary Institutions Offering Professional Arts Training (1991)

Discipline Numbe r Arts administration 15 Crafts 44 Dance 22 Interdisciplinary arts 8 Literary arts 28 Media arts 38 Musicology 10 Music 88 Theatre 69 Visual arts 112

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Many of Canada's leading dancers, orchestral musicians, actors, screenwriters, circus artists, producers and directors, choreographers, artistic directors, and teachers received their training in national training schools. In their pursuit of excellence, professional training institutions work closely with other organizations in Canada and abroad, providing students and teachers with opportunities for domestic and international exchanges. The role played by the federal government in support of training in culture has been varied. It has provided core funding to a small number of national cultural training institutions over the past 40 years. Less well documented is the valuable contribution made by federal cultural agencies such as the National Film Board and the CBC in training. However, the federal government has not acted alone. Provincial governments have also long been involved in support for training and their involvement has grown over the past 30 years, especially at the CEGEP, college and university level. The Committee notes that there has been an ongoing effort by the federal and provincial governments to harmonize the intervention of both levels of government in support of professional cultural training. The private sector has also played a part in supporting cultural activity. However, despite progress in the support for training, the Committee believes new training initiatives should be developed. Trainees should have employment opportunities in Canadian cultural enterprises that allows them to apply their training. This would establish a functional relationship between training institutions and cultural enterprises and would be especially desirable in areas such as new media. The Committee sees four areas where the federal government can provide leadership and where new initiatives are required.

A. National Training Schools

National training schools serve students with determination and talent, offering conservatory-type training that focus on the needs of individuals pursuing a career in the arts. Canadian students should be able to choose between a professional training program and a general arts program at a university or college. The Committee endorses continued federal support of Canada’s national schools and recognizes the need to support new national training schools as needs are identified.

Recommendation 7

The federal government should affirm its commitment to the continuing development of Canada’s national training schools and support additional national training schools with appropriate resources as they emerge.

Recommendation 8

122 The Committee recommends that the Government of Canada’s support to national training schools be provided on a stable, multi-year basis.

B. Co-operative Training

The Cultural Human Resources Council (CHRC) has made a number of points regarding the training of young Canadians in new media that apply to the broader cultural sector. According the CHRC, the challenges in training are related to costs, the time required to train, the availability of qualified trainers and the relevancy of the courses being offered. The Council made the following recommendations about training for new media that can be applied to the cultural sector as a whole:

• Train young Canadians through co-op and internship programs similar to those that have proven to be successful in other areas of the Canadian economy. • Develop business skills in new media workers. • Ensure the effective marrying of creativity and technical skills.

The Committee believes that earning while learning should be attractive to trainiees in cultural creation, production, preservation and distribution. A nationally accessible co- op program for young professionals in the cultural sector would prove beneficial.

Recommendation 9

The Committee recommends that the federal commitment to professional training for arts and cultural industries and institutions give priority to the development of co-op and intern programs. These programs should promote strong links between training institutions and arts and cultural organizations, allowing trainers to earn while they learn.

C. Professional Training and New Technologies

The mastery of new technologies poses another challenge for training. This training is important because it can enhance access to educational materials. Given the challenges posed by changing technologies and the fact that new media are increasingly being used for training materials that focus on marketing, Web page design and financial advice, the Committee makes the following recommendations:

Recommendation 10

The Committee recommends that the federal government, through sector-based training and professional development councils, develop a shared cost program with cultural organizations that is designed to provide professional training in the effective use of new media.

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Recommendation 11

The Committee recommends that the Departments of Canadian Heritage and Human Resources Development Canada develop new media programs and training packages that can be used by community-based cultural organizations.

D. Broadening the Base of Professional Training

Although the cultural sector is a sizeable segment of Canada’s economy, few case studies of Canadian cultural issues are rarely developed. The Committee believes that this discrepancy in professional training for senior managers will hinder Canada’s future cultural development. The federal government should therefore take the initiative to develop a stronger and more productive link between research-oriented graduate studies in culture and some of its cultural agencies: for example, the Canada Council for the Arts, the CBC, the CRTC, the NFB and Telefilm.

Recommendation 12

The Committee recommends that the Department of Canadian Heritage and the Department of Industry jointly develop a program that will support more research and study of domestic and international cultural issues in Canada’s graduate schools through the financial involvement of key federal cultural agencies.

Recommendation 13

The Committee recommends that one year after Recommendations 11 and 12 have been implemented, the Department of Canadian Heritage, in partnership with other federal departments and agencies, conduct a review of federal training support initiatives to determine the overall adequacy of the support measures and their consistency in application among different client groups.

Self-employment has been the fastest growing part of work in B.C. during the 1990’s. The self-employed include both those who run incorporated and unincorporated

124 businesses, and include both those with employees and those without. In 1996 and 1997, self-employment accounted for 85per cent and 100per cent, respectively, of net employment gains in B.C. This growth is reflective of a changing work-world where many organizations have begun to outsource and contract work to individuals, professionals and small firms, many of which are one-person operations. Some writers and analysts suggest that while there continues to be much available paid work generated by the economy, less of it is fitting into the traditional notion of a “job.” Overall employment in B.C. grew by 13.9per cent between 1991 and 1996, compared to 9.5per cent in Alberta, 5.3per cent in Ontario and 3.7per cent in Quebec. Although it should be noted that this five-year comparison period begins in 1991, when the 1990-92 recession hit central Canada especially hard, employment growth over this five year period saw lower increase than Alberta, and considerably lower growth than in B.C. It is also useful to consider that using the working age population of all persons aged 15 and older, BC saw a growth of 15.4per cent between 1991 and 1996, compared to 8.8per cent in Alberta, 8.9per cent in Ontario and 6.0per cent in Quebec. Only in Alberta did working age population grow faster than overall employment. B.C. employment growth over the past twenty years by broad category/class of worker also has displayed the strongest growth in self-employment. Employment for private sector employees increased by 65per cent, growing by 24per cent for public sector employees, and self-employment rose by 195per cent. By comparison, B.C.’s total population (all ages) rose by 52per cent over this period. In per capita terms, employment in self-employment and private sector employees has risen faster than population, while public sector employment has shrunk on a per capita basis. These trends have implications for today’s graduates in terms of the self- marketing and business skills they may require to operate as contractors, or to compete for job opportunities in a small business or community non-profit entity. Given the current relative supply and shape of the existing workforce (which has a higher proportion of experienced workers with post-secondary enhanced skills than ever before), along with government fiscal constraints, it is unlikely that the relative opportunities for younger persons for employee positions with public sector employers will greatly improve in the short to medium term. In the long term, demographics will likely improve this situation facing younger workers through attrition job opportunities in the broad public sector and with larger firms. There is, however, debate when such impacts would be felt as the oldest “baby boomers” are in their early fifties as of 1998, but the bulk of the boomers are between their mid-30’s and mid-40’s.

Changing Structures of Work Organization

Technology, increasing customer demands, growing and changing pattterns of trade and globalization are changing the way work is organized in Canadian organizations, firms, governments, plants, and offices. Information and computer-based technology in particular have been adopted by a steady stream of workplaces cutting across all industries, and as the diffusion of information technology has deepened, many

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organizations have changed the way they work, evolving toward some variation of what is referred to as a high-performance work system. By definition and necessity, small firms embody many elements of a team-based, flatter environment in which work is organized. The team-based approach is built on worker participation in the information flow and decision-making, broadly designed job descriptions, and multi-skilled workers often receiving compensation based on performance and skill. For such a system to succeed, in addition to job-specific technical skills, workers must possess a broad platform of “soft skills” such as problem solving, teamwork, communications and adaptability. Some feel that many of these intangible employability skills are developed through post-secondary education, especially university education. Such proponents point out that employment rates for university graduates continue to be higher, and their unemployment rates are continually the lowest of any educational attainment.

Business Week (author name?), Educating the Workplace through the Arts, October 28, 1996.

The arts should be integrated with other disciplines, not separated from them. The integration of art with another discipline enriches it, allowing students to see the connections between them. Indeed, the skills one acquires through the arts are applicable and valuable in more than one setting, including business. The basic economic resource of today’s economy is no longer labour or capital, but knowledge itself. The “knowledge worker” is a continuous and highly adapatable worker with “higher order thinking skills,” an imaginative thinker with high-level communication and interpersonal skills. Because an education in the arts delivers exactly these kinds of skills, business leaders, arts organizations and arts educators need to communicate the following: • That arts education helps the nation produce citizens and workers who are comfortable using many different systems (verbal, mathematical, visual, auditory). • That an arts education is part of the definition of what it means to be an “educated person,” i.e. a critical and analytical learner; a confident decision- maker; a problem poser and problem solver; and an imaginative and creative thinker. No one who lacks the fourth R – the arts – can claim to be truly educated. • That an arts education opens doors to skills and abilities that equip learners for a host of learning contexts, including the workplace where knowledge is wealth. • That arts education projects can be a catalyst for community development, support for cultural institutions, and economic health.

126 An arts education builds a floor under innovation in the workplace. Will Tait, the creative director for software developer Intuit’s multi-media group, looks for teamwork and communication skills, an understanding of quality concepts and a background in the arts in a job candidate. His view is “that the ability to use color, shape, music, rhythm, and movement is essential to the finished product.”

Vancouver School Board, The Learning Partnership: Working Together to Make Education Better

The Learning Partnership is a non-profit organization that will serve to create a better community by supporting the education of the young. It is modelled after successful partnership programs in Toronto and Calgary. By linking education (including school districts and post-secondary education), business, labour and the community, the Learning Partnership will: • Join private sector resources to the education system to help provide enhanced educational opportunities for students • Bring together partners to work on education initiatives which local leaders in education, business, labour and the community consider of key importance. • Foster increased communication and understanding between the business community and the education system on matters of mutual concern • Generate funding resources to provide innovative education programs for students • Create educational initiatives and action plans with measurable outcomes

Mission: To create a better community by supporting the education of the young

Goals: • To secure the commitment and active involvement of a variety of community organizations in support of public education. • To encourage the full and active participation of students in all aspects of the community.

Objectives: • To develop and support projects that enhance educational opportunities for students through broad community support • To develop and support projects that communicate to students and parents the extensive variety of available career options and the importance and educational requirements of each option. • To identify community organizations willing and interested in working with schools and to link these with schools that have identified a need. • To promote activities that enhance understanding among all partners. • To initiate and support innovative programs for students.

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PLAR

The Study results show that: • Adult learners did have educationally relevant, college-level prior learning that could be successfully assessed and recognized within post-secondary educational settings. PLAR learners were successful students, earning average course grades as high or higher than traditional students in the same programs. They also have higher pass rates, take more courses than traditional students and graduate at a higher rate. Their graduation grade point averages were also slightly higher. • PLAR strengthened adult learners’ confidences in their own capacities to learn and motivated adults to pursue further education. • PLAR represented efficiencies for part-time adult learners by shortening their programs, reducing course loads and reducing costs. It was especially beneficial to part-time students who decided to return to education to achieve employment-related training and occupational credentials. • A motivating factor behind support for PLAR at all participant institutions was a strong faculty-based commitment to adult learning. • PLAR can be effectively used as a marketing tool to attract learners requiring training for employment or occupational certification. It is also an effective tool to market college programs to potential students over the age of 30 years. • The low numbers of PLAR learners and programs in which PLAR was accessed over the five-year study period are disturbing signals that delivery of PLAR assessments under the same financial arrangements has not been economical for some institutions. • The public policy focus on PLAR diminished at some institutions over the study period and resulted in a reduction in resources for PLAR development. • Although there are exceptions, the “new learner” who would not attend college if it were not for PLAR, may not have materialized to the extent originally anticipated. • Lack of agreement and clarity around remuneration for conducting assessment had a detrimental effect on learners and on faculty support for PLAR. • Further diversification of assessment practices and tools would help learners more fully demonstrate their knowledge and skills. • Early benefits from PLAR training within institutions diminished over time at some institutions due to restructuring, attrition, budget cuts and emphasis on other reform initiatives. There is a need for renewed emphasis on PLAR training that supports faculty in developing new assessment practices that are cost efficient and valid measurement tools. • Opportunities for full-time learners to benefit from PLAR through shortened programs, lighter course loads or lower costs were impaired by rigid “lock

128 step” program delivery structures and government regulations that eliminate eligibility for student assistance. • There is a need for greater public awareness of PLAR and marketing strategies geared towards workplaces, occupational associations and sectoral organizations. • Improved transfer of credit mechanisms across institutions and jurisdictions would enhance PLAR’s capacity to facilitate recognition of prior learning. • There is a need for further research into several issues cited but not addressed in this Study including more comprehensive financial analyses, the role PLAR plays in motivating learners to return to formal study, cross-institutional comparisons within jurisdictions, short-term and long-term incentives to provide PLAR, and the role of volunteerism in providing PLAR services.

RECOMMENDATIONS

Institutions

Institutions should undertake a review of PLAR services and assessment practices using the findings of this report as a basis for discussion and action to: • Ensure that written policies and procedures are implemented and practiced by all program administrators and faculty. • Ensure written information on PLAR procedures as well as criteria for earning credit is readily available to learners. • Provide PLAR training to all new, full-time and part-time faculty as well as existing faculty who conduct assessments, focusing particularly on learning outcomes and authentic assessment practices. • Resolve faculty concerns regarding fair and consistent assessor remuneration practices. • Market PLAR vigorously with workplaces and occupational bodies to increase PLAR activities within a context of strategic partnerships in training and education. • Review institutional PLAR facilitation practices to evaluate the impact of centralization vs. integration of PLAR services. • Integrate PLAR into educational reform activities and institutional strategic plans. • Conduct research into PLAR with a view to contributing to a growing body of knowledge on the relationship between formal and informal learning and the impact of PLAR institutions and adult learners in Canada. • Develop course registration/credit systems to facilitate delivery that allows students with prior learning to complete programs sooner.

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Public Policy Makers

Public policy makers should review this report and use it as a basis for discussion and action to: • Revise current public policy and the role of government in supporting PLAR in post-secondary institutions. • Support PLAR and apply that support to provide funding to institutions to the same degree that traditional course delivery is supported. • Support initiatives that promote PLAR research, assessment tool development and assessor training. • Assist institutions to improve mechanisms for facilitating transfer of credits across institutions and provinces.

Adult Learners

Adult learners should study this report and be aware of the benefits of PLAR to • Reference this study in supporting requests for recognition of prior learning. • Be assertive in requesting recognition for prior learning • Maintain career portfolios that contain evidence of knowledge and competencies acquired outside of formal learning activities. • Commit to lifelong learning, building on prior learning whenever possible.

Workplaces

Workplaces should study this report with an aim to: • Be proactive in requesting that PLAR be incorporated into training provided by educational institutions • Maintain complete records of in-house training and participation • Encourage the use of documented portfolio evidence for recruitment, promotion and other career opportunities. • Develop strategic partnerships with education and training providers.

In summary, PLAR is an academically sound practice that contributes to adult learning. It successfully links informal learning to formal learning. It improves adults’ confidence in their own knowledge and skills and it enhances the chances of continuation of learning over the long term. PLAR contributes to learners’ employability.

Partner institutions clear commitment to the notion of PLAR has meant they have delivered services despite significant financial loss relative to traditional course delivery. PLAR’s future depends on adequate support from public policy makers and on the

130 development of demand from sources external to the institutions. If PLAR has a legitimate place in improving employability and occupational competency, it will likely be through strategic partnerships between institutions and business and industry. It is the hope of the Study partners that institutions and policy makers will use the report to take action to reduce barriers to learners and enhance institutional services to learners and their external communities.

• ArtStarts’ programs are available to public and private schools throughout BC’s 59 school districts and involve over 250 professional artists in dance, visual arts, music, theatre, writing, film and video. • In 2000-2001, ArtStarts arranged over 1800 touring performances in schools throughout the province, helping artists reach a young audience of almost 500,000 students. (ArtStarts)

• 93per cent of Greater Vancouver residents’ regard the film and music industry, as well as new media companies, as important to the economy (GVRD)

• 84per cent believe the arts and cultural sector has a positive impact on the economy

• 64per cent consider arts and cultural activities important to their quality of life (Regional Cultural Plan/Greater Vancouver)

• Almost 12,000 volunteers contributed 386,000 hours of service in 1999 (Office of Cultural Affairs, Vancouver)

• Attendance at public performances and visual art exhibitions in Vancouver was 1,952,500 in 1998-99,up 6per cent per cent from two years earlier

David MacDonald, Head of the Skills and Learning Task Force at HRDC, made a brief presentation to a representation of sector councils. The highlights follow:

In the broadest context, HRDC is not organized to deal with the structure of the future labour force.

There are deficits in four areas: labour supply, skills, attitude/culture, and participation.

• Supply: the demographic situation for Canada and most of the developed world will see the post-war generation leaving the work force and not replaced by the youth cohort which is smaller; the increasing participation of women has stabilized (no further increases). There will continue to be growth in jobs 1,000,000 in three years (Conference Board of Canada).

• To address this situation, upgrading, technology and a changing approach to immigration will be necessary

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• Skills: We are in a knowledge-based economy and there is some stagnation in the approach to skills upgrading. The formal education system places emphasis on technical skills, and the business world focuses on essential skills

• Attitude: the formal education system is good, but to ensure that all skills are utilized and gaps can be identified and addressed much more attention is needed on PLAR and portfolio development. Only 15per cent of Canadian SME's are "learning organizations" which is too low.

• Participation: The work force is polarized between highly skilled, highly educated and highly paid at one end and at the other end low skills, low wages where the workers are mainly single parents, aboriginal, and people with low literacy or language skills and people with disabilities.

STUDIES ON THE BENEFITS OF ARTS AND CULTURE

March 12, 2002

Two very different studies about the benefits of arts and culture were published last week. The first study, Bread and Circuses: The Local Benefits of Sports and Cultural Business was written by John Palmer and published by the CD Howe Institute (www.cdhowe.org). It proposes that economic benefits from government spending on sports and cultural businesses are not as large as proponents argue. The second study, Culture and Economic Competitiveness, written by Jason Azmier from the Canada West Foundation (www.cwf.ca), counters the former by pointing out that economic benefits are difficult to measure and adds that the arts and culture have wide- ranging and significant impacts on quality of life.

John Palmer, professor of economics at the University of Western Ontario, studied the economic spinoffs of sporting and cultural events and concluded they are not as large as some would like to think. The focus of his article was largely on major league sporting events, which he said contribute little, if anything, to local communities. Conversely, he found that the Stratford Festival and the Shaw Festival (the only two cultural events studied in this report) contribute positively to the communities they serve -- mainly because the artists and producers live, and tend to spend larger portions of their income, in their communities, and because those events draw large numbers of visitors from outside of the community.

Yet by using economic modeling to measure the impact of the arts and culture on society, the CD Howe is limited for a number of reasons. First, comparing economic spinoffs of government intervention in professional sports and not-for-profits arts is tenuous at best. Additionally, the author based his conclusions on the study of only two cultural events, lumped together with Green Bay, Wisconsin, home of the NFL Packers. Using the argument that benefits of sports and culture should be visible as an increased demand for residential housing in the community, Palmer used real estate prices as a quantifier within his study, yet this fails to address other benefits, both qualitative and quantitative, which arts and culture bring to society.

In contrast, in his study, Culture and Economic Competitiveness, Jason Aizmer reviewed and examined a wide body of research, both Canadian and international, which demonstrated that the "arts have been found to benefit cities in a number of ways." His research pointed to four categories of community benefits:

(1) better health and well-being of citizens;

132 (2) enhanced community identity and social cohesion;

(3) community revitalization and the re-development of inner cities; and

(4) urban economy.

Aizmer stated repeatedly in his study that the value of arts cannot be fully quantified. Citing a 1997 CD Howe Institute report, he wrote that "studies to date do not allow us to state in exact terms the value for dollar of arts and culture." Aizmer insisted that we look beyond the rhetoric of economics to fully understand how arts and culture enhance the quality of all our lives.

Revised 3/09/99 Arts Sector Profile # 2 ARTISTS IN THE LABOUR FORCE Planning and Research The Canada Council for the Arts July 1999 SUMMARY

• Artists in this profile include nine occupations: (1) Writers; (2) Producers, Directors, Choreographers and Related Occupations; (3) Conductors, Composers and Arrangers; (4) Musicians and Singers; (5) Dancers; (5) Actors; (7) Other Performers;(8) Painters, Sculptors and Other Visual Artists; and (9) Artisans and Craftpersons.

• There are over 114,00 artists in Canada, up more than 16per cent since 1991. According to Statistics Canada data, this is the fastest growing occupation category of the labour force.

• Artists make up about 25per cent of the cultural labour force (depending on the definition used) and 0.8per cent of the Canadian labour force as a whole.

• Women make up 54per cent of artists, outnumbering men in six occupations: Dancers 86per cent, other performers 71per cent, Artisans and Craftspersons 63per cent, Musicians and Singers 54per cent, Writers per cent$per cent, Painters, Sculptors and other Visual Artists 52per cent. Men predominate in three artist occupations: Conductors, Composers, and Arrangers 72per cent, Producers, Directors, Choreographers and Related Occupations 64per cent and Actors 58per cent. • English is the mother tongue of 67per cent of artists, while 19per cent of artists have French as their mother tongue (this includes the 3per cent of artists who are francophones living outside Quebec). • Reflecting the cultural diversity of Canada, 13per cent of artists have non-official language as their mother tongue. • Almost three-quarters of Canada’s artists live in the 25 largest cities. • Artists’ unemployment rate is lower than the labour force average (5.3per cent compared with 7per cent). • Artists’ work is characterized by its part time, seasonal nature, especially for performing artists.

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“ While the overall unemployment rate appears low for artists, underemployment of artists is significant. A much higher per centage of artists work part-time in their artistic occupations than is the norm for the labour force as a whole. Of those artists who worked in 1995, 45per cent worked mostly part-time compared with the 23per cent for the labour force as a whole.”

• In addition, 53per cent of artists are self-employed- about four times the level for the labour force as a whole. Visual artists and craftspersons have a particularly high rate of self- employment.

“ Another distinguishing characteristic of artists in the labour force is the high per centage of self- employment. The relatively low unemployment figures for artists noted are probably an outcome for the high level of self-employment in this sector. Unemployment is very difficult to measure for self-employed workers. Self- employed workers also do not have access to EI benefits.”

• In six of the artist occupations (Musicians and Singers, Dancers, Actors, Other Performers, Painters, Sculptors and other Visual Artists, Artisans and Craftspersons) average income is significantly below the average for the labour force as a whole. In the other three occupations, Writers, Producers, Directors, Choreographers and Related Occupations and Conductors, Composers, and Arrangers) though all characterized by the high level of skill and education required, average income is only slightly above the labour force average. • Visible minority artists make up over 7per cent of artists. Musicians and Singers and Artisans and Craftspersons account for almost one-half of visible minority artists.

Producers, Directors, Choreographers and Related Occupations: Includes producers, directors, choreographers and others who oversee and control the technical and artistic aspects of film production companies, radio and television stations, broadcast departments in advertising companies, sound recording studios, record production companies and dance companies. They may also be self-employed. Includes the following job titles: Art Director, Artistic Director, Choreographer, Cinematographer, Director, Director of Photography, Film Editor, Filmmaker, Producer, Producer/Director, Radio Producer, Record Producer, Stage Director, Technical Director and Television Producer.

Conductors, Composers and Arrangers: Includes those who conduct bands and orchestras, compose musical works and arrange instruments and vocal compositions. They are employed be symphony orchestras, bands, choirs and sound recording companies or they may be self- employed. Includes the following job titles: Arrangers, Band Leader, Choir Director, Composer, Conductor, Lyricist, Music Adapter, Musical Director, Orchestrator and Song Writer.

134 Musicians and Singers: Includes musicians, singers and teachers of vocal and instrumental music. Musicians and singers perform with orchestras, opera companies and popular bands in establishments such as concert halls, lounges and theatres and in film television and recording studios. Music teachers teach in conservatories, academies and private homes. Includes the following job titles: Accompanist, Church Organist, Guitar Player, Instrumentalist, Musician, Music Teacher, Opera Singer, Percussionist, Recording Artist, Session Musician, Singer and Vocalist.

Dancers: Includes dancers and dance teachers. Dancers are employed by ballet and dance companies, television and film productions and nightclubs and similar establishments. Dance teachers are employed by dance academies and dance schools. Job titles include: Ballet Dancer, Ballet Teacher, Ballroom Dancing Teacher, Dance Instructor, Dancer, Folkloric Dancer, Interpretive Dancer and Tap Dancer.

Actors: Actors perform roles in motion picture, television, theatre and radio productions to entertain audiences. Actors are employed by motion picture, television, theatre and other production companies. Includes acting teachers employed by private acting schools. Includes the following job titles: Acting Teacher, Actor, Comedian, and Drama Coach

Other Performers: Includes circus performers, magicians, models, puppeteers and other performers not elsewhere classified. They are employed be circuses, nightclubs, theatre, advertising and other production companies or may be self-employed. Includes the following job titles: Acrobat, Busker, Circus Performer, Clown, Magician, Model, Puppeteer and Ventriloquist.

Painters, Sculptors and Other Visual Artists: Painters, Sculptors and Other Visual Artists create original paintings, drawings, sculptures, etchings, engravings and other artistic works. They are usually self-employed. This group also includes art instructors and teachers, who are usually employed by private schools. Includes the following job titles: Art Instructor, Artist, Ink Sketcher, Painter, Portrait Painter, Sculptor and Silkscreen Artist.

Artisans and Craftspersons: Includes those who use manual and artistic skills to design and make ornamental objects, pottery, stained glass, jewelry, rugs, blankets and other handicrafts. Most craftspersons are self-employed. Craft instructors are also included in this group and are employed by artisan guilds, colleges, private studios and recreational organizations. Includes the following job titles: Artisan, Carver, Craft Instructor, Craftsperson, Glass Blower, Leather Worker, Metal Arts Worker, Potter, Silversmith, Stained Glass Artist, Stringed Instrument Maker, Totem Pole Carver and Weaver.

Source: National Occupational Classification: Occupational Descriptions, Employment and Immigration Canada, 1993

Quoted from http://canadacouncil.ca (Site identification is incomplete. This URL will not take you directly to this document.)

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HRDC's current thinking around the above issues is:

• The federal government must work with partners (plead with partners) and provide leadership. • The primary focus will be on investing in the adult work force - we have been focussed on the unemployed and not invested enough in the employed. An OECD report to be released next year will demonstrate that Canada is not one of the leaders in this area. • Focus will also be on immigration, innovations and removing barriers. • Investing in the adult workforce:

• at the two ends of the spectrum not covered by the institutional education framework - early childhood development and adult learning; • increasing the funding for the Student Loan Program; • Sector Councils - a unique Canadian achievement, neutral space for labour market partners in curriculum development and other activities - HRDC is considering how to deepen/broaden and make sector councils fundamental instruments for delivering these policies and programs; • Increasing efforts around skilled trades, which have recruitment difficulties, completion problems and an aging work force.

Focus analysis of the 1999 Labour Force Survey data indicates that:

In BC few artists work full-time and those that do earn approximately 20per cent less than the provincial average. The number of self-employed individuals in the cultural labour force is approximately double that in the labour force as a whole (29per cent versus 15per cent).

Canadian Conference of the Arts, The Cultural Sector’s Message to the Federal Government the Fiscal Dividend, Pre-budget submission to the Standing Committee on Finance, (August 27, 1998), at 3.

Economic and labour market analyses predict continued growth for many fine art occupations. Work Futures predicts that the arts could generate approximately 6,000 new jobs by the year 2005, and up to 12, 150 employment openings when attrition is included. Estimates from the Environmental Scan conducted by the Fine Arts Career Pathway project are more optimistic ranging from 9,700 to 23,000 openings.

- More than 50per cent are self-employed

136 - (Source: For the Arts, Canada Council for the Arts’ newsletter, November 1999) - About seven per cent (62,000) of Greater Vancouver’s employed labour force works in arts and culture - Direct, indirect, and induced cultural sector jobs account for 11per cent(99,000) of Greater Vancouver’s employed labour force - Direct, indirect, and induced wages and salaries in Vancouver’s cultural sector add up to more than $2.3 billion

(Source: Strategies for Regional Arts and Cultural Development in Greater Vancouver, as above)

Canadian Conference of the Arts, The Cultural Sector’s Message to the Federal Government the Fiscal Dividend, Pre-budget submission to the Standing Committee on Finance, (August 27, 1998), at 3.

- More than 50per cent are self-employed - (Source: For the Arts, Canada Council for the Arts’ newsletter, November 1999) (Source: Strategies for Regional Arts and Cultural Development in Greater Vancouver, as above)

Economic Benefits

- A record $1.07 billion was spent on feature film and TV production in BC in 1999- a 32 per cent increase over the previous year.

(Source: Ministry of Small Business, Tourism and Culture news release, 8 February 2000)

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- The cultural sector adds $2 billion to the GVRD’s Gross Domestic Product value - The direct, indirect and induced GDP impact of Vancouver’s cultural sector is $3.45 billion - The cultural sector attracts in excess of $500 million in government revenues when combining direct, indirect, and induced effects (Source: Arts and Culture in Greater Vancouver: Contributing to the Livable Region, as above)

Quoted from http://allainceforarts.com/artcetera/votespot.htm ______

Quoted from the Labour of Art: A Report to the Honourable Minister Ian Waddell, Minster of Small Business, Tourism and Culture on the working conditions and environment for B.C. Artists. Prepared by Sandra I. Banister, February 14,2000

“It is clear to us that the largest subsidy to the cultural life of Canada comes not from government, corporations or other patrons, but from the artists themselves, through their unpaid or underpaid labour. When creative activity is diminished because many artist are unable to earn a decent living something is lost to us all, and our entire culture fails to fulfil its promise.”

Canada Conference of the Arts, A Brief History of the Status of the Artist Legislation in Canada, at Prior to January 1, 1994, the Worker’s Compensation Act exempted “players, performers and similar artists.”

“On January 1, 1994, Bill 63 extended coverage of the Workers Compensation Act to performers by broadening the definition of employees and providing the Workers’ Compensation Board (“WCB”) with the ability to extend coverage to individuals within the cultural sector who had been previously excluded. In the result, the Workers’ Compensation Act and Regulations now apply to most performers who are employees or dependent contractors. Self-employed performers and employers are not required to be covered by the Workers’ Compensation Act but may elect coverage by purchasing personal option protection. Since complaints have been received that some self-employed individuals in the cultural sector cannot obtain registration under the Workers’ Compensation Act, the prerequisites for obtaining optional protection need to be clarified and perhaps expanded.”

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Economic Benefits

- A record $1.18 billion was spent on feature film and TV production in BC in 2000- creating an economic impact of $3.3 Billion - (Source: www.bcfilm.gov.bc.ca)

- There are approximately 30 industrial design firms and 85 industrial designers in BC generating $6 million in revenue annually.

- There are 350 communications design firms and 1, 054 designers generating $160 million in revenue. - www.cse.bc.ca/IndustryProfiles

• Supply: the demographic situation for Canada and most of the developed world will see the post-war generation leaving the work force and not replaced by the youth cohort which is smaller… By the end of the 1990’s 5 out of 10 culture workers were between the ages of 35 and 54.(Labour market outcomes of arts and culture graduates, Jacqueline Luffman)

• There will continue to be growth in jobs: one million in three years (Conference Board)

• The median age for all visual and performing arts students was 24 at the time when Ceiss conducted its survey for “Opening Doors” 2000

• ArtStarts’ programs are available to public and private schools throughout BC’s 59 school districts and involve over 250 professional artists in dance, visual arts, music, theatre, writing, film and video. In 2000-2001, ArtStarts arranged over 1800 touring performances in schools throughout the province, helping artists reach a young audience of almost 500,000 students.

• “ Look at the world around you. It may seem like an immovable, implacable place. It is not. With the slightest push-in just the right place – it can be tipped” • Malcom Gladwell, author, The Tipping Point: How Little Things Can Make A Big Difference

From Synergy http://www.allianceforarts.com/artcetera/spring1a.htm

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• While creators choose to address problems that could prove shocking or difficult for some members of the public, museums are setting new records in popularity. The combination of two factors, rising attendance levels and the arrival of new trends, helps to explain the rise in media attention for the Visual Arts. (Canada Council)

• In 1998-99, over 412,400 students attended performances by Vancouver arts organizations in their schools. Forty per cent of these students were in Vancouver schools, 35per cent were in schools in other municipalities, and the remaining 25per cent per cent were in schools in the rest of British Columbia (Office of Cultural Affairs: City of Vancouver)

• Self-employment remains strong in the cultural sector (75per cent of job growth. (HRDC)

• 71.8per cent of university graduates in the cultural fields of study in the class of 1990 said they would have selected the same field of study after their experiences.73.3per cent of graduates in all other fields of study said they would do the same. (Focus on Culture, Vol. 12 no.3 Statistics Canada- Catalogue no. 87-004)

• In 1995, university culture graduates from the class of 1990 earned, on average, only $30,500 compared to the entire class of university-level graduates who earned, on average, $39,150. (HRDC)

• That same year, (1995) the mean income of culture college, trade and vocational graduates was slightly less than $25,500 while all college, trade and vocational graduates earned, on average, $29,600. (HRDC)

• Culture graduates are more likely to hold temporary or multiple jobs. (HRDC)

• 22per cent of university culture graduates were still working in the sector in 1995 compared to 29per cent of school/college culture graduates (CCARTS)

“ The following statistics are based on information from a core group of 100 nonprofit cultural group applicants that have provided data for at least three consecutive years( to the City of Vancouver’s Office of Cultural Affairs)”:

- Almost 12,000 volunteers contributed 386,000 hours of service

140 - Attendance at public performances and visual art exhibitions in Vancouver was 1,952,500 in 1998-99, up six per cent from two years earlier - In 1998-99, over 412,400 students attended performances by Vancouver arts organizations in their schools. Forty per cent of these students were in Vancouver schools, 35per cent were in schools in other municipalities, and the remaining 25 per cent were in schools in the rest of British Columbia from A Survey of Public Attitudes Toward a Regional Cultural Plan for Greater Vancouver- Phase 111, conducted by Canadian Facts, August 2000, for the Regional Cultural Plan Steering Committee -

(Source: Annual Review “99, Office of Cultural Affairs: City of Vancouver)

______Voter Attitudes: Greater Vancouver residents’ feelings about arts and culture…

- 98per cent agree it is important for school children to have access to arts and cultural activities. - 93per cent believe that arts activities help enrich the quality of their lives - 93per cent regard the film and music industry, as well as new media companies, as important to the economy - 91per cent support increased acting, film, music, dance and painting programs for children in their local schools. - 89per cent consider arts and cultural activities important to the quality of life in their communities, whether or not they use them regularly - 89per cent regard arts and cultural events as important leisure activities in their communities - 89per cent believe that people would lose something of value if their communities lost arts activities - 86per cent support having a wider range of arts and cultural events in their communities - 84per cent attended an arts event in the last year (defined as going to a play, performance, concert, opera or ballet; or visiting a place like an art gallery or museum) 22per cent say they went 10 times or more 35per cent report going five to 10 times 27per cent recall going about five times or less - 84per cent believe the arts and cultural sector has a positive impact on the economy - 64per cent consider arts and cultural activities important to their quality of life

New technologies breaking down hierarchical models of mass production and consumption through a decentralization of production and fragmenting markets

• • 2-tier culture-globalizing forces (CanWest Global) and localizing forces (geographic communities or communities of interest

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• Increasingly accessible technologies provide the potential for the decentralization and democratization of cultural production

The Canada Council for the Arts

Only 4per cent of Federal Spending on Culture

Total Federal Spending on Culture: $2.7 billion

(1) Heritage resources include museums, archives, heritage sites, nature parks.

(2) Other cultural industries include film and video production, book and periodical publishing and sound recording.

(3) Other federal cultural spending includes libraries, visual arts and crafts, performing arts and multiculturalism.

Source of data: Statistics Canada, Government Expenditures on Culture, 1997-98 Prepared by the Canada Council for the Arts, 1999.

Broadcasting $1.37 billion

Heritage resources (1) $611 million

Other cultural industries (2) $460 million

Other federal cultural spending (3) $229 million The Canada Council for the Arts $112 million

• Movement from shareholder to shareholder model

142 • Why is the making of government cultural policy of such key importance? Because in our knowledge based economy, the well-being of society depends on minds – on a multiplicity of questing, restless individual minds working with a large degree of freedom and some degree of support. It rests ultimately on a quality that corporations call innovation and individuals call creativity.” • (DR. Shirley L. Thomson, director, Canada Council for the Arts)

• The battles we are now facing whether at the trade negotiation tables or at the box office or bookstores, or in make-shift tiny theatres, neighbourhood clubs and on the small screen, these battles need everyone’s support, especially the general public as a true partner.(Anne Medina, Canadian Journalist, international Correspondent, Final Keynote Speaker for the Summit on the Arts and Culture)

Implications for Curriculum Development

"The most important interventions are those made closest to the student (i.e., at the course/curriculum level rather than institute-wide). These interventions are designed to ensure that students are more aware of the general skills they are acquiring, and that they are provided with a more supportive learning environment in which they can meet the academic and social challenges they will face in the cultural sector.

Improving the alignment between secondary and post secondary educational institutions, and increasing the cooperation and partnership between institutions, governments, business, labour, non-profit organizations, professional organizations the cultural sector and sub-sectors, are necessary to provide students with the knowledge they need to make informed educational and career choices.

♦ Intensive Study of the Arts Promotes Learning of: ♦ Discipline: Good Work Habits ♦ Self-awareness: Self Responsibility ♦ Persistence and Ownership of Work ♦ Relationship of Effort to Achievement ♦ High Ideals--Positive Adult Role Models ♦ Learning as On-Going Process ♦ Communication of Ideas ♦ Synthetic and Analytic Thinking--and Relationships ♦ ("Big Picture" and Details) ♦ Active Learning: Learning by Doing

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A Report on Public Expections of Post Secondary Education in Canad Council of Ministers of Education, Canada (CMEC) Post secondary Expectations Project February, 1999

The more you can learn about the kinds of issues that impact occupational growth and decline, the more easily you will be able to make career decisions. In particular, it is important to understand how the market trends can combine to influence employment opportunities. Factors to consider include: • Innovations in technology • The globalization of trade • Sector/industry shifts • Demographic changes/aging population • Government policies/reduced spending • Changing business practices • Changing consumer demand

Quoted from Work Futures 2000, page 5

• Skills: We are in a knowledge-based economy and there is some stagnation in the approach to skills upgrading. (HRDC)

• The formal education system is good but to ensure that all skills are utilized and gaps can be identified and addressed much more attention is needed on PLAR and portfolio development. Only 15per cent of Canadian SME's are "learning organizations" which is too low.(HRDC)

• Participation: The work force is polarized between highly skilled, highly educated and highly paid at one end and at the other end low skills, low wages where the workers are mainly single parents, First Nations, and people with low literacy or language skills and people with disabilities.(HRDC)

• Canada needs to invest in the adult workforce (access to education and training, increased funding for the Student Loan Program, sector councils as fundamental instruments for delivering cultural policies and programs)(HRDC)

• In BC few artists work full-time and those that do earn approximately 20per cent less than the provincial average. The number of self-employed individuals in the cultural labour force is approximately double that in the labour force as a whole (29per cent versus 15per cent). (CCA)

• Some things to consider when choosing the next step on your Lifelong Learning Journey

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• Researching your options is crucial in this world of lifelong learning. Not doing so can leave you over or under qualified to meet you needs, unnecessarily indebted and no further ahead than you were before you started.

• Consider the difference between education and training. Is it necessary complete a four year degree or can you update your current qualifications by learning how to operate a particular software program. Will the course of study you are considering increase your mobility in the workplace or the education system?

• Find out whether you can obtain credit for your learning outside of the institutional setting through Prior Learning Assessment.

• Do you need to attend a public post secondary institution, such as a University to attain your goals or can your needs be met by a private institution? Which of the post-secondary institutions offers you the program that is most suited to you. What are your school-to-work transition needs? Should you attend an institution that offers help to find employment once your studies are completed or on the job experience through co-op placements? Research the links that the institution in question has to the professional bodies in your proposed area of study.

• Finances are an issue. What can you afford? Carefully consider the costs and benefits that each option entails. Factor in whether or not you will have to take outside employment in order to support the cost of your education. Work out the pros and cons of each situation in relation to the others. For instance, consider the increased cost of living in a larger centre versus the eventual need to transfer in order to complete your education. Inquire whether or not the institution you are considering has the means to help you finance your education. Could you qualify for bursaries or scholarships? Are there employment opportunities on campus that you could take advantage of?

• Can you complete some of your courses through distance learning thus enabling less disruption in your current situation?

• How well does the certification you are seeking meet current employment standards? Not all degrees are created equal. Some are seen as superior to others in the work-a-day world.

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• See if there is graduating student exit satisfaction survey data available for you to study. Often the best reference for future students to consider is the experiences of those who have taken these steps in the journey before.

• Paraphrased from Work Futures 2000, page 13

Greater attention needs to be paid to:

Human resource planning for individuals linked to growth in numbers of self- employed contractors such as career management and promotion, project management and multiskilling

Use of emerging technology for both cultural production and cultural management

Intellectual skills needed to redesign, restructure, reposition and rethinking missions, and operating models, generating new maps needed to navigate changing environment

New leadership competencies linked to ongoing management of change—critical thinking, problem-solving, cross-cultural understanding, facilitation and conflict resolution

Learning to learn—skills to support continuous learning as core professional responsibility and necessity in face of rapidly changing environment

Promotion of context for management skills development

Professionalization—defining theory, practice career models, competency profiles, accreditation, training standards etc. with organizations

Need to better link growing body of research on teaching, learning and professional practice

Spotlight on Arts and Culture Revised March 2001

• The region’s(GVRD)arts and culture sector includes the following: • 15 public art galleries • 8 artist-run centres • 300 commercial art galleries, art dealers, and consultants

146 • 120 theatres • 21 municipally owned cultural centres/art studios • 670 nonprofit cultural organizations • 91,000 volunteers • 91 dance schools • 90 music schools • 24 theatre schools • 33 book publishers • 163 magazines • 58 record companies/labels • 30 radio stations • 15 television companies • 8 television studios • 110 motion picture production and studio companies • 63 recording studios • 57 public library branches • 9 public archives • 20 public museums • and more…

(Source: Arts & Culture in Greater Vancouver: Contributing to the Livable Region, the interim report of the Regional Cultural Plan Steering Committee, July 1997)

Quoted from: www.allainceforarts.com/artcetera/votespot.htm

The Canada Council for the Arts World Summit on the Arts and Culture Nov.30-Dec 3, 2000

“Globalization is changing everything. … It is not a problem as long as every nation finds a way to make sure that the people are comfortable with themselves, they know who they are, they know their root and they work to have their arts and their culture well inside them. After that, when you’re comfortable with what you are, you’re not afraid of seeing others.” -Jean Chretien, Prime Minister of Canada

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“Countries are recognizing the power of communications and most critically, the power of ideas. The revolution taking place is not about technology and wires and chips. It’s about information… It’s about values, monetary systems, theories of governance and education. It’s about presidential styles of government, about smart bombs and televised legal systems… It’s about hamburgers and running shoes. It’s about standards of ethics and standards of living. It’s about expectations and dreams.”

“We have to bring diversity into our own house. We have to recognize not just the potential of young artists and young audiences but understand the power and the talent they have now.”

“The battles we are now facing whether at the trade negotiation tables or at the box office or bookstores, or in make-shift tiny theatres, neighbourhood clubs and on the small screen, these battles need everyone’s support, especially the general public as a true partner.” -Anne Medina, Canadian Journalist, international Correspondent, Final Keynote Speaker for the Summit on the Arts and Culture

“… Creators need time for problem-solving, research, writing, evaluation, and collaboration as well as art-making, access to the means of producing work, access to publics and access to critical attention.” -Richard Fung, Canadian video artist, writer and critic

Quoted from http://www.canadacouncil.ca/artsinfo/network/ws_manyfaces.asp#manyfaces

Increase in Museum Attendance

“While creators choose to address problems that could prove shocking or difficult for some members of the public, museums are setting new records in popularity. The combination of two factors, rising attendance levels and the arrival of new trends, helps to explain the rise in media attention for the Visual Arts. Education and animation programs are becoming increasingly important in our museums, and the Council is monitoring this trend as well.”

Quoted from http://canadacoucil.ca/artsinfo/trends/dec99_e.asp

Lessons Learned: Own-Account Self Employment in Canada: Final Report (HRDC) November 2000

6. Determinants of Successful and Failure - Training: acquiring adequate training on the diverse skills that are needed to run a business.

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8. Lessons Learned - Increasing numbers of persons without disability and extended health insurance, pension coverage and training, for which workplaces have normally been the major sources

Quoted from http://www.hrdc-drhc.gc.ca.edd ______

Labour market outcomes of arts and culture graduates. By Jacqueline Luffman

“We know from the Labour Force Survey (LFS) that 578,000 individuals were working in cultural industries in 1999. Of these, 278,000 were in culture occupations. The culture labour force consists of workers who are quite knowledgeable, creative, entrepreneurial, skillful and highly motivated.”

“By the end of that decade (1990’s),5 out of 10 culture workers were between the ages of 35 and 54.Not only are there fewer young people today available to enter the work force but they are more likely to remain in the educational system longer that in previous years. These patterns reflect the demo-graphics trends being experienced by the entire labour force in this period.”

“In 1995, university culture graduates from the class of 1990 earned, on average, only $30,500 compared to the entire class of university-level graduates who earned, on average, $39,150.”

“That same year, (1995) the mean income of culture college, trade and vocational graduates was slightly less than $25,500 while all college, trade and vocational graduates earned, on average, $29,600.”

“Fewer than half of all cultural workers were employed in culture industries between 1990 and 1999” (Source: Labour Force Survey, Annual Averages.)

71.8per cent of university graduates in the cultural fields of study in the class of 1990 said they would have selected the same field of study after their experiences.73.3per cent of graduates in all other fields of study said they would do the same.

Quoted from the Focus on Culture, Vol. 12 no.3 Statistics Canada-Catalogue no. 87-004

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• The median age for all visual and performing arts former students was 24 at the time of the survey. • 38per cent were male. • 62per cent were female. • 96per cent completed high school before entering the program. • The average former student required 1.6 month(s) to find employment after completing their studies. • 71per cent are currently employed, averaging 32 hours per week, earn on average $ 25,200per year. (full-time work.) • 56per cent of former students are working in a job that is very or somewhat related to their training. • 80per cent were mostly/completely satisfied with their studies • 83per cent reported they had mostly/completely met their objectives. • 43per cent of former students went on to further studies after completing their program.

Quoted from http://openingdoorsbc.com/outcomes/fsr/details.asp

January 30,2000 Governor General Adrienne Clarkson’s Speech From the Throne “ A Vibrant Culture”

The Government talks about the importance of arts and heritage for the quality of life for Canada’s communities. The Speech states that “ The Government of Canada will continue to work with the private and not-for-profit sectors and other governments to strengthen Canada’s cultural infrastructure. It will help communities to develop arts and heritage programs that are sustainable and relevant to their diverse circumstances and aspirations.”

Quoted from http://www.ccarts.ca/eng/01/new/bulletins

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Arts and Education Literature / Employment Review

Over the last three years, the Canadian film and television production sector has been one of the fastest growing sectors in the Canadian economy. In 1997-98, there were 31,000 direct jobs in this sector (an increase of 2.2per cent from the previous year), and the total export value of the industry reached an all time high of $1.5 billion. However, the viability of the industry remains uncertain without positive economic conditions and a policy and regulatory framework that overcomes structural obstacles blocking market access for Canadian movies and TV programs. Contributing to these obstacles are the much lower funding levels for Canadian programs than US programs, forcing Canadian programs to compete at a disadvantage with their US counterparts. Clearly, the film and television industry has great potential both culturally and economically. Thus, in addition to increased funding, the growth of the film and television industry should be supported with human resources and an effective training infrastructure. To this end, the CFTPA is looking forward to expanding the scope of their Mentorship Programme in 1999 and the coming years by providing more individuals with “hands-on” experience related to their career goals. Together with continued public sector support, the Canadian film and television industry will be able to continue to grow and make inroads in strengthening their presence in both the Canadian and overseas market.

Canadian Conference on the Arts, Arts in Transition Project (http://arts.uwaterloo.ca/ccm/documents/ait/ait_body1.html)

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♦ Researching “best practices” in education and outreach programs ♦ Teaching arts animation and communication skills

Canadian Conference on the Arts, CCA and University of Ottawa to Co-Host 4th National Symposium on Arts Education, December 14, 1999 (http://www.culturenet.ca/cca/dec14.htm)

The first National symposium on Arts Education (NSAE) was in Cape Breton in 1997 where delegates passed a Resolution calling on Ministers of Education across the country “to ensure that the arts are a fundamental and sustained part of the Canadian school system for all students in all schools.” At the Symposium IV (July 2, 3, and 4, 2000 in Ottawa) delegates will consider the distinct roles of key players – artists, educators and governments – in delivering arts education.

Cultural Human Resources Council, Over $3.8 Million Invested in the Development of the Cultural Workforce, (Press Release, July 20, 1999 (http://www.culturalhrc.ca/english/document/july20.htm)

$1,276,000 has been approved by Human Resources Canada and the Department of Canadian Heritage to support cultural human resources development initiatives recommended by the Cultural Human Resources Council. Current projects, funded under the Youth Internship Programs, include individual internships and comprehensive systemic initiatives to strengthen entrepreneurship, business and export marketing skills.

1999 Speech from the Throne: Prosperity, Creativity, Productivity?

(http://www.culturalhrc.ca/english/document/thronepeech99_e.htm)

While the Throne Speech is full of references to the new knowledge-based economy, it does not address the concerns of self-employed people. Moreover, while the Speech offers hope to Canadians to finance lifelong learning, we must continue to insist that the cultural sector work force, more than 50 per cent of which consists of self- employed individuals and very small businesses, be able to benefit from the lifelong learning strategies that are available to employees. The Throne Speech is also silent on the role of the cultural sector in knowledge- based infrastructure development. However, the cultural sector is capable of promoting the high-level research activities needed to encourage talents to make their permanent home in Canada.

The Speech also offers support for new technologies:

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“New technologies offer new opportunities to strengthen the bonds between Canadians. The Government will bring Canadian culture into the digital age, linking 1,000 institutions across the country to form a virtual museum of Canada. It will put collections from the National Archives, National Library and other key institutions on-line. It will also increase support for the production of Canadian stories and images in print, theatre, film, music, and video. In particular, it will increase support for the use of new media.”

Cultural Human Resources Council, Forum 98: Soaring into the Future, September 11-13, 1998.

Cultural Human Resources Council, Creating success: CHRC’s Human Resources Strategy.

30per cent of the cultural labour force is exclusively self-employed and another 25per cent reports some work on a self-employed basis. The following inferences can be drawn from an analysis of Statistics Canada 1991 Census data and the 1993 Culture Labour Force (CLF) Survey: 6. Self-employed individuals have limited access to infrastructure to support training 7. On-the-job training is the most influential (49per cent) followed by Professional Development (18per cent). 8. Time (32per cent) and cost (46$) were the main reasons for not taking training. 9. Raising awareness of the importance of training and providing a map to training is a critical need 10. 65per cent of the CLF reported an impact of technological change on their involvement with the sector, but only 28per cent of the CLF reported receiving training as a result of this change.

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this sector are uninformed or misinformed. This sector could also be given an economic boost by introducing curricula oriented to export marketing of cultural products and services.

Cultural Human Resources Council, Study of Human Resource Needs in the New Media Industry, July 3, 1998 (http://www.culturenet.ca/chrc/document/subsect/newmediakos.htm)

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Capacity of training institutions to meet human resource needs

The private system is generally considered better than the public system, but only marginally. Complaints about the public system include: ♦ Outdated curricula ♦ Outdated hardware/software ♦ Courses are too diverse and unfocussed ♦ Instructors are poor and unfamiliar with the industry

Suggestions for schools to ameliorate these shortfalls are to ♦ Solicit feedback from industry ♦ Consider which occupations are in demand ♦ Teach students to be proactive rather than reactive ♦ Offer more career counseling in school ♦ Instruct students at a theoretical level since software will be obsolete when they graduate ♦ Teach students how to learn a computer program rather than a specific program ♦ Teach business development and interpersonal skills.

Additionally, a lack of apprenticeship programs is considered a major barrier to industry growth and support for internship programs for students and graduates is needed. Distance education is another possibility in addressing training needs because it is well suited to new media.

Cultural Human Resources Council, Roundtable on Training in the Cultural Sector, Synopsis Report, March 29 – 31, 1996 (http://www.culturalhrc.ca/english/document/tbron2e.htm)

The purpose of the 1996 Roundtable on Training in the Cultural Sector was to confirm key training issues, review options, and develop action plans. A Discussion Paper commissioned by the Steering Committee to help participants prepare reviewed five main Roundtable themes.

6. Training needs to take into account the high rate of self-employment in the cultural field; balance training new entrants against limited job opportunities in some fields; improve access to training for women, ethnocultural communities and/or aboriginal people; and take advantage of new opportunities in global markets.

7. The government’s role is shifting from “patron” to “partner” (i.e., moving away from grants to contributions, and requiring regular evaluation of how money is used). The cultural sector or sub-sector will have to effectively allocate scarce dollars.

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8. There are gaps in training curricula, such as not enough business skills development, a need for lifelong learning, increased training in computer/communications technology, and a need for more “experiential” training directly from practitioners to students.

9. There is chronic underfunding of training programs and the organizations that provide them. High program costs are creating “affordability” barriers for students and an unhealthy reliance is placed on tuition fees and government.

10. Canada’s current mix of training providers has developed partly by historical accident. Artistic and cultural training is delivered in many places, but programs often overlap and professional development programs are often absent.

Underlying almost every discussion that took place at the Roundtable were four themes:

5. Integration. Participants strongly agreed that people and organizations in their sub- sector should be linked much more closely, sharing information on training issues and artistic activities.

6. There was an optimistic view on new information technologies. Participants saw them as a means to improve internal communications and boost the sector’s productivity and competitiveness.

7. There was a spirit of entrepreneurship and self reliance, demonstrated by calls for more training in business skills and appeals for integration and consolidation of internal sectoral resources.

8. There was a thirst for knowledge about Canadian training programs.

156 some level of ownership in activities or training programs being supported. However, they also felt that employers need to play a larger role in defining training needs and contribute more funding and in-kind resources for training programs. Participants also confirmed the need for closer alliances between sub-sectors and training providers, especially in the post-secondary system, more communication among post-secondary institutions about the objectives of arts and cultural training, and more work to develop training programs that would complement one another.

Cultural Human Resources Council, Needs Assessment and Prioritization for the Transition Initiatives Program: Submitted by the CHRC Self-employed Caucus.

4. Ensure the structure of the CHRC incorporates the self-employed. 5. Ensure the Sectoral Committee for the Self-Employed reviews and assesses policies and priorities identified by the sub-sectoral committees prior to implementation by CHRC. 6. Promote accessibility of self-employed individuals and associations to the CHRC with a two way information flow.

Most critical is training that will allow self-employed workers to: ♦ Create and produce their work ♦ Market and promote their work locally, nationally, and internationally ♦ Secure contracts, commissions, or employment ♦ Preserve and protect their professional and legal rights ♦ Manage their own business affairs ♦ Make other contributions to their artistic communities ♦ In some cases, move into a new area of work.

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information and education through film, television, video, radio, CD-ROM, theatre, dance and opera. Individuals in this sector are generally highly educated. However, even with high levels of education, they must learn more specific skills when they enter the workforce. Additionally, because of the constantly changing nature of the sector, these individuals must be committed to lifelong learning. Professional training is vital for the health of the sector. Indeed the use of non- Canadians in areas of this sector probably indicates there are not enough Canadians at an appropriate level. Two factors were identified that can be used to determine the ranking of training projects to be funded:

3. Priority should be given to activities that initiate a long-term approach to the development of people skills rather then those addressing temporary problems. 4. Priority should be given to initiatives that provide experiential learning opportunities.

158 accumulate adequate resources to undertake training opportunities, it is difficult for workers to rectify this deficiency. Most musicians and technicians that wanted to take training but did not (40per cent and 20per cent, respectively), cited the absence of time and money as the reason. To survive in the industry, individuals must engage in lifelong learning. The most successful programs offer “on-the-job” experiences. Technological change is also a key factor affecting virtually this whole sub-sector. It has reduced opportunities for some (i.e. studio musicians), while increasing them for others (i.e. independent artists). Musicians had the highest training need in this area. Furthermore, it is necessary to be computer literate to manage a business.

The following skills have been identified as the most pressing:

Feature Film Advisory Committee Members, Report of the Advisory Committee. Ottawa, Canada: Minister of Public Works and Government Services Canada, 1999.

Canadian filmmakers work in a less than hospitable environment. On average, Canadian films capture only 2-3per cent of box office receipts and more than 85per cent of the money Canadians spend at movie theatres go to non-Canadian businesses. Canadian film budgets have also been dropping in the past few years, restraining filmmakers’ storytelling and restricting artistic range. Initiatives need to be taken to ensure filmmakers have secure financing and can set aside reasonable funds for promotion.

Overall, the following initiatives are necessary to adequately support the film industry:

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Priority Human Resource Development Needs in the Canadian Cultural Sector: Report from CHRC’s sub-sectoral committee on Visual Arts and Crafts

According to 1991 Census data, there were 26,000 visual artists and craftspeople working in drawing, painting, carving, sculpture, metalsmithing, printmaking, tapestry, video and performance art and design. Between 1986 and 1991, the crafts sub-sector grew by approximately 20per cent. Overall, this sub-sector has a significantly older workforce than other parts of the cultural sector and Canadian workforce. Incomes from self-employment among artists and craftspeople are also significantly lower than incomes in the cultural sector and Canadian workforce. Moreover, a high proportion of artists and craftspeople are self-employed without the employment structure of employers and unions and thus the typical benefits other Canadians enjoy. Their self-employed status also disqualifies them from government training assistance that is provided through employers. The main challenges to making a living for artists are shrinking gallery and institutional markets. The sub-sector is highly educated, with an individual typically possessing a post- secondary education in fine arts. Craftspeople in particular see the lack of available training and professional development as a key gap. Despite the challenges to earning a living, young people continue to enter these fields and enrollments in fine arts programs have not declined. Artists and craftspeople have expressed a desire to increase arts awareness and appreciation among Canadians to boost domestic sales. HRDC and CHRC have helped the sub-sector identify strategic human resource development initiatives. This work has identified the following key objectives in promoting lifelong learning opportunities for artists and craftspeople:

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CHRC has also identified the following strategic program priorities:

♦ Developing business skills ♦ Bridging the gap from school to work (youth initiatives) ♦ Cataloguing and analysing available training

Finally, CHRC has noted that the federal government’s movement towards devolution of responsibility for training to provincial governments must be proactively monitored by the cultural sector.

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ANIMATION

DESCRIPTION With the National Film Board, Canada established itself as an award-winning, world leader in animation. In the private sector, companies such as Atkinson Film Arts/Crawleys, Nelvana, Cinar, Cine Group and in BC, International Rocketship are major contributors to this reputation. In feature and short films, television shows, television commercials, documentaries, and special effects, the work of Canadian animators is critically acclaimed. Additionally, Canada’s computer animators have been on the forefront of originating programming code and software that enables modeller’s to simulate “real world” images.

Prior to the establishment of animation studios in Vancouver, there was Al Sens of Al Sens Animation Ltd. He established the first private animation studio and pioneered the “spit technique” where the artist draws, photographs, and then erases, draws again and then photographs again under the animation camera on the same animation acetate cel. His work, along with that of Marv Newland, Hugh Foulds, Wayne Morris, Malcolm Collett, Erik Eriksen and Ken Wallace established international reputations in the field and according to the Association of BC Animation Producers, “paved the way for today’s animation industry in BC.

BC currently has 60 production companies of which four are traded publicly. Workforce estimates puts the number of people working in animation at three thousand. Not too many years ago the studios were delineated as traditional 2D or computer animation production. However, this distinction no longer exists with the mix of digital and traditional animation tools.

The types of work produced includes: children’s cartoons, advertisements, independent and feature films, sequences in live action shows, interactive CD-ROMS, web productions, music videos, direct-to-video movies, and computer and video games. These companies range from artist-driven studios with two employees to sixty-five employees. Bardel Animation Ltd., Bowes Productions Inc., Carbunkle Cartoons, Delaney & Friends, Electronic Arts, Gordon Stanfield Animation Ltd., Ian Freedman Productions, Mainframe Entertainment Inc., Natterjack Animation Company, NOA-Network of Animation, Reel Wonders Productions Ltd., Relic Entertainment and Studio B Productions, are among the many successful companies producing storyboards, layouts, design, digital animation and special effects, scripts, music, acting for animation, television series, CD ROMS, and games for national and international markets.

A challenge for this sector has been access to the licenses and financing necessary to produce original shows. Proportionate to the size of the population, the amount of funding received from Telefilm Canada and the Canada Television and Cable Production

162 Fund, has been, on average, lower than the amounts awarded to other regions of the country.

Former President and CEO of BC Film, Wayne Sterloff, recognized both the quality of work produced locally and the need for the studios to do more than service work in this pertinent comment:

“We’ve worked really hard with the community to support the development of original productions and fund those companies who control the rights to market their shows. This ensures their long-term growth and viability within the marketplace, and the animation sector has been, and all indications look like it will continue to be, the fastest growing section in BC’s film production industry.

DEGREE TYPE (SEE APPENDICES A, D AND G) Workshops Academy of Classical Animation (Private) Certificate Capilano College (Public) Diploma Capilano College, Centre for Digital Imaging and Sound (Private) Post-diploma Associate Bachelor Emily Carr Institute of Art and Design (Public)

OCCUPATIONAL CLASSIFICATIONS Animation Artist Animation Graphics Software Developer Animator Animator, Classical Animator, Graphic Design and Illustration Animation Producer Animation Sound Producer Computer Artist Computer Animator

REQUIREMENTS People in this occupation must have a high school diploma and creative ability as demonstrated by a portfolio of work. Most recent entrants have a diploma or a degree. Industry-relevant Skill Requirements of Animators:

Animation Elements and Principles Creative Problem Solving Concept Development Drawing Skills

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Communication Skills Flexibility Self-Management and Social skills Entrepreneurial Skills Commitment to Learning

In March 1997 at an animation industry seminar hosted by the Vancouver Institute of Media Arts (VANARTS) an impressive panel of industry leaders from Canada and the United States provided the following observations:

“If you want to be an animator, and if you want to be employed as an animator, you must be an artist first.”

“Remember that animators are entertainers. Human beings imagine and create the characters and write the stories. No computer program can do that.”

The measure of an ethical educational provider or training program of animation is the degree to which prospective applicants are screened for their artistic ability first. An institution that promises a career as an animator has the student’s best interests in mind if the learning objectives reflect the industry-stated requirements.

STATISTICS

These figures were complied from WorkFutures 2000 and Believe BC, The Vancouver Sun, Wednesday, March 27, 2002. The Canadian Occupational Projections System (COPS) includes all graphic designers and illustrating artists, including animators.

The COPS forecast of employment growth for this classification is a much faster rate than the all-occupations average. From 1998 – 2008 a growth rate of 3.1 per cent is forecast with almost 6000 employment openings projected. About 72 per cent of the openings will be new jobs, and 28 per cent will result from retirements and attrition. The labour market is competitive even for those highly qualified. The proportion of self- employed workers in this occupation has increased significantly over the last ten years as much of the work is on a contract basis. Currently, chances of finding work in this occupation are rated "Good", as employment opportunities are above average and earnings are at the average to above average level.

A recent study conducted for the Association of BC Animation Producers indicates that the revenue projections for BC’s animation sector will grow from the 1998 figure of $228 million to $668 million by 2003. Over the next two years the workforce is expected to increase by 35 per cent. It is projected that 45 per cent of those hired for these new positions will come from the province’s animation institutions.

164 ARTISTS & CRAFTSPERSONS DESCRIPTION Artisans and craftspersons use manual and artistic skills to design and make ornamental objects, including wood, stone and other carvings; blown-glass objects; pottery; stained glass items; stringed instruments; and other products.

DEGREE TYPE High School Diploma Certificate Diploma Bachelor Master Doctorate

DUTIES MAY INCLUDE The following is a summary of main duties for some occupations in this unit group:

Carvers use hand tools and woodworking machines to produce carvings from wood, stone and other materials and to carve ornamental designs into wooden furniture and other objects.

Glass blowers design and create glass objects using blowpipes and artisan's hand tools and equipment.

Metal arts workers design metal jewellery, utensils, implements, wall hangings and other objects and create them from gold, silver, copper, pewter and other metals.

Potters design ornamental and ceramic functional earthenware pieces and create them using clay, moulds, potter's wheels and other equipment, glazing materials and kilns.

Stained glass artists design stained glass windows, lampshades and other objects and cut, paint, fire and assemble pieces of stained glass to create such products.

Stringed instrument makers construct stringed instruments applying their knowledge of wood, ebonite, metal properties and other materials and instrument design using hand and power tools.

Weavers use hands or loom to interlace strips of flexible material such as wool, cotton, silk, grasses, bark and rawhide to make baskets, wreaths, wall hangings, clothing, rugs, blankets and other objects.

Craft instructors prepare craftmaking lessons, gather the required working materials and

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demonstrate and teach craftmaking techniques.

Artistic floral arrangers design bouquets, corsages, sprays, wreaths and other floral arrangements and select natural and artificial flowers, foliage and decorative accessories to create arrangements or other floral items to suit customers' requirements.

STATISTICS These statistics cover the career group of Creative Designers and Craftspersons, which includes Artisans and Craftspersons.

73,000 people were employed in 1998, an increase of 45.7per cent from 1988. Most of the growth occurred from 1993 to 1998, when employment increased 39.7per cent. In comparison, employment in all occupations grew 12.3per cent over the same ten years, and 8.2per cent over the last five.

49per cent are graphic designers and illustrating artists and 25per cent are artisans and craftspersons.

17per cent work part-time, compared to an average of 19per cent for all occupations.

44per cent are self-employed, well above the average of 17per cent for all occupations. The proportion of self-employed workers in these occupations has increased significantly over the last ten years.

51per cent are women, compared to an average of 45per cent for all occupations. The proportion of women in these occupations has increased significantly over the last ten years.

The unemployment rate averaged 4.7per cent from 1996 to 1998, compared to the national average of 6.0per cent.

The average earnings are among the lowest for technical, paraprofessional and skilled occupations and for occupations in the art, culture, recreation and sport sectors.

Employment changes tend to mirror movements in overall economic activity.

TITLES CLASSIFIED IN THIS GROUP Glass Blower Leather Worker Metal Arts Worker Potter

166 Sculptor Silversmith Stringed Instrument Maker Totem Pole Carver Weaver Wood Worker

REQUIREMENTS Artisans and craftspersons may not require any high school education. Rather, they may learn skills through apprenticeship with a master craftsperson.

Training programs are offered by artisan guilds, colleges and private studios.

Creative ability and talent, as demonstrated by a portfolio of work and knowledge of safe handling of material, tools and equipment are required.

A college diploma in fine craft techniques may be required.

EMPLOYERS People in this group are generally self-employed, but can work for graphic design, advertising, architectural and interior design firms; retail organizations; performing arts, clothing and textile companies; museums; private studios; and other organizations.

EARNINGS For the year 1997:

High Average Low $36,600.00 $27,800.00 $17,600.00

OUTLOOK These comments cover the career grouping of Creative Designers and Craftspersons, which includes Artisans and Craftspersons. Currently, chances of finding work in these occupations are rated "Fair", since employment opportunities are above average and earnings are below average.

Over the next five years, this outlook is not expected to change, as the number of job openings is expected to be matched by the number of qualified job seekers.

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More and more, people in these occupations will rely on computers to present concepts to clients, produce final designs and manage projects.

Employment requirements for these occupations are expected to increase across a broad range of industries through 2004, with much of the increase in business services and advertising services.

ARTISTS

DESCRIPTION Artists create original paintings, drawings, sculptures, engravings and other art works.

DEGREE TYPE High School Diploma Certificate Diploma Bachelor Master DUTIES MAY INCLUDE Artists, depending on their area of expertise or interest, perform some or all of the following duties:

Painters create drawings, paintings and other artwork using oils, pastels, watercolours, charcoal, ink and other media.

Sculptors create sculptures, statues and other three-dimensional artwork by shaping, carving and working with materials such as clay, ice, paper, stone, wood or metal.

Art instructors and teachers teach students the techniques and methods of drawing, painting, sculpting and other forms of artistic expression.

STATISTICS These statistics cover the career grouping of Painters, Sculptors and Other Visual Artists.

82,000 people were employed in 1998, an increase of 36.4per cent from 1988. Most of the growth occurred from 1993 to 1998, when employment increased 30.4per cent. In comparison, employment in all occupations grew 12.3per cent over the same ten years, and 8.2per cent over the last five.

168 40per cent are musicians and singers; 22per cent are producers, directors, choreographers and related artists; and 18per cent are painters and other visual artists.

42per cent work part-time, well above the average of 19per cent for all occupations.

68per cent are self-employed, well above the average of 17per cent for all occupations. The proportion of self-employed workers in these occupations has increased significantly over the last ten years.

49per cent are women, compared to the average of 45per cent for all occupations.

The unemployment rate averaged 5.1per cent from 1996 to 1998, compared to the national average of 6.0per cent. This rate is among the highest for professional occupations.

The average earnings are among the lowest for professional occupations but are comparable to those for other occupations in the art, culture, recreation and sport sectors.

Employment changes tend to mirror movements in overall economic activity.

TITLES CLASSIFIED IN THIS GROUP Art Instructor Artist Artistic Painter Painter Sculptor Visual Artist Watercolourist

REQUIREMENTS People in this group usually have a university degree, college diploma or other post- secondary specialized training in their area of work. Many recent entrants have an undergraduate university degree or a community college diploma.

Creative ability and talent, as demonstrated by a portfolio of work, and knowledge of the safe use of materials, tools and equipment are required. Art programs are offered at universities, colleges and private art schools.

A college diploma in fine arts techniques may be required.

Art instructors and teachers may be required to have a university degree or college diploma in a field related to art.

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EMPLOYERS Artists are usually self-employed.

This group also includes art instructors and teachers, who are usually employed by art schools.

EARNINGS For the year 1997: High A High Average Low verage Low $38,900.00 $26,900.00 $11,100.00

OUTLOOK Currently, chances of finding work in these occupations are rated "Fair", since employment opportunities and earnings are both at average levels.

Over the next five years, this outlook is not expected to change, as the number of job openings is expected to be matched by the number of qualified job seekers.

Continued government spending restrictions in the cultural sector are likely to affect these occupations unfavourably. However, with the increased number of television channels, prospects for performing artists may be relatively favourable, as these channels will need to provide content. The continuing ability of Canada to attract foreign production will also have a favourable effect on prospects for performing artists.

Most of the increase in employment requirements through 2004 for these occupations is expected to occur in the amusement and recreation services industry.

AUDIO AND VIDEO RECORDING TECHNICIANS

DESCRIPTION Audio and video recording technicians operate equipment to record, mix and edit sound, music and videotape, for motion pictures, television and radio programs, videos, recordings and live events.

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DEGREE TYPE High School Diploma Certificate Diploma Bachelor Master

DUTIES MAY INCLUDE Audio and video recording technicians perform some or all of the following duties:

Set up, prepare, operate and adjust audio, recording, editing and reproducing equipment to record, edit and reproduce sound input or feed of pre-recorded material from tapes, records, compact discs, digital audio devices, and input from live microphones, satellites or microwave trucks for films, videos, radio and television programs and recordings;

Prepare and operate videotape recording and playback equipment to record videos, television programs, concerts and live events, and to edit video tape after production;

Operate electronic equipment to generate program titles, credits, sub-titles, graphic backgrounds or animation for television programs;

Operate audio consoles or computers, tape machines, microphones and sound processing equipment to mix, combine and edit music and sound at concerts and live events;

Operate dubbing machines to play back edited dialogue, music and sound effect tracks from different sources, in synchronization with motion picture film;

May supervise and co-ordinate the work of other audio and video recording technicians.

STATISTICS These statistics cover the career grouping of Photographers, Graphics Arts Technicians and Technical Occupations in Motion Pictures, Broadcasting and the Performing Arts, which includes Audio and Video Technicians.

36,000 people were employed in 1998, an increase of 24.1per cent from 1988. After declining 2.3per cent over the 1988 to 1993 period, employment increased 27.0per cent between 1993 and 1998. In comparison, employment in all occupations grew 12.3per cent over the same ten years, and 8.2per cent over the last five.

26per cent are photographers; 17per cent are audio and video recording technicians; and

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16per cent are graphic arts technicians.

19per cent are part-time, equal to the average for all occupations.

43per cent are self-employed, well above the average of 17per cent for all occupations. The proportion of self-employed workers in these occupations has increased significantly over the last ten years.

24per cent are women, well below the average of 45per cent for all occupations.

The unemployment rate averaged 6.3per cent from 1996 to 1998, compared to the national average of 6.0per cent.

The average earnings are comparable to those for other technical, paraprofessional and skilled occupations and for other occupations in the art, culture, recreation and sport sectors.

TITLES CLASSIFIED IN THIS GROUP Audio Technician Audiovisual Technician Post-Production Technician Radio Technician Recording Engineer Recording Studio Technician Sound Effects Engineer Sound Mixer Video and Sound Recorder Video Transmission Officer

REQUIREMENTS Completion of a college or other program in recording engineering, audiovisual technology or a related field or experience as a recording studio assistant is usually required.

Senior occupations in this unit group, such as recording and sound engineers, require experience.

EMPLOYERS Audio and video technicians can be employed by film, video and concert production companies, sound recording firms, theatre and dance companies, clubs, bands,

172 multimedia companies, radio stations, television networks and video production and editing companies.

EARNINGS For the year 1997:

High Average Low High Average $40,400.00 $29,900.00 $19,000.00

OUTLOOK These comments cover the career grouping of Photographers, Graphics Arts Technicians and Technical Occupations in Motion Pictures, Broadcasting and the Performing Arts, which includes Audio and Video Technicians.

Currently, chances of finding work in these occupations are rated "Fair", since employment opportunities and earnings are both at average levels.

Over the next five years, this outlook is not expected to change, as the number of job openings is expected to be matched by the number of qualified job seekers.

The introduction of laser technology and digital photography will result in many photographers and graphic arts technicians using computer work stations.

Areas of increasing demand for technicians include specialization in video editing, digital sound mixing and special optical effects.

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DIRECTORS

DESCRIPTION People in this group work for film production, radio and television companies and stations; broadcasting departments; sound recording studios; record production, ballet and dance companies; symphony orchestras; bands; choirs; night clubs; dance academies; and private acting and dance schools. Many are self-employed.

DEGREE TYPE Certificate Diploma Post-diploma Associate Bachelor Master

DUTIES MAY INCLUDE Directors interpret scripts, select casts and direct performers and other aspects of productions.

STATISTICS These figures include other creative and performing artists:

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40per cent are musicians and singers; 22per cent are producers, directors, choreographers and related artists; and 18per cent are painters and other visual artists.

42per cent work part-time, well above the average of 19per cent for all occupations.

49per cent are women, compared to the average of 45per cent for all occupations.

The unemployment rate averaged 5.1per cent from 1996 to 1998, compared to the national average of 6.0per cent. This rate is among the highest for professional occupations.

The average earnings are among the lowest for professional occupations but are comparable to those for other occupations in the art, culture, recreation and sport sectors.

Employment changes tend to mirror movements in overall economic activity.

TITLES CLASSIFIED IN THIS GROUP Artistic Director Broadcasting Director Choreographer Cinematographer Director Director of Photography Film Director Filmmaker Motion Picture Director Movie Director

REQUIREMENTS People in this group usually have a university degree, college diploma or other post- secondary specialized training in their area of work. Many recent entrants have an

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undergraduate university degree or a community college diploma.

They may require experience and be able to demonstrate directing, creative or performing skills.

EMPLOYERS These figures include other creative and performing artists:

Amusement and Recreation Services 38.3per cent Education 22.8per cent Other Service Industries 17.9per cent Radio and TV Communications 9.8per cent Accommodation and Food Services 1.3per cent Retail Trade 1.2per cent Printing and Publishing 0.6per cent

EARNINGS For the year 1997: High Average L High Average Low ow $38,900.00 $26,900.00 $11,100.00 OUTLOOK Currently, chances of finding work in these occupations are rated "Fair", since employment opportunities and earnings are both at average levels.

Over the next five years, this outlook is not expected to change, as the number of job openings is expected to be matched by the number of qualified job seekers.

Most of the increase in employment requirements through 2004 for these occupations is expected to occur in the amusement and recreation services industry.

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Shaping Canada’s Future by Design: Executive Summary

Vision Statement

The design sector’s vision statement is situated in 2006, 10 years from the time of publication of this report. It consists of 14 basic tenets:

Design Utilization in 2006 – Tenets 1-4

1. Design is a key criterion in corporate purchasing and strategic decision- making 2. Design excellence has played a key role in building domestic market share and new export markets for Canadian firms. 3. Canadian designers enjoy worldwide demand for their innovative solutions and their sensitivity to local cultures and environments. 4. Financing for design and innovation activities is readily available.

Design Education in 2006 – Tenets 5 – 11

5. Design schools have significantly modified their curricula to reflect new demands for business management and collaborative teaching input. 6. Business schools include design management courses in their undergraduate commerce and administrative curricula.

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7. Graduate courses in design and Canadian-based applied design research are well established at a number of Canadian universities. 8. Effective bridges have been built between the educators and practitioners of design disciplines. 9. The professional design associations are the active hubs of timely activities geared to the evolving needs of their membership. 10. Design organizations have established effective networking and promotion programs. 11. Courses on design and creative problem solving have been entrenched in the curricula of numerous primary and secondary schools.

Policy and Legislation in 2006 – Tenets 12 – 14

12. Design is a fundamental component of research and development. 13. Government procurement programs lead by example. 14. International trade promotion embodies innovative Canadian design.

In conclusion, by the year 2006, these fourteen tenets will have served the development and management of design firms. They will have contributed to the formation of an internationally successful Canadian design sector that has become a “full partner” in the business management process and a valuable part of the country’s cultural fabric.

Current Context

To date, the Canadian design sector has not realized its full potential as a catalyst for creating wealth. Both in Canada and abroad, an abundance of opportunities exist for designers to exercise their talents while contributing to Canada’s economic growth. Ensuring that the Canadian design sector is prepared to benefit fully from existing and potential opportunities will require a concerted strategy to resolve a wide range of human resource issues. It was this realization that impelled the National Design Alliance (NDA) to request Human Resources Development Canada (HRDC) to sponsor a sectoral human resource study of Canada’s design sector.

Key considerations

• Design has proven itself to be one of society’s most valuable resources • Canadian design has left its mark worldwide • Design is underutilised by Canadian business. • The Canadian design sector can help its clients succeed.

178 • Positioning design as a corporate management priority will ensure widespread utilization of its services • It takes a balanced mix of design and administrative skills to succeed in today’s complex business environment • Business management skills are critical to the design sector for the dispensing of design services and the development of design firms. • Technology is a key facilitator for designers in the emerging business environment.

Recommended Actions

In order to optimize available opportunities within its projected vision for the year 2006, the Canadian design sector must address a number of human resource challenges as part of a well-orchestrated sectoral strategy. Four critical areas for improvement have been identified: • Design Utilization • Design Education and Continuous Learning • Policy and Legislation; and • Managing and Developing Design Firms

From British Columbia to Atlantic Canada, several new design promotion organizations have emerged. Moreover, the formation of the National Design alliance (NDA) has provided a trans-Canada link to support promotional and professional design organizations. At an interdisciplinary level, the Royal Architectural Institute of Canada (RAIC) and the NDA have begun to explore mechanisms for cooperation. Now, for the first time, a national network of design organizations exists that can provide effective leadership for change.

Recommendations for Stimulating Design Utilization

The demand for the services and products of the design sector is dependent on developing and sustaining a design-literate market. Designers must convince Canadian business to treat design as a core element of their business strategy.

In view of this, the following measures are proposed: • Orchestrate a national design promotion campaign. Target audiences for case- study demonstrations of the value of design should be reached via the following intermediaries: trade and consumer media, mainstream book stores, government agencies, trade and consumer shows and exhibitions, touring exhibits (domestic and international) and business schools and universities. • Enlist “Champions of Design” spokespersons to increase the credibility of Canadian design.

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Recommendations for Design Education and Continuous Learning

In view of improving both the quality and quantity of design education, the following objectives have been identified:

• Enhancing business management skills in designers. Design management needs to be included in design school and professional development curricula. In fact, the role of designers as competent external advisors to client organizations or as in-house managers of the design function is dependent on the successful application of design management principles in the practice of their profession. However, educational institutions seem to have underestimated (if not ignored) the importance of business management, project management and market development skills. For this reason, these skills must be included in post-secondary design education curricula and in design-oriented professional development programs. • Fostering design appreciation by business. Design management needs to be included in business school and executive development. Design-focused case studies can provide high profile exposure for the design sector and its impact on business by complementing other academic teaching methods and materials, providing input for business case competitions, and inspiring inter-faculty joint projects between business and design students. • Cultivate design sensitivity in the upcoming generation. Design education needs to be integrated in public school programming, investing in awareness and appreciation of the value of design. • Forge links to facilitate educational change. Links between design education and practice need to be strengthened. Successful models establishing effective communication between design practitioners and educational institutions exist both at home and abroad. Examples include various program advisory committees at the community-college level, accreditation boards in the built-environment sub-sector, and initiatives undertaken by the Faculties of Architecture at the Universities of Manitoba and British Columbia. • Consolidate the foundation of design education. The objectives of design education need to be refined and communicated. However, before post-secondary education institutions can re-configure design programs, they require a clear and conclusive definition of the prerequisites to practice, including complementary, non-design management skills. • Promote a multidisciplinary approach to the design-development process. The extent of multi-disciplinary learning in design programs needs to be increased. There is a growing need for designers to work in multi-disciplinary teams, along with designers from other disciplines, as well as with other specialists from other fields such as business, engineering, sociology, anthropology, psychology, etc. Yet, design

180 education has tended to be mono-disciplinary and it is often difficult for practising designers to collaborate with co-workers from different backgrounds because their education program has favoured communication with their immediate peers. Both structural and academic changes are required to redress this situation. • Facilitate the transition of design students to the workforce. Internship programs for new graduates need to be developed. The transition from school to work is daunting for many new graduates, with employers expecting immediate productivity. A standardized training program giving students practical experience could redress this situation. • Encourage continuous learning and research. Access to professional development needs to be improved, perhaps through multidisciplinary design-oriented initiatives coordinated among design and other professional associations to achieve cost- effectiveness, and the use of innovative communications technology to overcome issues of location, travel cost and time. Design research and achievement also needs to be documented and published to optimize its standards of practice, and designers must be encouraged to document the impact of their design solutions. Finally, graduate university programs in design need to be developed to foster continuing research and the structured development of a body of Canadian design knowledge.

Recommendations for Policy and Legislation

The design sector needs the support of government agencies and departments to create a design-supportive legislative environment and to devise a professional regulatory framework for design principles. To achieve these measures, the following measures have been proposed:

• Create a design-supportive legislative environment by developing consistent, relevant and progressive government policies and mechanisms to enhance design development. Government action could include acknowledging design research for funding purposes, improving copyright legislation to offer design protection and making Canadian design an important criterion of government- sponsored competitions and commissions for the procurement of services • Devise a professional regulatory framework for design disciplines by evaluating the costs and benefits of professional regulation. Architecture is the only design profession to be governed by a licensing regime. The primary benefits of professional regulation are the establishment, enforcement and public recognition of standards of practice. Thus, professional regulation can provide the means for a design sector to develop and reinforce its identity.

Recommendations for Managing and Developing Design Firms

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Design firms are typically small businesses, untrained in business management, operating in a “hands-on” environment that can perpetuate ineffective management practices. Thus, the following measures need to be taken: • The administrative abilities of design firms need to be improved by establishing practical business management and strategic planning guidelines for design firms. Formal design education programs must include management training to adequately form future designers, and the design sector must help to determine the knowledge base, quality standards and learning expectations of future design graduates. The sector must also collaborate with educational institutions and professional design associations to ensure that corporate human resource requirements are met by design-based educational curricula. • Domestic and international market development training for design firms needs to be provided. Design firms require continual training in this area to remain abreast of the evolving global marketplace. • Administrative models and management to tools for design firms need to be developed. As many of these have already been developed for related disciplines or sectors, they may be readily configured for the needs of design disciplines. Professional and promotional design organizations could be instrumental in establishing a diagnostic program to identify key management areas for improvement, organizing counseling sessions and dispensing self- help information regarding the implementation of various management techniques and systems.

Implementing change

This sector has been the focus of earlier studies. Unfortunately, few of the recommendations in these earlier studies have been implemented, largely because of the lack of strong national sector leadership. However, the formation of the National Design Alliance (NDA) has provided a cross-country link for promotional and professional design organizations and is collaborating with the Royal Architectural Institute of Canada (RAIC) to explore mechanisms for long-term cooperation. Now, for the first time, a national network of design organizations exists that can provide effective leadership for change.

FASHION DESIGNERS DESCRIPTION Fashion designers determine the look of the shoes, dress, shirts, and pants you wear. If

182 you work for a company such as Gap or Levi's, you'll work closely with the marketing department, and your work will be driven by seasonal fashion trends.

DEGREE TYPE Certificate Diploma Bachelor

DEGREE MODIFIER n/s

DUTIES MAY INCLUDE Fashion designers may perform the following tasks:

Illustrate concepts by producing storyboard and specification drawings. Use computers to manipulate and develop patterns and modify designs. Make patterns, or work closely with pattern makers, to draft patterns from sketches or specification drawings. Select fabric, colour and trim, and cut out sample garments. Fit samples and discuss them with management, sales and manufacturing staff, and contribute to costing estimates. Finalize specification sheets with detailed sketches and trim details. Approve final samples before they go into production. Supervise staff. Liaise with production staff during mass production of garments and participate in quality control. Research and develop accessories and fabrics for production of garments. Travel overseas to gain information on current fashion trends. Control merchandising and retailing of garments.

STATISTICS n/a

TITLES CLASSIFIED IN THIS GROUP Fashion Designer

REQUIREMENTS Fashion Designers usually go to a fashion school for a diploma in fashion design. On a

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personal level, this profession requires a creative flair, drawing talent, and a good colour and design sense, in addition to good communication skills and the ability to work under pressure.

EMPLOYERS Fashion designers may work for companies that focus on the mass market (Gap, Guess, etc.) while some high-fashion designers are self-employed and design for individual clients.

EARNINGS n/s

OUTLOOK Designers in most fields—with the exception of floral design—are expected to face keen competition for available positions. Many talented individuals are attracted to careers such as fashion design. Individuals with little or no formal education in design, as well as those who lack creativity and perseverance,

FILM AND VIDEO CAMERA OPERATORS

DESCRIPTION Film and video camera operators operate motion picture and video cameras and related equipment to record news, live events, films, videos and television broadcasts.

DEGREE TYPE High School Diploma Certificate Diploma Bachelor Master

DUTIES MAY INCLUDE Film and video camera operators perform some or all of the following duties:

Meet with director and senior members of camera crew to discuss assignment and determine filming sequences, camera movements and picture composition;

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Select and set up camera equipment to be used, and attach lens, filters and film magazine to camera;

Adjust focus, exposure, lighting and other camera settings;

Operate film or video camera to record news, live events, films, videos and television broadcasts;

Label and record contents of exposed film, and complete report sheets;

Test, maintain and store equipment.

STATISTICS These statistics cover the career grouping of Photographers, Graphics Arts Technicians and Technical Occupations in Motion Pictures, Broadcasting and the Performing Arts.

19per cent are part-time, equal to the average for all occupations.

24per cent are women, well below the average of 45per cent for all occupations.

The unemployment rate averaged 6.3per cent from 1996 to 1998, compared to the national average of 6.0per cent.

The average earnings are comparable to those for other technical, paraprofessional and skilled occupations and for other occupations in the art, culture, recreation and sport sectors.

TITLES CLASSIFIED IN THIS GROUP Assistant Camera Operator

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Camera Operator Electronic News Gathering (ENG) Camera Operator Film Camera Operator Motion Picture Camera Operator Television Camera Operator Video Camera Operator

REQUIREMENTS Completion of a college or technical program in broadcasting, audio-visual technology or a related field and experience as a camera assistant are usually required.

Creative and technical ability, as demonstrated by a portfolio of work and experience, may be required.

People in this group usually need a high school diploma. Most require a college diploma, university degree or specialized training and experience in their area of work.

They may sometimes substitute on-the-job training for formal education requirements.

EMPLOYERS Film and video camera operators can be employed by television networks and stations, motion picture and video production companies and in-house communications facilities of large corporations, or they may be self-employed.

EARNINGS For the year 1997:

High Average Low $40,400.00 $29,900.00 $19,000.00

OUTLOOK These comments cover the career grouping of Photographers, Graphics Arts Technicians and Technical Occupations in Motion Pictures, Broadcasting and the Performing Arts.

Currently, chances of finding work in these occupations are rated "Fair", since employment opportunities and earnings are both at average levels.

Over the next five years, this outlook is not expected to change, as the number of job openings is expected to be matched by the number of qualified job seekers.

186 The introduction of laser technology and digital photography will result in many photographers and graphic arts technicians using computer work stations.

Areas of increasing demand for technicians include specialization in video editing, digital sound mixing and special optical effects.

DESCRIPTION Create graphics, illustrations and other artwork for magazines, advertisements, films, posters, signs and various publications. May also create logos for companies, organizations or individuals.

If you're looking for a job that will challenge you everyday, this is it!

Designers increasingly use computerized page layout and graphics design systems in their work. Multimedia presentations and animated graphics are two types of work made far easier by computers.

DEGREE TYPE Certificate Diploma Post-diploma Bachelor Master

DUTIES MAY INCLUDE Consulting with clients to establish the nature and content of designs and illustrations for reproduction;

Determining the best medium to produce the desired effect, and the method of reproduction;

Preparing sketches, photographs and illustrations;

Working by hand or with computerized graphic programs;

Preparing specifications, and estimating cost of materials and time to complete graphic design or illustration; and

Producing final designs and illustrations, or supervising the work of other graphic designers, illustrators and graphic arts technicians.

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STATISTICS 30,000 people were employed in this occupation in 1996, an increase of 35.8per cent over a ten-year period. Over the same period, employment in all occupations grew by 13.1per cent. 12per cent of workers in this occupation work part-time, compared to an average of 19per cent for all occupations. 35per cent of persons working in this occupation are women, compared to an average of 45per cent in all occupations. The unemployment rate in this occupation averaged 6.8per cent from 1994 to 1996, compared to an average of 6.7per cent for all occupations. Average earnings of year-round, full-time workers in this occupation in 1995 were $32,700, compared to an average of $35,700 for all occupations. Employment in this occupation is not very sensitive to overall economic conditions and not seasonal.

TITLES CLASSIFIED IN THIS GROUP Advertising Designer Animator Art Director Commercial Artist Graphic Artists Graphic Designer Illustrator Layout Designer Multimedia Designer Page Designer

REQUIREMENTS University degree or college diploma in visual arts with a specialization in commercial or graphic arts, or photography; or high school completion plus on-the-job training in commercial or graphic arts; and portfolio. Subjects: Art, commercial art, graphics.

EMPLOYERS Advertising departments and firms, graphic design firms, printers and publishers. Self- employment is also common.

188 EARNINGS For the year 2000:

High Average Low $51,900.00 $32,700.00 $14,500.00

OUTLOOK Web site design should offer good opportunities for graphic designers and illustrators. Most of the increase in labour requirements through 2001 for this occupation will occur in the business services, advertising, and printing and publishing industries.

INTERIOR DESIGNERS

DESCRIPTION Interior designers conceptualize and produce designs for interior spaces in residential, commercial and other buildings.

DEGREE TYPE High School Diploma Certificate Diploma Bachelor

DUTIES MAY INCLUDE Interior designers perform some or all of the following duties:

Consult with clients to determine needs, preferences, safety requirements and purpose of space

Develop detailed plans and 3-D models showing arrangement of walls, dividers, displays, lighting and other fixtures using computer-assisted design (CAD) software and graphics software

Develop plans, elevations, cross sections and detailed drawings, and advise on selection of colours, finishes and materials, floor and wall coverings, interior and exterior lighting, furniture and other items, taking into account ergonomic and occupational health standards

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Estimate costs and materials required and may advise on leasing, real estate and marketing

Prepare plans and specifications for the final interior designs in accordance with current practices and codes

Work in a multidisciplinary environment

May direct site work crews and subcontractors.

Interior designers may specialize in designing interiors for residential, commercial, institutional, cultural and industrial buildings and for aircraft, ships or trains, trade shows and exhibitions.

STATISTICS These statistics cover the career grouping of Creative Designers and Craftspersons, which includes Interior Designers.

TITLES CLASSIFIED IN THIS GROUP Building Space Planner Designer Interior Design Technician Interior Designer Kitchen Designer Office Space Planner Retail Space Planner

REQUIREMENTS People in this group usually need a high school diploma. Most recent entrants have a community college diploma or an undergraduate university degree in interior design.

Creative ability and artistic talent, as demonstrated by a portfolio of work is required.

Registration with the interior design association in the province of employment may be required.

The National Council for Interior Design Qualification (NCIDQ) examination may be required after six years of combined study and experience.

190 Certification is offered in Nova Scotia, New Brunswick, certain cities in Quebec, Ontario, Manitoba, Saskatchewan, Alberta and British Columbia.

EMPLOYERS They are employed by architectural firms, interior design firms, retail establishments, construction companies, hospitals, airlines, hotel and restaurant chains, and other establishments or they may be self-employed.

EARNINGS For the year 1997: High A High Average Low verage Low $36,600.00 $27,800.00 $17,600.00

OUTLOOK These comments are for entry-level positions in the career grouping of Creative Designers and Craftspersons, which includes Interior Designers.

Currently, chances of finding work in these occupations are rated "Fair", since employment opportunities are above average and earnings are below average.

Over the next five years, this outlook is not expected to change, as the number of job openings is expected to be matched by the number of qualified job seekers.

More and more, people in these occupations will rely on computers to present concepts to clients, produce final designs and manage projects.

Employment requirements for these occupations are expected to increase across a broad range of industries through 2004, with much of the increase in business services and advertising services.

DESCRIPTION Painters, sculptors and other visual artists create original paintings, drawings, sculptures, engravings and other art works.

This group also includes art instructors and teachers, who are usually employed by art schools.

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DEGREE TYPE Certificate Diploma Bachelor Master Doctorate

DUTIES MAY INCLUDE Painters, sculptors and other visual artists perform some or all of the following duties:

Painters create drawings, paintings and other artwork using oils, pastels, watercolours, charcoal, ink and other media.

Sculptors create sculptures, statues and other three-dimensional artwork by shaping, carving and working with materials such as clay, ice, paper, stone, wood or metal.

Art instructors and teachers teach students the techniques and methods of drawing, painting, sculpting and other forms of artistic expression.

STATISTICS These statistics cover the career grouping of Performing and Creative artists, which includes Painters, Sculptors and Visual Artists.

40per cent are musicians and singers; 22per cent are producers, directors, choreographers and related artists; and 18per cent are painters and other visual artists.

42per cent work part-time, well above the average of 19per cent for all occupations.

49per cent are women, compared to the average of 45per cent for all occupations.

The unemployment rate averaged 5.1per cent from 1996 to 1998, compared to the

192 national average of 6.0per cent. This rate is among the highest for professional occupations.

The average earnings are among the lowest for professional occupations but are comparable to those for other occupations in the art, culture, recreation and sport sectors.

Employment changes tend to mirror movements in overall economic activity.

TITLES CLASSIFIED IN THIS GROUP Art Instructor Artist Artistic Painter Painter Portrait Painter Sculptor Visual Artist Watercolourist

Art instructors and teachers may be required to have a university degree or college diploma in a field related to art.

EMPLOYERS People in this group work for many different employers, depending on their interests and abilities. Many are self-employed.

EARNINGS For the year 1997:

High Average Low $38,900.00 $26,900.00 $11,100.00

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OUTLOOK Currently, chances of finding work in these occupations are rated "Fair", since employment opportunities and earnings are both at average levels.

Over the next five years, this outlook is not expected to change, as the number of job openings is expected to be matched by the number of qualified job seekers.

Most of the increase in employment requirements through 2004 for these occupations is expected to occur in the amusement and recreation services industry

PHOTOGRAPHERS

DESCRIPTION Photographers operate still cameras to photograph people, events, scenes, materials, products and other subjects.

DEGREE TYPE High School Diploma Certificate Diploma Bachelor Master Doctorate

DUTIES MAY INCLUDE Photographers perform some or all of the following duties:

Study requirements of a particular assignment and decide on type of camera, film, lighting and background accessories to be used;

Determine picture composition, make technical adjustments to equipment and photograph subject;

194 May operate scanners to transfer photographic images to computers;

May operate computers to manipulate photographic images;

May adapt existing photographic images and create new digitized images to be included in multimedia/newmedia products;

May use delicate instruments, such as optical microscopes attached to cameras;

May process exposed film;

May use airbrush, computer or other techniques to retouch negatives;

Photographers may specialize in areas such as portrait photography, commercial photography, scientific photography, forensic photography, medical photography, digitized photography, multimedia photography or photojournalism.

STATISTICS The following statistics are for the career grouping of Photographers, Graphics Arts Technicians and Technical Occupations in Motion Pictures, Broadcasting and the Performing Arts.

26per cent are photographers; 17per cent are audio and video recording technicians; and 16per cent are graphic arts technicians.

19per cent are part-time, equal to the average for all occupations.

24per cent are women, well below the average of 45per cent for all occupations.

The unemployment rate averaged 6.3per cent from 1996 to 1998, compared to the national average of 6.0per cent.

The average earnings are comparable to those for other technical, paraprofessional and

195

skilled occupations and for other occupations in the art, culture, recreation and sport sectors.

TITLES CLASSIFIED IN THIS GROUP Aerial Photographer Commercial Photographer Forensic Photographer Photographer Photojournalist Scientific Photographer

REQUIREMENTS A bachelor's degree in visual arts with specialization in photography or completion of specialized training in photography in high school, college or specialized training schools or extensive on-the-job training under the supervision of a photographer is required.

Experience in, or knowledge of computerized photography or digital imaging may be required.

Creative and technical ability, as demonstrated by a portfolio of work, are required.

EMPLOYERS Photographers are employed by photographic studios, newspapers, magazines, museums and government, or they may be self-employed.

EARNINGS For the year 1997:

High Average Low $40,400.00 $29,900.00 $19,000.00

OUTLOOK These comments relate to the career grouping of Photographers, Graphics Arts Technicians and Technical Occupations in Motion Pictures, Broadcasting and the Performing Arts.

Currently, chances of finding work in these occupations are rated "Fair", since employment opportunities and earnings are both at average levels.

Over the next five years, this outlook is not expected to change, as the number of job openings is expected to be matched by the number of qualified job seekers.

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The introduction of laser technology and digital photography will result in many photographers and graphic arts technicians using computer work stations.

Areas of increasing demand for technicians include specialization in video editing, digital sound mixing and special optical effects.

PLAYWRIGHTS DESCRIPTION People in this occupation work in advertising agencies, governments, large corporations, private consulting firms, publishing firms and other organizations.

DEGREE TYPE High School Diploma Certificate Diploma Post-diploma Associate Bachelor

DUTIES MAY INCLUDE Playwrights conceive and write material for publication or presentation. They may conduct research for factual content and obtain other necessary information.

STATISTICS These figures include all writers:

19,000 people were employed in 1998, an increase of 37.1per cent from 1988. Most of the growth occurred from 1993 to 1998, when employment increased 28.0per cent. In comparison, employment in all occupations grew 12.3per cent over the same ten years, and 8.2per cent over the last five.

26per cent work part-time, compared to an average of 19per cent for all occupations. The proportion of part-time workers in this occupation has increased significantly over the last ten years.

72per cent are self-employed, well above the average of 17per cent for all occupations. The proportion of self-employed workers in this occupation has increased significantly

197

over the last ten years.

51per cent are women, compared to an average of 45per cent for all occupations. The proportion of women in this occupation has increased significantly over the last ten years.

The unemployment rate averaged 2.3per cent from 1996 to 1998, compared to the national average of 6.0per cent. This rate is among the lowest for occupations in the art, culture, recreation and sport sectors.

The average earnings are among the lowest for professional occupations but are comparable to those for other occupations in the art, culture, recreation and sport sectors.

TITLES CLASSIFIED IN THIS GROUP Playwright Script Writer

REQUIREMENTS People in this occupation have different educational requirements, depending on their specialization. Most recent entrants have a university degree; others have some other post-secondary qualification.

Creative writers may take creative writing programs offered by universities and colleges.

Most people in this occupation require talent and ability, as demonstrated by a portfolio of work, in order to be hired.

EMPLOYERS These figures include all writers:

Other Service Industries 39.8per cent Business Services 9.2per cent Advertising Services 7.8per cent Printing and Publishing 6.6per cent Federal Administration 4.8per cent Radio and TV Communications 4.7per cent Education 2.4per cent

EARNINGS For the year 1997: High A

198 High Average Low verage Low $37,300.00 $29,700.00 $20,300.00

OUTLOOK Currently, chances of finding work in this occupation are rated "Good", since employment opportunities are well above average, although earnings are at the average level.

Over the next five years, this outlook is not expected to change, as the number of job openings is expected to be matched by the number of qualified job seekers.

Computers are transforming writers' work in several ways. First, computer programming creates a strong demand for technical writers familiar with programming. Second, use of the Internet and computerized reference materials has changed writers' research methods drastically. Third, modems allow rapid transfer of material between writer, editor and publisher.

Government spending restrictions have decreased openings for writers in government. Contracting-out of government work and the proliferation of niche publications (including Internet publications) are favourable trends for self-employed writers.

Employment requirements for this occupation are expected to increase across a broad range of industries through 2004, with much of the increase in the business services and other services industries.

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DESCRIPTION Designers in this unit group conceptualize and produce designs for film, television, theatre and video productions, garments and textiles, displays and exhibits, and for other creative items such as jewellery and trophies.

DEGREE TYPE High School Diploma Certificate Diploma Bachelor

DUTIES MAY INCLUDE The following is a summary of main duties for some occupations in this unit group:

Theatre designers design and create settings, scenic environments, properties, costumes and lighting for theatre, film and video productions, operas and ballets.

Fashion designers design and create clothing and accessories for men, women and children. They may specialize in men's, women's or children's apparel or in different lines such as sportswear, footwear or formal wear.

Exhibit designers plan and develop permanent and temporary or moveable exhibits and displays for museum exhibitions, trade shows, conventions, retail spaces and for other exhibitions.

Theatre designers may specialize in costume, lighting or set design.

STATISTICS These statistics are the for career grouping Creative Designers and Craftspersons, which includes Theatre, Fashion, Exhibit and Other Creative Designers.

49per cent are graphic designers and illustrating artists and 25per cent are artisans and craftspersons.

17per cent work part-time, compared to an average of 19per cent for all occupations.

200 44per cent are self-employed, well above the average of 17per cent for all occupations. The proportion of self-employed workers in these occupations has increased significantly over the last ten years.

51per cent are women, compared to an average of 45per cent for all occupations. The proportion of women in these occupations has increased significantly over the last ten years.

The unemployment rate averaged 4.7per cent from 1996 to 1998, compared to the national average of 6.0per cent.

The average earnings are among the lowest for technical, paraprofessional and skilled occupations and for occupations in the art, culture, recreation and sport sectors.

Employment changes tend to mirror movements in overall economic activity.

TITLES CLASSIFIED IN THIS GROUP Clothing Designer Costume Designer Couturier Fashion Designer Jewellery Designer Lighting Designer Museum Exhibit Designer Set Designer Shoe Designer Window Display Designer

REQUIREMENTS A university degree in fine arts or visual arts with specialization in theatre design, clothing design or exhibit design or completion of a college or art school program in theatre design, clothing design or exhibit design is required.

Creative ability, as demonstrated by a portfolio of work, is required.

Use of computer-aided design (CAD) software may be required.

People in this group usually need a high school diploma. Most recent entrants have a community college diploma or an undergraduate university degree.

201

Designers usually require a college diploma, university degree or other training program, and a portfolio of work that demonstrates creative ability.

EMPLOYERS Theatre designers are employed by performing arts and broadcasting companies and by festivals.

Fashion designers are employed by clothing and textiles companies or may be self- employed.

Exhibit designers are employed by museums and retail establishments.

Other creative designers in this unit group are employed by manufacturing establishments or may be self employed.

EARNINGS For the year 1997:

High Average Low $36,600.00 $27,800.00 $17,600.00

OUTLOOK These comments are for the career grouping Creative Designers and Craftpersons.

Currently, chances of finding work in these occupations are rated "Fair", since employment opportunities are above average and earnings are below average.

Over the next five years, this outlook is not expected to change, as the number of job openings is expected to be matched by the number of qualified job seekers.

More and more, people in these occupations will rely on computers to present concepts to clients, produce final designs and manage projects.

Employment requirements for these occupations are expected to increase across a broad range of industries through 2004, with much of the increase in business services and advertising services

202 ACTORS

DESCRIPTION Actors and actresses perform roles in motion picture, television, theatre and radio productions to entertain a variety of audiences.

DEGREE TYPE Certificate Diploma Bachelor

DUTIES MAY INCLUDE Actors and actresses perform some or all of the following duties:

Study and rehearse lines, gestures and expressions to interpret a role.

Portray roles in video or motion picture productions, television shows, theatre productions, radio dramas, commercials and other productions or perform the narration.

Sing or dance as required by specific roles.

Prepare for and attend auditions for roles.

Perform comedy acts in nightclubs alone or as members of comedy troupes.

Improvise a role.

Acting teachers perform some or all of the following duties:

Train students in interpretation of scripts, speech, movement, and dramatic theory.

Prepare acting students for specific auditions and performances.

STATISTICS These statistics cover the category of Performing and Creative Arts, which includes Actors and Actresses.

203

and 8.2per cent over the last five.

40per cent are musicians and singers; 22per cent are producers, directors, choreographers and related artists; and 18per cent are painters and other visual artists.

42per cent work part-time, well above the average of 19per cent for all occupations.

49per cent are women, compared to the average of 45per cent for all occupations.

The unemployment rate averaged 5.1per cent from 1996 to 1998, compared to the national average of 6.0per cent. This rate is among the highest for professional occupations.

The average earnings are among the lowest for professional occupations but are comparable to those for other occupations in the art, culture, recreation and sport sectors.

Employment changes tend to mirror movements in overall economic activity.

TITLES CLASSIFIED IN THIS GROUP Actor Actress Comedian Drama Coach Narrator Talk Show Host/Hostess

REQUIREMENTS People in this group usually have a university degree, college diploma or other post- secondary specialized training in their area of work.

Many recent entrants have an undergraduate university degree or a community college diploma. Acting programs are offered at universities, colleges and private acting schools.

They may require experience and be able to demonstrate directing, creative or performing skills.

Demonstrated ability, based on an audition or previous acting roles, is an important hiring

204 criteria.

Acting teachers usually require experience as actors.

Membership in a guild or union may be required.

EMPLOYERS People in this group work for film production, radio and television companies and stations; broadcasting departments; sound recording studios; record production, ballet and dance companies; symphony orchestras; bands; choirs; night clubs; dance academies; and private acting and dance schools. Many are self-employed.

EARNINGS For the year 1997: High High Average Low Average Low $38,900.00 $26,900.00 $11,100.00

OUTLOOK Currently, chances of finding work in these occupations are rated "Fair", since employment opportunities and earnings are both at average levels.

Over the next five years, this outlook is not expected to change, as the number of job openings is expected to be matched by the number of qualified job seekers.

Most of the increase in employment requirements through 2004 for these occupations is expected to occur in the amusement and recreation services industry.

205

DESCRIPTION Conductors select and interpret musical works, and lead bands, orchestras and choirs. Composers create and compose musical works. Arrangers adapt and modify musical compositions to convey desired themes.

DEGREE TYPE Certificate Diploma Bachelor Master Doctorate

DUTIES MAY INCLUDE

Conductors select and interpret musical works and lead bands, orchestras and choirs during rehearsals and performances.

Composers create musical compositions such as television and film scores, theme music, songs, symphonies and music for interactive products such as video games.

Arrangers adapt and modify musical compositions to convey desired themes and to suit particular instrumental and vocal performances.

STATISTICS These statistics cover the Performing and Creative Artists grouping, to which Conductor, Composer and Arranger belong.

206 40per cent are musicians and singers; 22per cent are producers, directors, choreographers and related artists; and 18per cent are painters and other visual artists.

42per cent work part-time, well above the average of 19per cent for all occupations.

49per cent are women, compared to the average of 45per cent for all occupations.

The unemployment rate averaged 5.1per cent from 1996 to 1998, compared to the national average of 6.0per cent. This rate is among the highest for professional occupations.

The average earnings are among the lowest for professional occupations but are comparable to those for other occupations in the art, culture, recreation and sport sectors.

Employment changes tend to mirror movements in overall economic activity.

TITLES CLASSIFIED IN THIS GROUP Arranger Choir Director Composer Conductor Lyricist Music Adapter Musical Director Orchestrator Songwriter

A university degree in music or completion of a program at a music academy, conservatory or school of music is usually required.

A period of specialized study related to conducting, composing or arranging is usually required.

207

Experience as a musician is required.

Musical and creative talent and ability, as demonstrated by a portfolio of work, are important hiring criteria.

EARNINGS For the year 1997: High Average Low $38,900.00 $26,900.00 $11,100.00

OUTLOOK Currently, chances of finding work in these occupations are rated "Fair", since employment opportunities and earnings are both at average levels.

Over the next five years, this outlook is not expected to change, as the number of job openings is expected to be matched by the number of qualified job seekers.

Most of the increase in employment requirements through 2004 for these occupations is expected to occur in the amusement and recreation services industry.

208

DANCERS

DESCRIPTION Dancers perform dances before live audiences or for film or television, and may choreograph their own or others' performances.

Dance teachers teach dance technique, etc. to students.

DEGREE TYPE High School Diploma Certificate Diploma Bachelor

209

Master Doctorate

DUTIES MAY INCLUDE Dancers perform some or all of the following duties:

Practise and rehearse dance routines under direction or instruction to achieve desired interpretation and presentation.

Perform dances as soloists or as members of groups before live audiences or for film or television.

Train and exercise to maintain the required levels of ability and fitness.

May choreograph their own performances.

Dance Teachers perform some or all of the following duties:

Teach dance technique and artistic interpretation to amateur and professional individuals and groups.

Teach the techniques, cultural origins and symbolic meanings of aboriginal, ethnic and folkloric dances.

Teach recreational dancing lessons such as ballroom dancing.

Prepare dance students for specific auditions and performances.

Dancers may specialize in specific types of dance such as ballet, ballroom, folk, jazz or modern.

STATISTICS These statistics cover the grouping of Performing and Creative Artists, which includes Dancers.

40per cent are musicians and singers; 22per cent are producers, directors, choreographers

210 and related artists; and 18per cent are painters and other visual artists.

42per cent work part-time, well above the average of 19per cent for all occupations.

The unemployment rate averaged 5.1per cent from 1996 to 1998, compared to the national average of 6.0per cent. This rate is among the highest for professional occupations.

The average earnings are among the lowest for professional occupations but are comparable to those for other occupations in the art, culture, recreation and sport sectors.

Employment changes tend to mirror movements in overall economic activity.

TITLES CLASSIFIED IN THIS GROUP Ballet Dancer Choreographer Dance Instructor Dancer Folkloric Dancer Interpretive Dancer Tap Dancer

REQUIREMENTS A university degree or college diploma in dance or graduation from a private dance school or academy may be required.

Talent and ability, as demonstrated during an audition, are important hiring criteria.

Dance teachers usually require experience as dancers.

Membership in a guild or union related to the occupation or type of performance may be required.

EMPLOYERS People in this group work for film production, television companies and stations, ballet

211

and dance companies, night clubs, dance academies and private dance schools. Many are self-employed.

EARNINGS For the year 1997:

High Average Low $38,900.00 $26,900.00 $11,100.00

OUTLOOK Currently, chances of finding work in these occupations are rated "Fair", since employment opportunities and earnings are both at average levels.

Over the next five years, this outlook is not expected to change, as the number of job openings is expected to be matched by the number of qualified job seekers.

Most of the increase in employment requirements through 2004 for these occupations is expected to occur in the amusement and recreation services industry.

DESCRIPTION Musicians and singers perform with orchestras, choirs, opera companies and popular bands in establishments such as concert halls, lounges and theatres and in film, television and recording studios.

Music teachers teach in conservatories, academies and private homes.

DEGREE TYPE Certificate Diploma Bachelor Master Doctorate

DUTIES MAY INCLUDE

212 Musicians play one or more instruments as soloists or as members of a musical group before audiences or for recording purposes.

Singers sing musical arrangements as soloists or as members of vocal groups before audiences or for recording purposes.

Teachers of music or voice teach technique, interpretation and music theory to students through private or group lessons.

STATISTICS These statistics cover the grouping of Performing and Creative Artists, which includes Musicians and Singers.

TITLES CLASSIFIED IN THIS GROUP Musician Opera Singer Recording Artist Singer Vocalist

Musical training from a university or college or through private instruction is usually required.

Members of orchestras and other professional classical musicians and singers usually require a university degree in music.

Musical talent and ability, as demonstrated during an audition, are important hiring criteria.

Membership in a guild or union related to the occupation or type of performance may be required.

EMPLOYERS People in this group work for film production, radio and television companies and

213

stations; broadcasting departments; sound recording studios; record production, ballet and dance companies; symphony orchestras; bands; choirs; night clubs; dance academies; and private acting and dance schools. Many are self-employed.

EARNINGS For the year 1997: High Average Low $38,900.00 $26,900.00 $11,100.00

OUTLOOK Currently, chances of finding work in these occupations are rated "Fair", since employment opportunities and earnings are both at average levels.

Over the next five years, this outlook is not expected to change, as the number of job openings is expected to be matched by the number of qualified job seekers.

Most of the increase in employment requirements through 2004 for these occupations is expected to occur in the amusement and recreation services industry.

A Sense of Place- A Sense of Being The Evolving Role of the Federal Government in Support of Culture in Canada. Ninth Report Standing Committee on Canadian Heritage. June 1999. (http://www.parl.gc.ca/InfoComDoc/36/1/CHER/Studies/Reports/cherrp09-e.htm)

Chapter One: Introduction

• Culture...is central to everything we do and think. It is...the world we have created and are still creating and the motives that urge us to change it. It is the way we know ourselves and each other, it is our web of personal relationships; it is the images and

214 abstractions that allow us to live together in communities and nations. -Bernard Ostry, 1978

• Culture is life. It is a living, breathing, multi-faceted entity in constant evolution. It alters every day, is never the same form one day to the next...Culture is a complex entity shaped in ways small and large...Nothing is inconsequential. -Selling Illusions, 1994

• Culture is the psychological, spiritual, mental well-being of [a] community. -Zaz Bajon, General Manager , Manitoba Theatre Centre

• Culture is central to the human experience. Canadian Culture is what Canadians believe to be important. It tells us who we were in the past and who we are in the present. Because of the way culture shapes our lives, inevitably, it will also influence who we are likely to become in the future. Culture is all that touches us in our daily lives, whenever and however we live. It is our continuing legacy that links the past with the present. Culture is what we have learned to hold dear since it is the accumulation of all the experience we will ever have and all the places we will ever go. Finally culture is a force that drives our unique development as individuals.

• In its 1996 report Our Creative Diversity, UNESCO adopted a four-word definition of culture; “ways of living together.” It is an especially useful definition in a context where traditions and rapid technological change must find ways to co-exist. -Our creative Diversity, UNESCO, 1996

Six Part Continuum of Key Elements of Cultural Activity

• Creation - Creators are central to the artistic process. • Training - This involves helping creators prepare for a career in the arts and ensuring that on-going training is available as their careers evolve. • Production - This is the industry side of culture: publishing and making recordings, films and television programs. • Distribution - This is the way in which cultural materials are marketed and made available, making sure that what is produced makes it to audiences at home and abroad. • Preservation - This is how a society maintains a record of its cultural achievement, how a culture of the past and the present is made accessible to audiences now and in the future. • Consumption - This is about audiences and the many ways individuals participate in their culture.

215

Chapter Two: Creators

No matter what the art form, artists apply creativity to the familiar and to the unknown. What they produce is viewed in the light of past traditions and current tastes, but frequently their work reflects neither. Cultural policy is most effective when there is the flexibility to respond to changing circumstances. Indeed, as Iain Phillips, Mohawk elder, suggested to the Committee, even in areas of traditional expression, “[i]t is inevitable that new forms of cultural expression will be developed. - Iain Phillips, Mohawk Elder.

What are some of the distinctive features of the culture labour force? As you may have heard, it is in fact surprisingly large. Even if you define it fairly narrowly it’s about 1.5 per cent of the labour force, which is probably bigger than the famous fishing, mining, and forestry activities. - Terry Cheney, Ottawa based researcher.

The largest subsidizers of the arts in this country are artists and art workers (themselves) because of the low wages they receive for the work they do [and] because of the huge amount of volunteer work they have to do just to keep their companies afloat. - Heather Redfern, Catalyst Theatre, Edmonton.

The Committee received interesting but conflicting testimony with respect to the role of new technologies on creative activity. One witness testified that technology has no impact at all- at least in his area. “New technology was part of us when we quit banging bones together.” Another witness testified that new technologies have a powerful impact on the creative process. “Our role has changed with the arrival of new technology. We no longer just store paper: we store information, no matter what medium it is on.” Still another witness suggested that new technologies are vehicles of opportunity:

Where the technology has really changed our industry is the technology to make books. That means the ability to typeset and to scan certain things so you can make books cheaper than we used to by comparison. WE can make books in two weeks or two days actually, if we really need to. So the technology has worked ... to upgrade the ability of the publishing industry to bring forward the books.

Protecting Creators in the Information Society

As one of the discussion papers sent to the Committee observed:

216 [T]he technological changes that are now taking place are even more profound that those we have faced in the past. One key change has been the global adoption of what amounts to a common universal computer language, which allows for the seamless transmission of “bits” to and from anywhere in the world.

Chapter Three: Training

As noted in Chapter Two, new technologies offer a tool for new forms of artistic creation. The mastery of new technologies poses another challenge for training. This training is important because it can enhance access to educational materials.

D. Broadening the Base of Professional Training

Over the past five decades, professional training for Canadians wishing to pursue careers in all sectors has grown in scope and sophistication. The opportunity to pursue graduate studies in business administration has drawn Canadians from a variety of professional backgrounds. The cultural sector is a sizable segment of Canada’s economy, yet case studies of Canadian cultural issues are rarely developed. This is somewhat surprising in light of the fiscal, regulatory, and investment challenges facing Canadian enterprises in broadcasting, publishing, film, and arts and heritage. The Committee believes that this discrepancy in professional training for senior managers will hinder Canada’s future cultural development. The federal government should therefore take the initiative to develop a stronger and more productive link between research-oriented graduate studies in culture and some of it’s cultural agencies: for example the Canada Council of the Arts, the CBC, The CRTC, the NFB and Telefilm.

Chapter Four: Production and Distribution

In general, cultural industries operate within a for-profit framework, whereas most performing arts, and heritage organizations tend to operate within a not-for-profit framework. Visual artists, like many other creators in Canada work in both settings. Their works or performances, can be seen in commercial as well as not-for-profit venues. This makes for a highly flexible, mobile and entrepreneurial work force whose adaptability and mobility may well serve as a model for other sectors of Canada's labour force.

A number of witnesses spoke of the need to build on existing successes by providing for the need to market our efforts in arts and culture. The proposition is as simple as recognizing that a theatre must advertise its upcoming performances. If no one knows about a performance, attendance will be modest, disappointing, even dismal. As Theodore Levitt has pointed out " if you don't market, something terrible happens- nothing.

217

One thing I have been very happy to see is all the initiatives in the field of education. If we want to preserve our culture, we have to start by thinking about children, our children....initiatives include networks like Schoolnet/Rescol and others, that in my view are extremely important. We have to focus on education. - Micheline L'Esperance- Labelle, Quebecor

In February 1999, the SAGIT (Sectoral Advisory Group on Intrnational Trade) released a report titled Canadian Culture in a Global World that suggests the federal government "call on other countries to develop a new international cultural instrument that would acknowledge the importance of cultural diversity and address cultural policies designed to promote and protect that diversity. - Canadian Culture in a Global World, 1999

• Final Report of the Working Committee on Public-Private Articulation Agreements (December 1997) The Final Report of the Working Committee on Public-Private Articulation Agreements has been endorsed by the B.C. Ministry of Advanced Education, Training & Technology as the official guide to constructing articulation agreements between public and private post-secondary institutions, excluding the universities. This report is a publication of the Ministry of Advanced Education and the Centre for Curriculum, Transfer and Technology. A copy is also located at: www.c2t2.ca/article.asp?item_id=3473

• Prior Learning Assessment (PLA) Implementation Guidelines for British Columbia. This document represents provincial policy on assessing, recording and transfer of credits earned through the PLA process. It was developed by the Provincial PLA Steering Committee and the Centre for Curriculum, Transfer and Technology with

218 consultation and review by post-secondary shareholders, including BCCAT. Please direct any questions about this document to [email protected]. (3 pages, 20K)

• The University Presidents' Council Policy on Transfer Credit. This document outlines the policy and guidelines of the B.C. University Presidents' Council for approving the transfer of courses from new post-secondary institutions to any of the member universities. Their policy states, "Institutions incorporated and offering undergraduate courses in this Province, which wish these courses to be transferable [to a university] must meet the requirements of the Guidelines."

Institutions and Strategies

Fine Arts Articulation committee should meet more than once a year

Sharing of best practices

Sharing of curriculum expertise

Foster intra-institutional, inter-institutional, K-12 and post-secondary partnerships

Foster partnerships among institutional faculties

Foster partnerships that connect the education system with the cultural sector, businesses, and professional organizations

Promote cross-discipline/cross-sector partnerships

Appropriate use of educational technologies to create access

Foster institutional/community partnering to create access for regions that currently lack PSE programs

Foster mentorship and internship initiatives

Use educational technology as a means to “blur” the boundaries between the post- secondary and K-12 education systems

Work to coordinate cross-Ministry policies and strategies addressing the inter- relationship between post-secondary education, small business, tourism and culture, employment and investment, information technology/high technology and telecommunications.

219

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224 Lee, Jim and Dr. Peter Williams, "Strategic Directions for Culture and Heritage Tourism in British Columbia." A Report Prepared for the Ministry of Small Business, Tourism and Culture and Tourism British Columbia. BC: November, 1999.

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Additions to Bibliography (Research files)

[2.1] WME Consulting Associates. Impact Study: Results of research on grant patterns and discussion groups with individual artist grant recipients, March 2000. Ottawa: Canada Council for the Arts, 2000. Online. Internet. 2000

[3.3] Sidor, Nicholas, consultant. Performing Arts Sponsorship Survey. Online. Canadian Conference of the Arts. Internet. 2000.

“Arts for Life.” Online. Canadian Conference of the Arts. Internet. 2000.

[3.0] “Alberta Performing Arts Stabilization Fund, 2000” Online. CultreNet. Internet. 2000

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[filed in early education (k-12), some good remarks] Green Gilbert, Anne. Movement is the Key to Learning. 1997. Online. Internet. 2000.

Various abstracts: need to go back to files... Theatre Research in Canada.Volume XX University of Toronto. Online. Internet. 2000.

Robinson, Ken. The Future of Arts Education. New York: New York International Conference on the Future of the Arts Education (November 1999). Online. Artsmarts. Internet. 2000.

Menzies, Heather C. Women and the Knowledge-Based Economy and Society. Ottawa: Status of Women Canada, 1997. Online. Internet. 2000.

“Disciplines, Fields, and Change in Art Education, 1999-2001.” Proc. of a conference. Art Education, January 30, 1999. Art Practices, May 15, 1999. Birmingham: University of Central England. Online. Internet. 2000.

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Axelrod, Paul. Challenges to Liberal Education in an Age of Uncertainty. Historical Studies in Education/Revue d’histoire de l’éducation 10:1&2 (Spring/printemps & Fall/automne 1998), 1– 19. Online. Internet. 2000.

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The Association for Theatre in Higher Education. “Theatre Studies in Higher Education: Learning for a lifetime.” Pamphlet. Online. Internet. 1998.

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228 Snyder, Joel. Crossing Boundaries – Where Artists and Art Forms Meet. New York: National Endowment for the Arts. Online. Internet. 2000.

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Canada, Benjamin O. Music is Key to Successful Schools. Vancouver: Coalition for Music Education in British Columbia. Online. Internet. 2000.

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Henriksson, Len. Why Arts Education Matters, 1998. Vancouver: Presentation notes from the B.C. School Trustees Association 1998 Annual General Meeting. Online. Internet. 2000.

Benham, John. Defending Music Programs with Economic Analysis. Vancouver: Coalition for Music Education in British Columbia. Online. Internet. 2000.

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Strengthening Management Practice in Canada’s Cultural Sector: A Learning Strategy, Final Report, Phase I: Background Research and Analysis, Applied Cultural Principles (ACP): Learning and Cultural Development, Centre for Cultural Management, University of Waterloo, March 31, 1995. http://arts.uwaterloo.ca/ccm/documents/cmls_docs/cmls_wr1.html

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