CULTURAL MAPPINGA PARTNERSHIP TOOLKIT BETWEEN 2010 LEGACIES NOW & CREATIVE CITY NETWORK OF CANADA 2010 Legacies Now gratefully acknowledges the Province of British Columbia for its ongoing support of initiatives like the Cultural Mapping Toolkit contents
Cover Photo: Avril Orloff, Creative Facilitation
Using this Toolkit This toolkit has been designed to take you step is accompanied by examples, checklists or Culturalthrough the entire mappingMapping process, from Toolkitworksheets to help you get organized. When creating an inventory to drawing up and you have finished, the working documents presenting your map. The process has been will serve as a record of the suggestions and broken down into stages and steps. Each solutions you came up with as you went along.
Introduction Stage II – Project Design 3 Why Engage in Cultural Mapping? 26 Step 6 – Frame the Fundamental Questions 5 Some Uses of Cultural Mapping 27 Step 7 – The Inventory 6Contents To Map or not to Map? 27 The Inventory as the Basis of the Map 7 Explore, Make Sense, Tell the Story 27 Data Categories 8 Glossary 30 Technology 9 Stages and Timelines 30 Structuring Your Database 31 Step 8 – Design Survey and Interview Questions Stage I – Planning 31 Respondents – Core and Supporting 12 Step 1 – Determine Objectives 31 Survey Questions 12 Community Meeting 32 Interview Questions 15 Step 2 – State the Objectives 15 What do we need to know? Stage III – Implementation – Explore 15 Who needs to know? 36 Step 9 – Contacting the Community 16 Maintaining the Map 36 Announcing the Process 18 Step 3 – Set Parameters 36 Collaborations 20 Step 4 – Estimate Readiness 36 Informal Networks 21 Step 5 – Assemble Resources 36 Leaders and Key Individuals 21 Human Resources 39 Step 10 – Tallying and Entering Results 21 Finances and Budgeting 22 Partners and Collaborators 23 Timing
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Stage IV – Synthesis – Make Sense Appendix A: Background 42 Step 11 – Roughing Outcont’d the Map(s) 70 What Is Cultural Mapping? 42 Matching Data with Objectives 70 Political Dimension Contents-46 More than One Map? 71 Ethical Issues – Intellectual Property 47 Step 12 – Converting an Inventory to a Map 71 Community Participation 47 The Legend 48 Visual Keys and Structural Elements Appendix B: Maps 52 Map Making 73 What Does a Cultural Map Look Like? 52 The Role of Narrative 53 Step 13 – Analysis and Interpretation Appendix C: Tools 53 Things to Look For 75 Objectives and Parameters 57 Consult with the Community 76 Budget 57 Check the Realities 77 Data Categories – Examples 78 Inventory Grid Stage V – Finalizing the Report 79 Venues – Usage (by discipline) 60 Step 14 – Speaking to Different Audiences 80 Collecting Data – Surveys and Interviews 60 Levels of Detail 83 Sample Questions 62 Subjective Elements 86 Legend 62 Custody and Succession 87 GIS 62 Finalize the Report 88 Report Outline
Stage VI – Going Public Appendix D: References 64 Step 15 – Getting the Word Out 90 Reference List 64 Who is listening? 65 Who isn’t listening, but needs to hear? 67 Now that the party’s over …
PAGE introduction
Cultural mapping is a valuable tool for identifying a community’s strengths and its “resources. This process can help as communities move into the planning and implementation phase by identifying early the resources, efficiencies and links between arts and cultural groups, as well as their common aspirations and values. - Honourable Stan Hagen, Minister of Tourism, Sport and the Arts ”
Cultural mapping enables us to understand fashion; a web-based map can be multi- Whyand share culture; Engage to re-think history;in Cultural and dimensional Mapping? and can have a very broad reach. to promote creativity and development. A broadly-based mapping exercise for This toolkit focuses primarily on promoting purposes of investigating or creating creativity and development. Where cultural an identity profile of the community is mapping can be most valuable is in enriching, informative and useful. One generating new perspectives and preparing member of the Creative City Network of the ground for effective cultural planning. Canada commented he has “got more As we know, many reports and studies political mileage out of that than just never leave the shelf. Cultural mapping is about anything else.” It can give a boost to an attention-getter, and your map can be advocacy activities, both yours and those of used to tell your story to different types of the community. interest groups in an innovative way. The process of mapping by itself draws As a vehicle of information the map is attention to the existence and importance extremely versatile. It can be loaded with of cultural resources. The results point many kinds of data that can then be out problems to be solved or strengths to unpacked, isolated and reconfigured. As build upon. The publicity surrounding the for its form, the choice ranges from an announcement of results can be used to artist’s hand-crafted rendering to the most move the issues up a notch on the public sophisticated, hyper-linked, web-ready, agenda. The various community sectors can multi-media compendium. On both counts also rely on the results to support their own of information and form, a map has much arguments for increased support. greater potential than an inventory. A graphic map communicates rapidly and in a holistic PAGE CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
PAGE introduction
Increasing Knowledge Helping to define the local culture. Demonstrating and Appreciation the breadth and variety of cultural activity in the Some Uses of Culturalmunicipality. Mapping Identifying Previously Unknown Providing concise information to elected officials, Resources and Activities tourist groups, branches of municipal government, the general public, and other stakeholders. Advocating – drawing attention to the cultural area.
Getting a Fresh Perspective Looking at data from different points of view: cross- cultural, public access, concentration, networking.
Gaining Objectivity and Overview Going from intuitive or anecdotal information, from the “worm’s-eye view” on the ground, to a broader, more concrete view. Seeing around discipline-based and siloed viewpoints.
Identifying Networks and Hubs Where do groups obtain their resources, how do they communicate with one another, and who are the liaisons?
Locating Gaps, How much duplication or scarcity is there in a given Needs and Overlaps sector or area of the city?
Is the distribution of How far does a population group have to travel to resources effective? borrow a book or hold a meeting? Where can the Chinese dance troupe find a qualified instructor?
Evaluating Projects How large is the population served? How does the community view an initiative? Does a solution respond adequately to the problem?
Seeing the Present, How many informal community hubs will that new Looking to the Future expressway disrupt? What will be the impact of an influx of immigration from Southeast Asia on the existing community and its resources?
Cultural Planning Mapping is often the first stage of preparing a cultural plan.
PAGE CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Most cultural workers have a comprehensive knew the police department’s community and functional cultural map in their liaison officers drop in to shows at a local head,To and Map a mapping or process not can help to to Map?artist-run gallery because the station is just document and communicate this knowledge. two doors down the street? A cultural map can be used to orient However, mapping can be a demanding new staff or members of council to the process and feasibility is an important community very quickly, and to preserve consideration. Do you have the money, your corporate memory in a transferable the time and the human resources to see form. it through? If there are specific problems The other advantage for cultural workers or situations you wish to address, a good is that mapping allows you to escape the question to ask before you launch in is silos and gain an overview of relationships whether mapping would be the most useful that cut across disciplines and constitute and economical approach. Are there other, informal networks. It can also be used as an less demanding ways to go about it? analytical tool to yield new insights. Who
PAGE introduction
Cultural mapping is widely recognized Who – cultural workers and planners at a as an effective tool for development and local level planning. Our ambitions in presenting this Explore, Make Sense, WhyTell – development the Story and planning kit are practical and direct – to give cultural Needs workers both inside and outside municipal – defining local culture, assessment, government the means to carry out a identifying gaps, making the case for cultural mapping exercise on their own. investing in the community’s cultural We propose to do this by explaining the development basic techniques of cultural mapping and Groups undertake a mapping project for two suggesting some possible applications at reasons: First, to increase their knowledge the local level. of what’s happening in the community; The particular kind of cultural mapping to second, to discover more about an area of be explained here is a method of describing concern and use the information gained the resources and assets of a specific for a specific purpose. Usually, groups are community and the relationships between interested in communicating the results to a them. This is done in a concise and easily target audience. That’s why our toolkit also understandable form that can then be used provides tips for communicating with the for informing stakeholders, problem solving public. and planning. What kind of information you collect and How cultural mapping is carried out has how you use the information is up to you, everything to do with who is doing the as is the way in which you choose to report mapping and why. We have made some basic what you have found. assumptions about who you are, why you are using this toolkit and what you need:
PAGE CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Cultural mapping – a process of collecting, recording, analyzing and Glossarysynthesizing information in order to describe the cultural resources, networks, Text-based map – a written report on links and patterns of usage of a given a cultural mapping process, giving findings community or group. and conclusions. Cultural inventory – a list or database Resources and assets – in this context, of information about cultural resources and the various elements that contribute to assets. culture, whether human, natural, social, economic or bricks and mortar. Cultural map – a report on the findings and conclusions of a cultural mapping Respondents – the individuals who process; the cultural map can take many complete surveys and allow themselves forms. to be interviewed, either on their own behalf or as representatives of groups and Graphic map – a visually based, organizations. topographical map that is either drawn by an artist or generated by a computer using Target population – the sector or GIS. community being studied. GIS – geographical information system Target audience – the group to which (GIS) is a system for creating, storing, you intend to present your findings and analyzing and managing spatial data and recommendations. associated attributes. GIS is a tool that Usage – the rate of use of a resource or allows users to create searches, analyze the asset by community members, that is, how spatial information and edit data. many individuals or groups use a given Web-based map – a website dedicated resource. to describing and representing the cultural resources and assets of a community.
PAGE introduction
Once you have decided that cultural mapping is what you need, you should anticipate taking Stagessome or all of the and following Timelinessteps and allocate time to each of them: Stage I – Planning Stage IV – Synthesis • determining objectives – with the • roughing out the map (text-based, web- community based or graphic) • obtaining buy-in from colleagues and • analyzing the results community leaders • interpreting the results • setting a budget – revenues can be cash • checking with the community or in-kind • identifying and assembling mapping resources – these can be human, financial Stage V – Finalizing the Map • speaking to different audiences or technical
Stage VI – Going Public Stage II – Project Design • previewing the map • designing the inventory • presenting the results to the target • drafting survey questionnaires and audience interview questions • setting interim and final deadlines
Stage III – Implementation • public announcement • broad-based research – surveys • targeted research – interviews • assembling the inventory • taking stock
PAGE CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
PAGE 10 stage I: planning
Mapping makes culture more visible so that it can be utilised in new ways – “exchanged, linked –and Greg Young, further Cultural Mapping developed. in the Global World ”
Stage I:
PAGE 11 Planning CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
An important source of input in determining your objectives is the community itself. Consultation can be as formal or informal as you wish. In the early stages it can take place Stepwith your regular 1 –community Determine contacts, such as existingObjectives advisory committees or key individuals. They are well positioned to help you outline the scope of the project and identify key questions. Another important source of input is a plenary meeting with the larger community.
Community Meeting An open meeting that is structured to solicit • it may bring respondents from sectors suggestions can help you take the pulse you hadn’t considered of the community and discover what their • the list of those in attendance can feed concerns are and what they hope to see in into your list of respondents terms of results of the mapping exercise. At the meeting, don’t forget to include Simply making an open call for a plenary a sign-in list that asks attendees to note meeting can bring many other benefits: contact information and any affiliation with an organization. Be sure to have • it gives the community a sense of a mechanism to record comments and ownership and contribution suggestions from those present. This can be • it informs them about the nature of the an invaluable reference later on as you start process and how it will be carried out to design the project. If you are leading the • it gives an indication of the level of meeting yourself, ask someone to act as a urgency or interest recording secretary. • participants may raise issues or concerns of which you weren’t aware
PAGE 12 stage I: planning
Groups present: ...... Community ...... Meeting...... Results ......
Needs stated: ......
Suggested uses of the map: ......
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PAGE 14 stage I: planning
Now you have to tailor the process to your purpose. The structure of the mapping exercise and the nature of the data to be collected, as well as what you communicate and to whom, will Stepdepend on the2 objective – State or objectives the you identify. Objectives If you and the community have a specific question to answer or situation to address, this step is crucial. Even if you want to engage in a more open-ended, exploratory process, you will still have to focus the scope of your search and identify targets. Ask yourself these two questions:
WhAT DO WE need to know? Who needs to know? For example: • members of your own organization or • the resources that make up our cultural department identity (Does our concept conform to • if you are in city government, workers in the reality?) other departments • our existing strengths and what makes us • city councillors and the municipal unique administration • what kinds of changes we need to make • members of the target community • the means we have in hand to meet our • the city’s communications department challenges and the media • whether there are sufficient funds/ • local associations, such as a heritage facilities/means of access/resources in a society or arts commission particular area or for a particular purpose • business improvement associations and • resources in the community about which tourism organizations we know little or nothing • funding agencies and foundations • resources of a particular kind for a given • city residents target population and their distribution • visitors from outside the city • the potential impact of coming developments • how to deal well and appropriately with change
The answers to those questions will help you establish your goals and determine how to communicate your results.
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The overriding objective may be to gain would probably love it if your data and greater knowledge of the resources present analysis could feed into their collective in the municipality so as to assess needs, promotional website. networks and strengths. In that case the Similarly, a web presentation is the most inventory should be organized along the efficient way to communicate results to the lines of gathering data about who, how general public, if that is the target audience. many and their mutual dependence. Either way, you should have a clear idea of If the report is internal to your own what you want to achieve. Knowing your organization or department, an inventory objectives will help you determine feasibility may be enough, although a map would be and timing, develop a structure for the helpful. If the results are to be presented to mapping process, and communicate with busy people like city councillors, who would stakeholders in order to gain their support. prefer a concise report, then a graphic map might be a suitable vehicle, especially as the Maintaining the Map councillors are accustomed to dealing with Things change and maps lose their currency, various kinds of maps of the town or city. sometimes very rapidly. Some thought A map is useful to the local organizations should be given to whether you and the involved in the process, since it gives them community wish to maintain the map as a a sense of their place and role in the big living document or preserve it as a historical picture. Any form of map can provide snapshot. them with support for their own advocacy Do you and the community want to update initiatives. the map periodically? If so, how often and If the intention is to assist the local tourist who would do it? Can you get support for a industry and their association by analyzing long-term plan? Do you have the necessary participation in local events, a graphic map resources? might not meet their needs. However, they
PAGE 16 stage I: planning
What do we need to know? Objectives......
Who needs to know? ......
Who would maintain it? Maintaining...... the...... Map......
How often should it be updated? ......
How much can we invest? ......
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The mapping process requires some objectives be best served by focusing on discipline and judgement, because it can a particular neighbourhood or gaining an growStep like a weed.3 –Far fromSet being Parameters indifferent, overview of the entire city? respondents are often eager to participate On the other hand, you may discover as you – mapping is an inspiring concept and they go along that if you don’t include certain see it as an opportunity to gain recognition. kinds of information that have turned up, You can find yourself overwhelmed by the your results will be skewed. It is advisable to volume of the response. take stock from time to time and be flexible, It is therefore helpful to articulate the within reason. As your information base objective as clearly as possible and to have grows, check the guidelines to make sure guidelines to fall back on. Scale and scope they remain valid and, if not, adjust them as are important factors. For example, will your necessary.
PAGE 18 stage I: planning
Scale – neighbourhood/district/city/region Parameters......
Scope – all resources/arts only/heritage only, etc......
Respondents – person on the street? ......
Principal target group ......
Demographic targets ......
(See Appendix C: Tools – Objectives and Parameters)
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Not a small thing. Cultural mapping can be exhausting as well as exhaustive, and you will need a lot of support and cooperation. The best way to obtain support is to make sure the Stepstakeholders 4 you –have Estimateidentified understand Readiness what you want to do and why, and agree with the need for mapping. Make sure you have the necessary time, money and skills at your disposal.
Do you have:
Readinessbuy-in from the community
buy-in from the departments of municipal government
their understanding of the objectives and the process
the necessary financial resources
the necessary human resources
the time required to carry out the study
PAGE 20 stage I: planning
Human Resources Finances and Budgeting Functions to be performed: The cash cost of the study depends on multiple factors, such as: •Step project management 5 – Assemble and administration Resources • database design • the skills and resources, human and otherwise, you have at your disposal • data collection – interviewers and within your own organization, department researchers or municipal administration • data entry • services you can obtain on an in-kind or • collation and analysis voluntary basis • map or web design • the scope of your study • communications and public relations • the type of report you choose to make Don’t try to do every task all by yourself. You will be able to feed the process on the level Budget items are: of design, project management and providing • contracts or salaries for interviewers and leads, but you won’t have the time to collect researchers information from respondents or learn how to produce maps or design a website. • wages for data entry • community meetings – room bookings, The work of collecting data may best be done refreshments intensively rather than extensively, by a larger • communications – preparation of media number of people over a shorter period of releases or media conferences time. Depending on the situation, things can change rapidly. If what you want is a freeze- • design and drafting of a graphic map frame, you don’t want to have to go back and • design of a website revise as you are trying to move forward. • preparation and printing of the report It is a wonderful opportunity for students, (See Appendix C: Tools – Budget) youth, seniors and beginning workers to get Funding assistance, in the form of grants, involved and gain or contribute experience. may be available from provincial or federal They may have a stake in the outcome and governments or agencies. You may also some ideas or information to share. be able to obtain human and technical Consider partnering with a university or resources as contributions from the city or technical college department or program for from partners such as tourism agencies or assistance with project design, collection of university and college departments. information and the map/web design. The 2010 Legacies Now, through its Arts Now process could be an interesting class project program, provides assistance for cultural or the subject of a graduate student’s mapping initiatives to municipalities dissertation on urban planning or public within British Columbia. Other support administration. may be possible through special funding opportunities or discretionary funds.
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Partners and Collaborators Urban Planning Other Municipal Departments
The city or town urban planning branch • Public transit – maps, information on is a valuable ally. In most cases they have routes, passes for your researchers statistical data about the city and its • Social services – demographics, needs, neighbourhoods and information about patterns of usage of public services and developments and revitalization. They may facilities, accessibility programs be able to advise on rate of usage of certain • Leisure and recreation – distribution of facilities or resources owned by the city. facilities, subscription/participation data, Most important, they may have in their comparisons with private-sector facilities computers various forms of topographic Colleges or Universities and demographic GIS maps that could make your mapping process easier. • assistance with design and implementation of research tools • technical assistance with reporting/ drawing the map • collaboration on the entire project • possibly funding or donation of resources, such as meeting spaces
ResourcesHuman resources Sources of funding Partners and collaborators
PAGE 22 stage I: planning
Timing You should look down the road and estimate As mentioned previously, surveys and how much time you have to allocate for each interviews are best done over a short of the stages and what your end-date might period. If you are collaborating with a be. A thorough mapping process can take university department, that might be at up to a year to complete, building in time the beginning of the summer, with data for planning and design, implementation, entry in late summer. The phase of sorting analysis and presenting the results. If and synthesizing data is one you will want you are seeking outside funding, having a to take time with, since you will want to timeline drawn up will be a considerable explore alternative profiles. You should also advantage. be generous with the time you allow for the transfer of your data to a map, as you may have to go through a few drafts before you arrive at the best representation.
Stage Estimated Time
TimelinePlanning/assembling resources
Project design
Implementation – interviews and data entry
Analysis and synthesis
Preparing the report
Presenting the report
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PAGE 24 stage II: project design
Mapping our cultures in all their 360 degrees and in their depth, keeping “our diverse stories and multiple histories interrogating and renewing each other, is a key cultural function– Greg Young, of Cultural our Mapping time. in the Global World ”
Stage II:
PAGE 25 Project Design CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
StepBefore firing 6 up your– database software, resources? What makes us unique? What try repeating your objectives to yourself in would we say or point to if a stranger were Framethe form of a question. the YouFundamental are not looking to ask Questionsus? for answers at this stage, so put that aside If you are looking at a particular situation, for the moment. It would be helpful to you might ask, Why is XX so successful, look back at the first question you asked in while YY is performing poorly? What does setting your objectives – What do we need population ZZ need in order to participate to know? more fully? If what you need to know is the nature of The answers to those questions will start your cultural identity, then the obvious you along the road to defining the types of fundamental question would be, Who are information you need to look for. we? What are our principal assets and
1 Fundamental Questions 2
3
4
5
6
7
8
9
10
PAGE 26 stage II: project design
The Inventory as the Basis of Mapping is a process of exploration, and the Map as you go along you will likely discover A comprehensive, well-designed inventory resources and relationships of which you notStep only provides 7 – indispensable The dataInventory but were not aware when you set out. The helps you to structure your process. As well inventory can and should be expanded as listing the resources in certain categories, as new leads and possibilities present it can include characteristics you might themselves. For example, social service groups want to track, such as location, access, level or recreational associations often have close of usage, types of users, and discipline. ties with demographic subgroups or diverse Resources can range from facilities and communities and could provide contacts. heritage sites to individuals, artists or leaders situated at the centre of networks. Data Categories Once you have a basic list of resources you Initial information is usually provided by the can start to think in terms of what you want people conducting the study, and you are to know about them – your data categories. probably the best source of a preliminary The design of the database anticipates the list of resources, straight from your files or structure and legend of the ultimate product, Rolodex. Start by listing the associations the map. Picture the map(s) or website in and individuals with whom you work most your head before you start to define your closely. You can then add groups who categories. What would you like to see there? receive funding from the city or the province and groups you know by name.
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Location – If you’re planning to present a • discipline or type of activity – museum, graphic map, this is an obvious element. But dance, soccer, literacy, theatre, etc. will location refer to the neighbourhood or • function – producer, presenter, district as well as the street address? venue, production facility, funder, Other database categories and elements communications medium you might consider have to do with: • collaborators/clients – what other groups • sector – commercial, educational, social, or individuals they work with or serve political, government You might also want to look at • scale of activities – local, provincial, federal demographics and statistics: • corporate structure – private, public, • size of population base – membership, charitable, cooperative, non-profit, audience or attendance, residents, tenants volunteer • age of members, participants or • role in the area you’re studying – adherents – youth, seniors, children individual, formal or informal association, • corporate size – revenues, number of established organization, institution, employees, ownership of facilities, footprint government program • usage – by what kind of groups or • mandate – professional or community individuals, and how many? (See Appendix C: art, service, advocacy, heritage, youth, • support structures Tools – Data Categories) environment
PAGE 28 stage II: project design
InventoryCategory Data Categories
Elements to Include
Location
Sectors
Scale of activity
Structures
Roles
Disciplines
Functions
Demographics – size
Demographics – age
Rate of usage
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Technology Structuring Your Database This may seem obvious, but make sure you Here is an opportunity to be really inventive establish your inventory using software – and thorough. This is the point at that can handle large amounts of data which you detail the information you will efficiently and allows you to manipulate it be seeking through your interviews and easily. Making lists and tables using a word surveys. The more foresight you exercise processing program will only increase your here, the less grief you will experience later. project time by an excessive amount and A comprehensive and detailed database probably drive you crazy. On the other will lead to richer information and more hand, you don’t necessarily need the last comprehensive conclusions. word in database software. Spreadsheets If you are using flexible software such are easy to design and modify; they can be as a spreadsheet, you can add as many exported or used to provide data for mail categories as you need and expand on them merges; and they will allow you to sort and as you go along. If you are concerned that reconfigure your information. you are including too much information, remember that it is possible to create more than one map from a given base of information, and that web pages and links can easily be added to a site. Tip – Include a summary of your categories and elements, such as the worksheet developed above, on the spreadsheet itself for quick reference. It will allow your data entry people to interpret and enter the information correctly. An example of a highly evolved inventory for a particular type of resource, in this case performing arts facilities, can be viewed online at http://vancouver.ca/facility_wac/ facility.exe. (See Appendix C: Tools – Inventory Grid)
PAGE 30 stage II: project design
StepSurveys and 8interviews – can be conducted any strong affiliation to a group. They could at various points and with different groups be audience members, users of a facility Design– members of target Survey groups, organizations and Interviewor resource, or members Questions of the general and the general public. A survey can be public. They could be representatives conducted at the outset to help determine of groups who are clients of a service or objectives. At a later stage surveys and resource, individual users of a resource interviews are of course a principal tool for such as an artists’ association, or less active collecting inventory data. organizations. You can approach the target population in a Core respondents are usually, but not variety of ways, by means of written surveys, exclusively, people who have been telephone interviews, in-person visits, and involved for a long time in the direction plenary meetings or meetings with key of an organization or institution, or representatives. Members of the community knowledgeable individuals with a history of become your respondents. involvement, activism and representation. Surveys do not necessarily have to be As you go along, you will probably hear hand-delivered or administered in person. of or discover other respondents who They can be distributed either actively or should be included in the study. You or passively through facilities and gathering your researchers may also find, on looking places. With an electronic mailing list in at interim results, that certain supporting hand you can send them out, and with the respondents should be moved to the core collaboration of local media or organizations list and asked for more information. you can insert them into newsletters and bulletins. The level of response to a passive Survey Questions distribution will by itself indicate the buy-in Survey questions for groups and of the target population. organizations should be different from those for individuals. For one thing, the needs and Respondents – concerns of individuals are very different, Core and Supporting as are their experiences. It is helpful to Respondents may be on your list because survey a number of local artists or users as they are users of a resource, representatives individual respondents, to have a sampling of groups or organizations, or individuals of data regarding their situation. with many connections and links to different In order to obtain information about resources. They can be divided into two artists in the aggregate, the best source categories, according to the richness of the is probably their professional association. information they can offer: those who will Canadian Artists’ Representation/Le Front be surveyed (supporting) and those who des Artistes Canadiens (CARFAC), provincial will be interviewed (core). associations of professional dancers, writers, Supporting respondents are usually, but or musicians, the Alliance of Canadian not always, individual participants without Cinema, Television and Radio Artists
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(ACTRA), and the International Alliance of indicate possible responses or give examples; Theatrical Stage Employees (IATSE) may be these will encourage respondents to think able to provide you with numbers of their about the questions in ways they might not members in your target area. otherwise. It is also advisable to give them the opportunity to express themselves freely, You might decide not to ask a respondent’s as with a comments section, so that the name, but be sure to ask their function, response will not be pre-determined. in what sector they operate, and their relationship to the resources in that sector. It Interview Questions is amazing how often such fundamental kinds Interviews, on the other hand, should be of information are inadvertently lost through designed to do two things: solicit the a simple oversight in the survey design. The specific kinds of information you are seeking date on which they complete the survey can and leave room for volunteering other also be significant. information or observations. If you do ask their name, be sure to The emphasis on volunteering other include a mechanism for getting back to information is greater in an interview than them, via e-mail or snail mail. This will in a survey. Your interview respondents aid communications, provide valuable should be selected for the depth of their information for the database, and facilitate knowledge and, because of that, their ability follow-up. You might also want to build in a to expand on the basic questions. Build in formula for permission to use direct quotes open-ended, leading questions. For example: from their responses. Obtaining permission In your opinion, why did a certain project at this stage will save you time later on. or program succeed or fail? Where and how A major consideration in survey design do you find volunteers? What is the nature is how the responses will be expressed. of your private/public sector support? Quantitative responses, such as yes or no, or Has your level of public funding changed using a scale of one to five, are easier to tally significantly over the past five years, and to and record, but brief, qualitative responses what would you attribute this? yield much richer information. For example, Again, be sure to collect the essential, you could ask respondents how often they baseline data you need to complete your use or visit three named resources (the inventory. In this regard, interviewees are arena, the library and the riverside park). on the same footing as survey respondents. Alternatively, you might ask them to name You need to know their function, their the top three facilities or resources they use specific sector, and how they use or provide on a monthly basis. The answers will not be resources. Don’t make assumptions; groups the same. You could discover in the second may have connections or functions of which case that the top three are the library, the you are not aware. hilltop, and a bar on Broadway that hosts local bands, and that the arena ranks eighth. (See Appendix C: Survey questions should be specific and Tools – Surveys and tailored to your objectives. In designing the Interviews) questions themselves, it is usually helpful to
PAGE 32 stage ii: project Design
Survey Questions for Supporting Respondents Possible Survey & Interview Questions
Interview Questions for Core Respondents
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PAGE 34 stage III: Implementation-Explore
The major mapping tool is the ‘cultural assessment’ or audit, which involves investigations into census “data bases; community profiling through surveys, interviews, and focus groups; ethnic profiling; profiling of tourism and leisure activities; and profiling of arts-related organizations– Jennifer Radbourne, and Fullbusiness. House Theory ”
Stage III:
Implementation- PAGE 35 Explore CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
The next step is to approach members of create alliances that are not visible to you the community in order to collect the data. at the municipal level. Ethnically diverse StepYou should do9 a little– spadeworkContacting before groupsthe may Community share resources in ways that giving your interviewers the go-ahead. are unknown to the mainstream population. All the publishers in town may get together Announcing the Process every week at a downtown pub. It is always a good idea to let the public These informal networks can function as know about the study, usually through a resources in themselves. They are conduits of media release and public communications. information and often the site of backroom If local media pick it up as a story, so much political activity. As such they should be the better. This advance notification tends recognized in some way in your inventory to stimulate a buzz. It can give potential and used as a source of respondents. respondents a chance to think ahead about their contribution and issues that are Leaders and Key Individuals important to them. It can also save your In any community there are opinion leaders researchers time otherwise spent explaining and outsiders. As your knowledge of the the nature of the exercise and its objectives. community expands, you will become Another avenue is to build an increasingly aware of their relative importance announcement into the agendas of and influence, whether positive or negative. organizations and associations. Ask the In an open process of exploration, both types chair or convener of a meeting to mention can be valuable sources of information that the mapping project and lead a discussion bring to light underlying problems or new of possible responses before your directions in a community. interviewers show up. In some cases individuals cross disciplines or sectors by virtue of their professional Collaborations role. The officers of social services or public Local or sector organizations can assist with funding programs are an example. If you the process in two ways, aside from acting are not yourself responsible for funding in as respondents: municipal administration, you may want to • by disseminating surveys and identifying contact your colleagues in that area. Similarly, interview subjects funding officers at other levels of government • by promoting the process to their can provide an overview of a certain situation, own constituencies through bulletins, in accordance with their mandate. newsletters and informal networks Community leaders at the neighbourhood or district level can also prove to be valuable Informal Networks contacts. Many of them deserve an interview, Check out new opportunities for sharing since their range of involvement may be large. and collaboration. Participation in funding At the same time, discreet cross-checking of programs at other levels of government their credibility and reliability is advisable, and (provincial, federal and territorial) may
PAGE 36 stage III: Implementation-Explore
in sensitive cases, interviewers should be alert contacting the leaders of each, although you to the possibility of political conflicts. For might anticipate contradictory responses. example, there may be factions within a given community, and diplomacy would dictate
Organizations Networks Key Individuals Community Contacts
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PAGE 38 stage III: Implementation-Explore
The method of tallying survey results be clear in establishing the overall goals for should allow for qualitative, subjective interviewers. You might also create reporting responses.Step If10 the information – Tallying is supplied andcategories, Entering along the lines Results of: anonymously and there is no need to tie a • factual baseline data – who, what, specific response to a specific informant, it where, when may be most efficient to create a secondary database or file to store such remarks. • responses to principal categories of information – networks, needs or problems, You may find it a challenge to assimilate and clients, level of and kind of usage record the results of interviews, because • red flag items – the unanticipated or they can be wide-ranging. This underscores anomalous, emergencies, significant gaps the importance of guidelines for data For both surveys and interviews, it is collection, and for flexibility in applying helpful to have a mechanism to record the guidelines. You may find yourself with the unclassifiable – general conclusions, crucial information that had not been predictions, remarks out of left field – for anticipated in your planning or a wealth of future reference. detail that is beside the point. It is helpful to
PAGE 39 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
PAGE 40 stage IV: Synthesis-Make Sense
Cultural mapping has been recognized by UNESCO as a crucial tool and technique in “preserving the world’s intangible and tangible cultural assets. It encompasses a wide range of techniques and activities from community- based participatory data collection and management to sophisticated mapping using – United Nations Educational, Scientific and GIS (Geographic InformationCultural Systems). Organization, Cultural Mapping. ”
Stage IV:
Synthesis- PAGE 41 Make Sense CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Matching Data with You can break out different subsets of Objectives information according to the categories or StepOnce you have 11 transferred – Roughing the results of your outelements the that will Map(s) be relevant to your study research to the database, it’s appropriate to (sector, neighbourhood, usage, etc.). recall your fundamental parameters – the For example, if your objective includes a answers to “What do we need to know?” study of performing arts venues, your data along with your original vision of the finished might show the following for music: map. It might be helpful to look at your notes from planning sessions and the results of the • a large number of young musicians on the original community meetings. cusp of becoming professionals You can begin by reviewing the information • a number of groups performing ethnically you have collected with those fundamentals diverse forms of music in mind. It is now possible to align the data • three small groups playing classical music, in different ways so as to create alternate including a chamber orchestra profiles and to identify which features will • an annual school band and choir become the basis of your analysis. competition Data clusters that serve to answer your • a free after-school music learning program questions can be called findings. For for low-income families and at-risk youth example, by sorting street addresses you • a hip-hop program in a number of middle find that four social service organizations and secondary schools are housed in the same low-rent building This establishes a certain level of demand. and share practical resources, such as a photocopier and a fax line. That building You may also have found that three and its tenants therefore form a network, neighbourhood churches with wonderful which is a finding in itself. acoustical properties are looking for alternate uses and sources of income, such as music performances, rehearsals and recording. Both series of information constitute a finding by adding to your knowledge of the situation. Your analysis has shown you the extent and kind of demand and one possible way to respond to it. You might want to create two maps, one for demand and one for supply, or you may wish to provide a secondary map for music by itself.
PAGE 42 stage IV: Synthesis-Make Sense
(this can be done in your database or spreadsheet)
Music Groups Characteristics Sorting(symphony, bands, Data etc.) (size, audience, frequency of performance)
Characteristics Venues (location, capacity, usage)
PAGE 43 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
In a second stage you can begin to interpret course of mapping and how they relate to the data in terms of your objectives, i.e., previously known elements. If you are trying analyze what answers you have to your to hone in on a particular problem or issue, questions, and make a summary of findings. you can start sorting the data that relate to alternate diagnoses and solutions and If your question is “Who are we?”, a weighting them for relevance, practicability, preliminary summary of findings could or frequency of occurrence. highlight new resources discovered in the
PAGE 44 stage IV: Synthesis-Make Sense
Objective Finding Relevance (new information/urgency) Matching Data with Objectives
PAGE 45 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
More Than One Map? local theatre companies are facing a crisis Again, remember that you are not limited to regarding their storage space. In such a case a single analysis or map in presenting your you may want to address each problem area findings. It might be useful to create subsets or issue by using another, secondary map. of information having to do with certain You might also realize that you have too categories of data; for example, the different much information to be conveyed by a communities or sectors that use particular single interpretation. On the first level of resources. interpretation you may want to demonstrate In another situation, you may find while how many resources exist, the different sorting the data that different axes of types of resources, and their distribution significance or importance emerge. For city-wide. On a second level, you want to instance, having conducted a general drill down to show who is using them and overview, you could discover that there is a why, or home in on a certain neighbourhood major deficiency in resources in a particular or district for special treatment. area, such as a shortage of adequate venues for dance. At the same time, the
Level 1 - Major findings e.g., city-wide Determining Levels of Information Level 2A - Findings for structure A city-owned
Level 2B – Findings for structure B non-profit
Level 3A – Findings for discipline A museums
Level 3B – Findings for discipline B dance
The inventory itself is a form of supporting documentation that can be included as part of your report or website, or as an appendix to your map.
PAGE 46 stage IV: Synthesis-Make Sense
StepA properly designed12 – inventory: in deciding how general resemblances and particular distinctions are to be conveyed. • includes all the dimensions you want to Convertingcapture an InventoryBefore creating to athe Mapactual visual and • is organized so as to deliver answers to structural components of your map, it your central questions is helpful to think through how many categories of elements there are, how they • is complete for the different resources compare with one another, and the relative Moving from the data to its representation size of their footprint in the overall picture. should proceed logically. Another major question is the degree of detail you wish to include. The Legend The importance of a legend to interpreting For example, as with roads, you may have a graphic map is obvious. For instance, if three resources in a given category that are you’re travelling by car, reading a map’s legend fundamentally different in nature. Think of allows you to distinguish divided highways green spaces – one by the river, unspoiled from dirt roads. Similar in importance is the and preserved; one next to City Hall, sequence of menu items and navigational which houses a public art display; and one tools that make a website user-friendly or including areas for unorganized sport such not. It is obvious, from the map analogy, that as bocce ball. All can be flagged as parks, it makes sense to treat the resources in a and each can be distinguished as to its use. particular category in an analogous way (lines The next step is to look at the tools you for roads). At the same time, you will want to have at your disposal, such as structural flag the differences between them (red lines components, keys, and visual markers (e.g. are paved roads, grey lines are gravel roads). symbols, colours). Symbols, for example, can So conceiving the legend resides largely
PAGE 47 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
be used to visually illustrate relationships a reader or web user who wants more data or types of resources; colours can signify can always be referred to the inventory itself. density or categories. Determine what you will need to represent, what kinds of visual Visual Keys tools and guides will be most useful, and how and Structural Elements many you will need. How many menus on the In a graphic map, the tools at your disposal home page? How many items for each? How are the map’s scale and coordinates, its many lines, dots and squares will it take? geographical divisions, and the markers. The markers, with their colour, size, shape and As for how much detail, that depends on design, can carry a freight of data. Their your fundamental question and how much design therefore calls for much serious information is required to answer it. On a consideration; however, it also gives your practical level, it depends whether you have inner child a chance to come out and play. a sufficient number of keys at your disposal to convey the information. If you have a lot Here’s an example of tools and markers that to convey, a subordinate map or menu with might be used for a hypothetical study of a new set of keys might be the answer. If you performing arts resources: wish to streamline your presentation,
PAGE 48 stage IV: Synthesis-Make Sense
Tool Key Marker Significance
Resource – T. C. Douglas Auditorium
Scope of map Entire city City-wide study
Coordinates North/south, east/west M10 Downtown core
Lots of traffic; good District Neighbourhood Centre access
Marker shape Type of organization Star Performing arts venue
Size of regular clientele/ Second largest – Marker size audience 2/5 15,000+ per annum
Marker colour Capacity Red 1,000-2,000 seats
Marker design Corporate status Solid Publicly owned
Resource – Bluebird Recording Studios
Scope of map Entire city City-wide study
Coordinates North/south; east/west B2 Hinterland
Small business in a light District Neighbourhood Carrington Hill industrial area
Marker shape Type of organization Musical note/disc Music recording studio
Size of regular clientele/ Medium – 100+ per Marker size audience 4/5 annum
Marker colour Capacity Blue Small
Marker design Corporate status Hollow Privately owned
PAGE 49 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
What might be concluded after looking Menu Item – Performing Arts at the markers is that the T.C. Douglas • Music Auditorium is under-utilized, which could • Venue be because there are three performing arts venues in the same district and • City Centre they are competing with each other for • T.C. Douglas Auditorium the available clients. Regarding Bluebird • Capacity Recording Studios, it may be the only such • Usage facility in the city and unable to keep up • Corporate status with demand, sending potential clients to Menu Item – Privately-owned facilities suppliers in other cities. • Bluebird Recording Studios In a website, relationships can be expressed • Technical structurally through hyper-text links from one page to another and different levels • Performing arts of subordination in the site structure. In a • Music sense, the site map becomes the structural • Capacity equivalent of the graphic map. Using the • Usage (See Appendix C: examples from above, a portion of the site Tools – Legend) map might look like one of these: • Location For an example of a web presentation, take a look at http://vancouver.ca/facility_wac/ facility.exe/venuelist_all In both cases you are presenting information about resources. In the first case, your objective might be to inform your target audience about available resources, with an emphasis on location and capacity. In the second case, your objective might be to inform about different corporate structures within the resource base, or about resources within cultural industries.
PAGE 50 stage IV: Synthesis-Make Sense
Graphic Map
TheCategory LegendElement Marker Characteristics
Website
Category Element Menu Item Site Location
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Map Making The Role of Narrative This is where your technical assistance Unless you are preparing an illustrative map comes in. The city’s or university’s urban or website for tourist promotion, you will planning department may be able to help rely on a narrative to introduce the study, you with the rendering of a graphic map or draw preliminary conclusions and indicate (See Appendix C: a website. They will no doubt have some new directions. The map or maps remain a Tools – GIS) ideas about how to present the data. rapid and accessible overview of your data, but orienting the user or connecting the dots is usually done by means of text. As well, you may want to include a summary of comments gleaned from the interviews and community meetings, and a digest of survey results. Adding representative examples or case studies could help to make the findings more concrete and memorable.
PAGE 52 stage IV: Synthesis-Make Sense
Once you have a draft report in hand, whether it is a graphic map, a website map or a text- based map, you can begin the business of drawing major conclusions and testing the validity Stepof your findings 13 with – the Analysis community. and Interpretation
Things to Look For Gaps, Bonuses, Surprises Overviews and Urgencies Another thing that is usually quickly exposed is a resource gap. This will normally Your study should provide a comprehensive be revealed both through the inventory scan that allows you and your and in survey and interview responses. For target audience to take a broad and example, a number of new independent comprehensive view of the general situation. theatre companies report they have a lot of You might also be able to hear a common choice for performing venues, but nowhere voice. Have you received comments within to rehearse. Remember that you can also a given sector that are similar, pointing to look for possible solutions, such as using a pressing need or, more positively, to what an existing resource in a new way. Empty could be considered a strength? More churches might be in search of new user important, have you heard the same appeal groups, for example. from different sectors, indicating a need common to all? How does this fit with the Bonuses occur when you find that overall picture? Is it significant enough to be information supplied by one informant judged a priority and become the basis of a answers the need of another, or that a recommendation? certain sector has taken steps to solve its own problem. If there is a way that the Distribution of Usage within municipal government can support such Sectors initiatives, so much the better. You may find One aspect that can be relatively easy to yourself surprised by either unanimity on track is the distribution of population and the part of the community or, conversely, popular usage for different resources by deeply rooted conflict on certain issues. sector. In addition, the reasons for this Then again, you might find there are a distribution also may have been revealed high number of null responses on a certain through surveys and interviews. For example, point. Is the community unaware of certain why does the dance community consistently resources that actually exist? Why is that? avoid a particular venue? Answer: The flooring is not suitable and could cause Interconnections injuries. Why is one library branch more Identifying networks, collaborations and popular than another? Because it is across commonalities is also important. Look for the street from a major shopping mall, common addresses where a number of and mothers drop their children at the similar organizations share space. Explore storytelling corner while they’re shopping. the evolution of joint initiatives: are they
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motivated by a shared mandate, a funding Group X and Group Y share similar interests opportunity, or the vision of a particular and needs. Should they be introduced? individual or group? Anomalous functions Would Group Z have something to offer sometimes provide clues to collaboration. For them both? Could this collaboration serve instance, if the food bank is offering literacy as a transferable model for other sectors? courses, there is likely a partnership at work. A lot of what you have done serves to cut The impact of certain individuals or groups across disciplines and sectors. A municipal of individuals may also come to light, if cultural worker is in a unique position in the name is heard repeatedly in different this regard. He or she may well interact with contexts. Madame X sits on three volunteer multiple sectors who do not know each boards, works part-time with the Open other very well, or at all. Cultural mapping Door Society, and owns a neighbourhood gives those who are not in a position to café that offers discount meals to social have an overview the opportunity to gain assistance recipients. The café is run by her a broader perspective. By this means they daughter, Ms. X, who is also involved with can see where opportunities exist to build a community theatre group specializing in on strengths by sharing information, best collective productions by people on welfare. practices or resources. In the meantime, a certain Mr. X is president of the neighbourhood association. Are they Working with Relationships related? Does that family constitute a little The principal difference between an engine of activity all by itself? inventory and a map is the identification and depiction of relationships rather than Opportunities – Vision the presentation of a list of facts. Your On the macro level, you should ask what map, with a little imagination in design, can kinds of trends are exposed or illustrated. indicate factors that are relative, contextual What are the community’s principal and qualitative. It will animate the inventory, strengths and weaknesses? What are give it new dimensions, and make it a the components of its identity? What much more powerful tool for planning and challenges is it facing? advocacy. How do the results answer your central question? Do they indicate a need for adjustment? Are there sufficient and appropriate public resources for youth, new Canadians, an aging population? With increased rental rates in the downtown core, where are the creative members of the community congregating? Where is development already taking place on its own, organically? On the micro level, opportunities might become apparent. PAGE 54 stage IV: Synthesis-Make Sense
New Findings Conclusions(groups, networks, etc.)
Urgent needs
Strengths
Gaps
Challenges met
Overlaps
Interconnections
Opportunities
PAGE 55 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
PAGE 56 stage IV: Synthesis-Make Sense
Consult with the Check the Realities Community Do you and they feel the report and map(s) From the point of view of buy-in and staying faithfully represent the situation? There may true to objectives, it is recommended you be revelations and discoveries, and if so, are check in with the larger community at they kept in context? In other words, does certain critical stages: your approach proceed from a balanced view? • following an initial community meeting, with a summary of the results On the other hand, if it was your intention • when project design has been completed to explore new ground, your study may • when data collection has been completed deliver information that was previously and a preliminary map has been drawn unknown or not taken into consideration, and your results could chart a new set of • when draft recommendations are ready realities. Have these new realities been Community members who participated in sufficiently integrated and expressed in the meetings and interviews will no doubt be report (map)? eager to see the results before the final version is made public. They may be able At this point you should have the answers to adjust the perspective or point to the to your questions. With the help of the significance of information that was not participants you have reviewed and mined emphasized in the report. the data, finalized the essential map to express your findings, and refined your There is a potential downside – you don’t conclusions and recommendations. You want to have a special interest group are almost ready to go public. There are a invalidate large pieces of work already number of things to consider before you accomplished or distort your findings by do, and you might seek the advice of a introducing a new set of objectives. To communications officer. ensure everyone stays on topic, frame an agenda and keep the discussion on track. Emphasize the gains made to date and present the rationale for any adjustments. Outline the next steps, signaling openness to suggestions regarding what is to come, not what has already been done.
PAGE 57 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
PAGE 58 stage V: finalizing the report
The database and map created for this project are a significant “piece of the puzzle that helps to explain how … facilities contribute culturally, socially and economically – A Map of Toronto’s Cultural Facilities, City of Toronto Division of to Toronto’s qualityEconomic D evelopment,of life. Culture and Tourism. ”
Stage V:
Finalizing PAGE 59 the Report CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
At this point you should have the answers to your questions. With the help of the participants you have reviewed and mined the data, finalized the essential map to express your findings, and refined your conclusions and recommendations. You are almost ready to go public. There are a number of things to consider before you do, and you might seek the advice of a communications officer.
Early on you identified a target audience, have a need to hear the nuances. However, Stepor a series of14 them: colleagues,– municipal if you are addressing city council or one of Speakingadministrators, city council, to andDifferent other its Audiences committees, you will not want to fog the stakeholders, up to and including the larger landscape with a lot of ancillary information, community and visitors from outside. The even if it does support your conclusions. It is information must be delivered in a way better to deal with categories and examples that is useful and understandable to those than a torrent of specifics. different groups. Keep in mind they do not One way to juggle this is to organize your all have the same requirements and one size report by headlining principal information does not necessarily fit all. If the report is that responds to the largest questions, and to be presented to different constituencies, creating secondary maps or subordinate you should give some thought to its menu items that either support or versatility. supplement the major findings. You can tell your readers these pieces exist and invite Levels of Detail them to go into the secondary areas as The level of detail you present is important. required. You may have uncovered a wealth of fascinating tidbits, but many may not serve In any case, it is helpful from a public the immediate purposes of your target relations perspective to include some form audience. What do they need to know? of emblematic visual map to get the concept What do they want to know? What do you across and set the tone. If you are not think they should hear, for the benefit of all creating a graphic map as part of the report, concerned? the emblematic piece could be a map of the city obtained from urban planning or a For example, if you are addressing your compelling visual map created by an artist. colleagues, you will be able to present the data in a detailed way, since they are likely to be familiar with the territory. They may also
PAGE 60 stage V: finalizing the report
Target Audience Necessary Information Need to Know
PAGE 61 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Subjective Elements • the objective Among the fascinating tidbits will be • the type of map comments, anecdotes, and quotable quotes • the target audience from the surveys and interviews. They often • future needs and probable uses sum up or underline a particular point, and they add colour and life to a presentation. If your intention was to discover the city’s They can be used as sidebars, chapter cultural identity and you have produced a headings and epigraphs, or text inserts. If graphic map, then the report might best there is a large number of them and they are be housed with the city, with the map especially relevant, they might be compiled posted on the city’s site for access by the and included in an appendix or a separate general public. It might then be reasonable section of the report. to anticipate periodic updates carried out by cultural workers and their collaborators, You might want to include examples of such as university departments. particular situations that illustrate your main points, such as profiles of individuals or In the case of a web-based map describing organizations. the potential for cultural tourism in the interest of attracting visitors, the logical If your objective is to create a heritage caregiver might be the city’s tourism website, then these elements become association and its home might be their site. essential because you will want to portray the stories and historic social elements of If the city has a local arts commission or the community. heritage society, they might be interested in taking charge of the process and the map Just remember to ask the respondents for itself. their permission to use this kind of material, if it is to be attributed to them. The request Finalize the Report for permission can be built into the survey Having consulted with your contacts and and interview format. You might also assure the community, you should be in a very respondents that you will let them know strong position to present a report that is if you quote them, in what context, and comprehensive, realistic and supported by how the quote will be attributed. You can those affected by the fundamental issues. perform that follow-up once the report has While the inventory is important and should been drafted. be included as supporting documentation, Custody and Succession the substance of the report will be in the When all is said and written, you must decide findings – findings about causes, gaps and collectively who is the best candidate to strengths made through your analysis and adopt the final product and give it a home. synthesis of the data. On the basis of these This depends on a number of factors: findings, you can make credible conclusions (See Appendix C: and recommendations to the target Tools – Report Outline) audience.
PAGE 62 stage vi: going public
We have got more political mileage out of our cultural map than just “ – Ken Doherty, Peterborough, Ontario about anything else. Creative City Network Member ”
Stage VI:
Going Public PAGE 63 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Who is listening? You might want to invite the receptive group Your communications strategy should to a preview of the final map or send them Stepinclude two groups15 – those Getting who want to thecopies, Word if that is feasible.Out It reinforces their hear what you have to say and those who identity as owners of the process, allows you have to be convinced it’s worth listening to. to rehearse your response to challenges, Your target audience may or may not be and may give you a leg up politically. part of the first group, depending on the Members of the media could also be political situation. sympathetic, especially if they helped to However, the receptive group will announce the project initially. In that case likely include your collaborators, your they will be glad to follow up. This kind of respondents and the community whose study is usually newsworthy because it is needs you set out to address. These people novel and produces concrete results. Some are your best audience and supporters. of the results can even be visually appealing. However, it is not usually recommended Another receptive group is made up of to leak results to the media until they are those people within the administration and revealed to the target audience. the community who, although not directly involved in the process, were supportive early on.
PreviewTarget community Invitations
Supporters
Collaborators
Interview subjects
PAGE 64 stage vi: going public
Who isn’t listening, Despite any resistance, and because of it, but needs to hear? the completion of the map should be an Your primary target audience may not be occasion for celebration. Here are some sympathetic, which could be your reason for things you can do to beat the drum: undertaking the exercise in the first place. • Make a formal presentation of your A number of factors can come into play: report to the mayor and issue a media • indifference to cultural issues release about the occasion. • lack of appreciation for the importance of • Have one or a few of your stakeholders certain sectors or approaches get on the agenda of a city council • lack of attention to problems meeting to discuss the report. Then the elected officials cannot ignore the fact • refusal to accept the validity or utility of that the mapping has taken place, and cultural mapping results will be a matter of public record. • reluctance to support new development • Make a splash – organize a media initiatives conference and unveiling. Be sure to invite • reluctance to re-think development the target audience. Pack the hall with initiatives that threaten the cultural supporters and interested parties. In this ecology situation your local media could be an City management, tourist associations and ally. Politicians are very sensitive to public the general public – in short, any one of opinion, and they are usually reluctant to your potential target audiences – may not buck a successful trend. be supportive. Your communications officer may have some There could also be resistance in certain other ideas, such as to time the unveiling to sectors of the community itself. People coincide with another event, or to recruit might not recognize the validity and key figures from the administration or the importance of other sectors or types of community for the presentation itself. The resources. In these cases, a more aggressive venue, if it is not the city hall, can be used communications strategy may be required to set the tone. to make sure the mapping process and its Don’t forget the launch party for your crew! results are acknowledged and understood.
PAGE 65 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
InvitationsMayor to the Unveiling
Councillors
Funders
Future custodians of the map
City administration
Media
Target community
Supporters
Collaborators
Interview subjects
PAGE 66 stage vi: going public
Now That the Party’s Over...... you retire to your desk with a boatload of information that can be used in a number of ways: • as a reference • to set priorities • for advocacy • for orientation of new staff and councillors and, not to be overlooked, • as an important initial phase of preparing a cultural plan for your municipality
Good luck!
PAGE 67 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
PAGE 68 appendix A: Background
Appendix A:
PAGE 69 Background appendix A: Background
What Is Cultural Mapping? and synthesizing, and a method of Cultural mapping is widely used as a describing or depicting resources, networks Backgroundplanning and development tool by different and patterns of usage. In this context, the levels of government and non-governmental word resources refers to the various elements organizations. It has become increasingly that contribute to culture, whether human, popular with municipal and cultural natural, social, economic or built. administrators in this country; it is now Cultural mapping allows us to see where regarded as the first step in formulating a we’ve been and where we are in order to cultural plan. find our way forward, just as any mapping Cultural mapping is not a new concept, nor process might. The difference is the objects is its current application as an instrument of of cultural mapping are not topographical cultural planning a new one. Historically, it features, but tangibles like assets and evolved as a means to capture and present resources and intangibles like identity, the history of indigenous peoples or to relationships and possibilities. describe their traditional activities within a given territory. Since then, the mapping Political Dimension technique has been taken up by agencies As you can see, what we now call a cultural such as the United Nations Education, map was first used as a political tool. It has Scientific and Cultural Organization since been used, in less politically charged (UNESCO) and the Association of situations, as a tool of social and economic Southeast Asian Nations (ASEAN) to development. It is currently associated with address other concerns, such as land rights a movement to democratize culture and stemming from traditional usage (tenure expand its definition to be more general and mapping) and the preservation of languages. inclusive. Some cultural mapping studies have as their primary objective broadly A tidy and concise definition of cultural based social development goals. mapping, one that is not tangled up in its immediate context, is hard to find. The Cultural mapping has also come to definitions tend to rely on examples more connote inclusion of members of the than on clear-cut terms. This is because entire community and its many constituent cultural mapping is not an end in itself, but sectors as active participants. This principle a means to an end. Everyone agrees it is a of inclusiveness stems in part from the tool that can be applied in many ways. It has expansion of the definition of culture to been used to describe situations as varied include many more aspects of municipal life as the potential for cultural tourism and than high art, community art and heritage. the participation of diverse populations in It also includes social, economic and community art activities. environmental aspects. One thing we can conclude from the various It should be kept in mind that cultural definitions is that cultural mapping is mapping is a tool and a methodology, no basically a process of recording, analyzing matter what its application. It can be applied
PAGE 70 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
as easily to questions related to the health were providing narratives or other information of arts institutions and heritage societies as protected by traditional practices. to the inclusive promotion of creativity in all aspects of municipal life. Community Participation Participatory action research refers to Ethical Issues – Intellectual the approach and also the benefits of Property including community members in research Cultural mapping has been used by various projects of which they are the subject. agencies and groups to chart cultural What is indisputable is that involvement activities through space and also through in the process as the principal source of time. Notably in Australia, where there has information gives community members been an emphasis on diversity, its intention a sense of ownership and makes them has been to retrieve or identify artifacts and feel, quite rightly, that they influence the histories of indigenous and diverse groups, outcome of the project. bringing them into the mainstream by Mapping studies place varying degrees “putting them on the map.” of emphasis on the necessity of involving In those situations, information and data the individual community member, i.e. the about many aspects of culture, including oral person on the street or end user. Some histories and personal memories, have been researchers contact only individuals or sought from key informants or respondents groups with a direct relationship to the within the communities under study. As a resources under examination. In practice, result the exercise has in some cases involved the selection of groups or individuals for consideration of ethics and the protection inclusion depends upon the objectives and of intellectual property. This would be a breadth of your study. consideration in the Canadian context if Aboriginal peoples were included and if they
PAGE 71 APpendix B: maps
Appendix B:
PAGE 72 Maps appendix B: Maps
What Does a Cultural Map Artist-Drawn Maps Look Like? Land Trust Alliance. (2003). B.C. Islands The end result of cultural mapping is in the Salish Sea Community Mapping presumably some kind of map. A document Project: Portrait of a renowned community that has come to be regarded as a classic is in transition. a map created by the Inuit of Nunavut in the www.psat.wa.gov/Publications/03_ 1970s. It charts the natural and technical proceedings/PAPERS/ORAL/2d_harri.pdf resources in their territory that traditionally supported their physical survival. It is a Hand-Drawn Maps graphically rendered, topographical map that Poole, Peter. (2003, March). Cultural shows the locations of such resources as fish, Mapping and Indigenous Peoples. Forest caribou, moose and traplines, with a legend Peoples Programme, UNESCO. http://portal.unesco.org/culture that was created by the community itself. (see Poole, 2003) Search for ”Mapping of Indigenous Cultural Resources” Examples Cited in the Text Graphic Map using GIS Web-Based Map NSW Local Government, Australia – Cultural City of Toronto, (2003). Economic Map of Queanbeyan www.qcc.nsw.gov.au/culturalmap Development, Culture and Tourism – A Map of Toronto’s Cultural Facilities www.creativecity.ca/toolkits Web-Based Inventory City of Vancouver – On-line Public Art Web-Based Inventory Registry www.vancouver.ca/commsvcs/oca/ City of Vancouver – Performing Arts PublicArt/registry.htm Facilities Inventory www.vancouver.ca/facility_wac/facility. exe/venuelist_all Web-Based Tourist Map Halifax Regional Municipality – Art Map www.halifaxartmap.ns.ca/ Text-Based Report Community Arts Ontario – Cultural Mapping Project (2003) www.communityartsontario.ca/admindocs/ Cultural%20Mapping%20Project.pdf
PAGE 73 appendix c: tools
Appendix C:
Please note that these are examples only, to get you started.
PAGE 74 Tools appendix C: Tools
These can be set in collaboration with your community.
What do we need to know? How much time do we have/will it take? Objectives• identity – who we are, and what are theParameters ...... elements of our cultural identity ...... What is the scope of the study: ...... city-wide? neighbourhood or district? • taking stock – evaluation, adjustment of specific community or group? priorities, estimate of needs ...... Are we seeking: subjective, qualitative material, or ...... quantitative data? • problem-solving – measuring, tracking, investigating a specific situation ...... Who are our principal respondents and informants? ...... Is our objective to: describe our actual situation, or Do we want to include individuals as well as look for new information? groups as subjects? Yes No
Who needs to know – target audience? Should we include the general public as respondents? Yes No ...... Will we be preparing a:
GIS or graphic map? Who are our collaborators? Website? Text-based report? ...... Will the mapping activity continue into the What outcomes are we seeking or expecting? future on a periodic basis? Yes No ......
PAGE 75 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Expenses – these may be cash or in-kind expenses BudgetItem Amount Fees Consultant Interviewers Web or map design Data entry Interview design Communications Media releases Media conference Advertisements Meeting Expenses Facilitator Room bookings and equipment Refreshments Final Report Design/Printing Photocopying Distribution Total
Revenues – cash and in-kind (make sure in-kind revenues match in-kind expenses) Item Amount
Local government Other governments Provincial Federal Foundations Community partners Local university/college Local businesses Other Total
PAGE 76 appendix C: Tools
Many of these can be applied to either groups or individuals Corporate Activity/ Sector Scale structure Role Mandate Discipline Data Categories –Individual Examples artist Commercial Local Individual or group member Professional arts Built heritage Key individual Heritage Educational Provincial Public or leader Community arts society Informal Arts (pro and Government Federal Private association community) Museum Established Political Co-operative organization Heritage Literary Social Volunteer Institution Social service Media arts Government Collective program Advocacy Theatre Cultural industry Recreation Music Tourism Dance Aboriginal Visual arts Youth Research Seniors Literacy Diversity Environment
Function Definition of function
Producer Producer of original work, e.g., dance or theatre company, artist Presenter Presenter of work or shows, e.g., impresario, festival, gallery Facility Production facility, e.g., studio Venue Presentation venue, e.g., auditorium, hall, gallery Funder Public or private source of grants Administration Administrative and research support Association Association of artists or members of a demographic group Service Service organization Development Social development organization Educator Educational institution or group Promoter Publicity and promotion Media Communications media
PAGE 77 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada Function C Function Venue Service Function B Function Venue Venue Educator Educator Venue Educator Presenter Facility Educator Presenter Venue Educator Venue Function A Function Presenter Presenter Facility Producer Presenter Presenter Venue Venue Admin Presenter Educator Development Presenter Producer Facility Admin Venue Presenter Facility Venue Educator Producer Educator Funder Association Presenter Producer Presenter Presenter Promoter Presenter Presenter Discipline Theatre Visual Multiple Dance Multiple Theatre Visual Museum Multiple Media Multiple Multiple Heritage society Theatre Visual Visual Visual Multiple Multimedia Multiple Literary Theatre Visual Multiple Heritage society Music Music Multiple Literary Multiple Dance Museum Mandate Arts Professional Arts Commercial Community Arts Professional Arts Professional Arts Professional Arts Heritage Research Arts Aboriginal Social Service Heritage Arts Professional Arts Recreation Arts Arts Arts Arts Arts Arts Youth Social Service Heritage Professional Arts Arts Aboriginal Professional Arts Tourism Professional Arts Heritage S7K 0J5 S7K 4J1 S7H 0J8 S7K 3L3 S7K 3L3 S7K 3L6 S7K 2L7 S7L 0Z1 S7J 5A6 S7K 3R3 S7K 4A7 S7N 4S1 S7N 1B3 S7N 1B3 S7N 5B8 S7N 3R3 S7K 3G8 S7K 3G8 S7K 3G5 S7K 3G8 S7K 3G8 S7H 1C4 S7H 0H5 S7H 0H5 S7H 3G8 S7M 0R9 S7K 1M3 S7K 1M3 S7K 1M4 S7K 1M8 PC 0W8 S7M Address S. Avenue - 3rd - 245 600 St. W. - 20th 424 E. Spadina Cr. 601 East Street 11th 1202 Ave. Broadway 715 Ave. Broadway 715 N. Ave. Hall - 3rd City Place Diefenbaker 101 Drive Research 112 Hotel Bessborough Delta St. W. 22nd 917- St. E. 25th - 506 307 384 Box P.O. St. W. - 20th 430 S. Spadina Cr. South Avenue 3rd 402 N. Spadina Cr. Hotel Bessborough Delta St. W. - 20th 424 Dufferin Avenue 609 Hotel Bessborough Delta St. W. 228-20th S. Ave. - 3rd 253 N Avenue Fourth - 308 101 7051 Box South Avenue 3rd - 245 506 - 4th Avenue - 128 120 South Avenue Packham 335 200 Main St. 633 North Drive Idylwyld 6 - 305 1592 Box Avenue Melrose 2935 Neighbourhood CITY CENTRE RIVERSDALE CITY CENTRE VIEW VARSITY BROADWAY BROADWAY CITY CENTRE UNIVERSITY UNIVERSITY CITY CENTRE HILL PLEASANT CITY CENTRE EXHIBITION RIVERSDALE OUTSIDE LIMITS CITY CENTRE CITY CENTRE CITY CENTRE RIVERSDALE BROADWAY CITY CENTRE RIVERSDALE CITY CENTRE CITY CENTRE CITY BROADWAY, CENTRE, CASWELL KELSEY/WDLWN HILL, CITY CENTRE CITY CENTRE SUTHERLAND BROADWAY CITY CENTRE CASWELL HILL EXHIBITION Organization_Name Theatre Street 25th AKA Gallery Hotel Bessborough Delta Dance Association Ukrainian Boyan Theatre Broadway Series Youth Theatre Broadway Placement Sculpture Hall Temporary City Canada Centre Diefenbaker Consulting Fast Festival FLICKS Film Gabriel Dumont Institute Place Global Gathering Inc. of Saskatoon Festival Heritage du Jour La Troupe Artist Studios Leisureland Authority Valley Meewasin Mendel Art Gallery Children’s International Northern Sask. Festival Media Art & New paved & Spirit Centre Arts Refinery Experience Sage Hill Writing Inc. Company Theatre Native Saskatchewan Arts Youth Community Saskatoon Inc. Programming Foundation Saskatoon Society Heritage Saskatoon Jazz Society Saskatoon Society Symphony Saskatoon Council Tribal Saskatoon Ltd. Press Thistledown Saskatoon Tourism Incorporated Festival Vesna Museum Development Western 112 119 213 816 123 132 120 401 501 901 207 702 820 403 202 402 603 903 905 204 904 1012 1016 1017 1019 1021 1001 1020 1007 1005 1002 1008 Record ID Record Inventory Grid Inventory 1 2 5 7 8 12 16 17 19 21 41 81 74 24 55 42 78 26 34 35 39 45 58 83 20 85 84 110 107 120 106 100
PAGE 78 appendix C: Tools Client C Associations Literary Fringe theatre classes Yoga Lectures Indie theatre Jazz Fest Launches Community Client B Literary events Media Music tours Women’s festival Touring shows Heritage Festival Local musicians Community Touring shows Touring shows Client A Community Own programs Own film programs Indie theatre Own exhibits Own exhibits Music tours Own programs Own programs Individual artists Public art Own programs Attend/ Yr 1,500 500 20,000 7,500 6,000 15,000 2,500 5,000 500 Public Public 170,000 #Shows/ Yr 12 10 36 25 4 3 35 8 10 12 10 12 Seats 30-500 150 350 100 300 100 150 N/A N/A N/A N/A Venue Type Venue Halls, Meetings Hall Gallery, Auditorium Theatre, Gallery Gallery Hall Club Black box, Hall Gallery space Street Riverside Galleries, Hall Function C Function Venue Venue Function B Function Association Venue Presenter Presenter Venue Educator Facility Venue Educator Educator Venue Venue Educator Presenter Function A Function Producer Presenter Facility Presenter Association Educator Presenter Presenter Facility Presenter Admin Educator Development Presenter Funder Presenter Venue Promoter Venue Venue Presenter Producer Presenter Presenter Producer Producer Presenter Venue Facility Admin Venue Educator Discipline Dance Dance Multiple Heritage society Heritage society Literary Literary Media arts Media arts Multiple Multiple Multiple Multiple Multiple Multiple Multiple Multiple Multiple Museum Museum Music Music Theatre Theatre Theatre Theatre Visual Visual Visual Visual Visual Visual Organization Name Organization Boyan Ukrainian Dance Association Ukrainian Boyan Incorporated Festival Vesna Hotel Bessborough Delta Inc. of Saskatoon Festival Heritage Society Heritage Saskatoon Experience Sage Hill Writing Ltd. Press Thistledown Festival FLICKS Film Media Art & New paved Theatre Broadway Consulting Fast Gabriel Dumont Institute Place Global Gathering International Northern Sask. Festival Children’s Foundation Saskatoon Council Tribal Saskatoon & Spirit Centre Arts Refinery Saskatoon Tourism Canada Centre Diefenbaker Museum Development Western Jazz Society Saskatoon Society Symphony Saskatoon Theatre Street 25th Series Youth Theatre Broadway du Jour La Troupe Theatre Native Saskatchewan Inc. Company AKA Gallery Sculpture Hall Temporary City Placement Artist Studios Leisureland Authority Valley Meewasin Mendel Art Gallery Arts Youth Community Saskatoon Inc. Programming 112 119 213 812 816 120 103 701 102 104 401 901 403 503 405 202 402 508 603 903 905 1012 1017 1019 1021 1001 1020 1007 1005 1002 1006 1008 Record ID Record Venues – Usage (by discipline) (by Usage – Venues 5 1 6 7 8 2 12 17 19 41 21 81 91 74 24 55 42 57 70 34 47 52 39 83 20 85 92 44 90 107 106 100
PAGE 79 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Things to Consider in libraries, cinemas or malls; choose indoor CollectingDesigning Materials Data – locations with places to sit down (risk of SurveysWhat kind of information and do youInterviews need? low response rate) Who are your subjects? Do they fall into • planting survey administrators at key groups or types? locations (guarantee of response) • distribution and response via e-mail How much time do you plan to spend (generally good response) with each? • distribution at meetings of user groups How will you contact or gain access (good response rate) to them? • organizing specific meetings, such as How will you record results? What kind of community meetings (high response rate technology might you need? from those present) How will you tally the results? • telephone surveys of key informants (high response rate) Who can help you design your materials? Characteristics of Characteristics of the Interview the Survey • in-depth answers • reaches large numbers of people • scope for comments and explanations • can be self-administered • time-consuming, but a good investment • best for short questions and factual • more control over the process answers • logistics involve booking appointments • relies on their generosity with their time and travelling • can be returned automatically, e.g., • tallying results can be complicated and via e-mail time-consuming • questions can be tailored to solicit • response is guaranteed (although not specific information, e.g., multiple choice predictable) • tallying results can be very straightforward Suggested Methods • logistics involve delivering and collecting of Delivery materials • make appointments for in-person Suggested Methods sessions of Delivery • make telephone appointments • drop-off and pick-up of self-administered • organize focus groups; synergy can work surveys at activity locations such as for you
PAGE 80 appendix C: Tools
Subject Groups Your approach should probably be different for each. Following is a summary of suggestions for structuring your approach.
Interview Subject Group Data Sought Format Info Requested Length
Organizations Qualitatitve History, structure, - director Personal information from the function, support interview, 1-2 hours - board member source about principal systems, networks, focus group - front-line resources, networks vision worker
Key individuals Comments and - leaders overview on Personal Function, discipline, organizations, principal interview, resources used, needs, 1 hour - activists resources, community focus group vision structure
Individuals - artists Qualitative and quantitative Survey, Function, discipline, - workers information on attending their resources used, needs, 1/2 hour - users of facilities and resources meeting gaps services or available, usage, needs resources
Demographics, reasons Survey, for use (needs met), Information on rate of getting on User groups rate of usage, means 5-10 mins usage, access, needs their meeting of access, support agenda systems
Survey – self- Information on Demographics, reasons General Public adminstered or levels of awareness, for use, rate of usage, 5 mins administered preferences, usage, preferred means of max. by a project questions of access access member
PAGE 81 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Note on Permission to Sample Declaration – Use Survey and Interview Quoting Interview Material Responses I hereby consent to have the information The objectives of the mapping project and I contribute and comments I make in the uses of information gathered through the context of the (title of project) surveys and interviews must be clearly process directly attributed to me in understood and acceptable to the subjects. any report that may result. (Signature) It is helpful to provide interviewers with a OR brief written summary of these items for communication to their contacts and to build I prefer to remain anonymous. the summary into survey questionnaires Any information or comments I intended for passive distribution. contribute in the context of the (title of project) process are not Particularly in interview situations, there to be attributed directly to me in is the possibility that direct quotes will be any report that may result. inserted verbatim into the report. Alert the subjects to this possibility and ask them for their permission to use their contribution, if it is to be attributed to them. The request for permission can be built into the survey and interview format as a standard declaration. At that point you might also assure informants that you will let them know if you quote them, in what context, and how the quote will be attributed. You can perform that follow-up once the report has been drafted.
PAGE 82 appendix C: Tools
Interview - organization Baseline data Qualitative information SampleDate of the interview Questions Do you rent or own your facilities? Are they adequate? Identity of the organization – name, address, discipline, function How is your organization governed? How does one become a board member? Identity of the informant – name, role, history How do you promote your activities? Contact information – business card How do you recruit volunteers? When was your organization founded? How Do you feature local artists or did it get started? programming? If so, how do you select the work? What is your mandate? What kind of programming do you do? When do you do How far in advance do you set it? programming? What is your annual budget? What What role do you think your organization proportion is from grants, self-generated plays in the community? revenue, in-kind donations, charitable What kinds of other services do you offer donations? your members or the public? How many staff do you employ (full time/ What do you consider your greatest part time/seasonal)? How many volunteers success? Why did it work? do you involve and in what capacity? Has your level of revenue changed? To what What is your audience base? Do you collect do you attribute that? demographic information? Could we have a copy? Do you partner or share resources with other organizations? Please explain. If you are a facility, what are the features (number of seats, rooms, equipment)? Vision questions What trends do you perceive are affecting your activities? If you could change one thing about your situation, what would it be?
PAGE 83 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Interview - key individual Survey – individual artist, Baseline data worker or user of resources Date of interview Baseline data Date completed Identity of the informant – name, role, function, background Identity – Name (optional), role, discipline or activity, training, association or group Contact information Contact information – e-mail, telephone Have you been active in the community for (optional) very long? What got you started? What is your current involvement? For Quantitative information example, do you participate in interdisciplinary How long have you been a member of this or intersectoral groups? Do you teach? community/association/organization? What community resources or facilities do Qualitative information you regularly use? What do you consider to be your greatest contribution to this community? How often do you use them?
What do you consider to be the greatest Qualitative information contribution of the community to your Are the resources adequate to your needs? situation? Are they accessible and available? What kinds of facilities or resources do you What do you consider to be the strengths use in your personal work / in your work of your community or group? with the community? What unmet needs do you have as a worker/ What do you see as the strengths of community member/artist? your community? Additional comments? What networks do you participate in or rely on to share information or resources?
Vision questions What needs are not being met? What trends do you perceive that are affecting your community? If you could change one thing about the situation, what would it be? Who or what do you consider to be the prime movers or engines of change in the community?
PAGE 84 appendix C: Tools
Survey – Survey – general public user group members Baseline data Baseline data Date completed and location Date completed and location Identity – demographics, residency, Identity of informant – role, demographic, neighbourhood neighbourhood Quantitative information Identity of the organization, association What community resources or facilities do or resource – function, discipline/ you regularly use? / Which of the following activity, mandate resources do you use? Quantitative information Why do you use them/it? How long have you been a member of this How often do you use them/it? community/association/organization? How did you hear or find out about them/it? Why do you belong to this group? / Why do you use this community resource Do you find them/it satisfactory or not? or facility? Is it easy or difficult to gain access? How often do you use it? What makes it easy or difficult – price, transportation, parking, disability, Do you find it satisfactory or not? personal reasons? Have you checked out other, similar Do you know about this other, similar resources? resource? How did you hear about it? Is it easy or difficult to gain access? Additional comments? What makes it easy or difficult – price, transportation, parking, disability, personal reasons? Additional comments?
PAGE 85 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Optional: Inventory number of resource Name of resource
LegendFacility examples:
1 Cultural centre
2 Historic theatre
3 Dance studios
Keys
Colour Function Shape* Discipline Size Usage**
Blue Producer Church Built heritage Smallest - 1 Light Dark green Presenter Circle Heritage society 2 Red Facility Pen Literary 3 Moderate
Orange Venue Camera Media arts 4
Yellow Funder Masks Theatre Largest - 5 Heavy
Black Administration Palette Visual arts
Violet Association Treble clef Music
Cyan Service Silhouette Dance
Magenta Development Star Multiple arts Light green Educator Square Research Brown Promoter Book Literacy
Olive Media
* Note on shapes - Some of these may strike you as childish or obvious, but they are easy to capture and they communicate! ** Note on usage - Different functions will of course entail different scales of usage. For example, a facility such as a film co-op will have a smaller scale of usage than an auditorium.
PAGE 86 appendix C: Tools
A geographical information system (GIS) characteristics and features in an area. It can is a system for creating, storing, analyzing also be used to display quantities, densities, GISand managing spatial data and associated and change over time. Most importantly, attributes. In the strictest sense, it is a GIS does not have to be technically difficult computer system capable of integrating, or costly. In fact, a computer is not always storing, editing, analyzing, sharing, and necessary to implement GIS, although it is displaying geographically referenced now an increasingly computer-aided tool. information. In a more generic sense, GIS is (Poole, 2003) a tool that allows users to create interactive GIS systems are used in cartography and queries (i.e. user created searches), analyze in urban planning. Your city hall, your local the spatial information, and edit data. college or the closest university will most GIS comprises databases of objects that are probably use GIS for some purpose. If so, geographically referenced, that is, identified ask if there is someone acquainted with by their geographical location. In the GIS who could help you to draw your map. case of a municipality, objects are usually Usually they can work with data entered identified by their street address. If you will into a spreadsheet. be using GIS to create your map, be sure to In a report on the 2005 Cultural Planners have an exact address for your resources. Forum in Toronto, Greg Baeker, Bill Bulick GIS is an innovative information-technology and Victoria Stasiuk note “there is often based tool that enables you to do more excess capacity in GIS in many cities (i.e. than just draw maps and pictures. GIS allows staff time and technology) to be directed you to organize and reveal multiple layers toward cultural planning issues. GIS can be of information, which can help highlight used to map demand as well as supply of relationships among disparate types of cultural facilities/activities/programming.”
PAGE 87 CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Please note that this is an example only, to get you started. 1. Executive Summary 5. Expression of Findings
• project objectives – background • design of map or website Report • scope of the Outline project • description of relationships • summary of findings and conclusions • introduce map or website 6. Recommendations • summary of recommendations • based on conclusions
2. Objectives and Rationale APPENDICES
- results of initial community meetings 3. Cultural Mapping Exercise - survey and interview materials – sample • definition and use of cultural mapping questionnaires • parameters for the current exercise - results of surveys and interviews • population studied - profiles of and comments by informants • terminology - inventory grid(s) • community participation and input - GIS or site map • data collection methods – surveys, interviews, focus groups, meetings
4. Findings and Conclusions
• primary outcomes – central question – findings • secondary outcomes – unanticipated findings • conclusions from findings
PAGE 88 appendix D: references
Appendix D:
PAGE 89 References appendix D: references
CITED IN THE TEXT Other Interesting INFORMATION City of Toronto Division of Economic Development, Culture and Tourism. (2003). UNESCO Bangkok – Cultural Mapping www.unescobkk.org/index.php?id=2536 A Map of Toronto’s Cultural Facilities. Toronto: City of Toronto. ACT (Australian Capital Territory) Clark, I., Sutherland, J., & Young, G. (1995). Government – Arts, Culture and Heritage Mapping Culture: A Guide for Cultural and – Cultural Maps Economic Development in Communities. www.act.gov.au/CAP/accesspoint/ Canberra: AGPS. jsp?action=menuHome Harmon, Katherine. (2004). You Are Here: Personal Geographies and Other Maps Thurrock Council, UK – of the Imagination. New York: Princeton Thames Gateway Project www.visionarythurrock.org.uk/docs/ Architectural Press. home/outcomes.html Martin, Joanne. (2002). Organizational
Culture: Mapping the Terrain. Thousand Deborah Mills – Cultural Planning – Oaks, CA: Sage Publications, Foundation for Policy Task, not Tool Organizational Science. www.ccd.net/pdf/art55_cultural_ Radbourne, Jennifer. (Winter 2001). planning.pdf Full House Theory: A New Theory for Assessing Demand for Arts Centers. Journal Vancouver Culture Guide of Arts Management, Law and Society, 30 (4), http://powerofdesign.aiga.org/ 254-268. cultureguide/flash_content/index.html
United Nations Educational, Scientific and The University of Illinois at Urbana- Cultural Organization. (No Date). Cultural Champaign. (2005). Mapping Cultural Mapping. Paris: UNESCO. and Network Assets in Three Chicago Wood, Denis. (1992). The Power of Maps. Communities. New York: The Guildford Press. http://sonic.ncsa.uiuc.edu/Nosh/ externalfunded/Rockefeller.pdf Young, Greg. (December 2003). Cultural Mapping in a Global World. A NSW Ministry for the Arts & Department keynote speech at the ASEAN Committee of Local Government – Cultural Planning on Culture and Information (COCI). Guidelines for Local Government. Adelaide, South Australian: Cultural www.arts.nsw.gov.au/WhatsNew/CPG.htm Mapping Symposium & Workshop. www.fbe.unsw.edu.au/news/2004/14/1.pdf
PAGE 90 Sue Stewart Sue Stewart has worked in arts administration and cultural delvelopment for over 20 years. She grew up bilingual in Québec and studied literature, communications and translation in Canada and the US. She exercised her language skills in literary publishing and theatre before becoming a cultural administrator in municipal and federal government. Promoting the interests of minority- language, diverse and artist-run groups has given her a grounding in local community dynamics, and working with the Canada Council for the Arts brought a national perspective. As the Arts Consultant for the City of Saskatoon, she conducted a pilot study on municipal cultural mapping with the Saskatchewan Arts Board and the Manitoba Arts Council.
2010 LEGACIES NOW 2010 Legacies Now is a not-for-profit society that works in partnership with community organizations, non-government organizations (NGOs), the private sector and all levels of government to develop sustainable legacies in sport & recreation, arts, literacy, and volunteerism. 2010 Legacies Now actively assists communities discover and create unique and inclusive social and economic opportunities leading up to and beyond the 2010 Olympic and Paralympic Winter Games. For more information, visit www.2010Legaciesnow.com.
Creative City Network of Canada Transforming Communities Through Culture The Creative City Network of Canada/Réseau des villes créatives du Canada (CCN) is a national non-profit organization that operates as a knowledge-sharing, research, public education, and professional development resource in the field of local cultural policy, planning and practice. Through its work, the Creative City Network helps build the capacity of local cultural planning professionals – and by extension local governments – to nurture and support cultural development in their communities. By doing so, the Creative City Network aims to improve the operating climate and conditions for artists and arts and cultural organizations across the country, and the quality of life in Canadian communities of all sizes. The members of the Creative City Network are local governments across Canada. More information is available at www.creativecity.ca 400 - 1095 West Pender Street Vancouver, British Columbia V6e 2m6 Www.2010legaciesnow.com
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