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Strategic directions for culture

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As the culture sector gains recognition as a significant contributor to knowledge-based economies and as a driver of social benefits, many jurisdictions in Canada, Europe, the United Kingdom, the United States, Australia, and New Zealand are developing or refreshing their culture policies. As in Ontario, the culture sector in these jurisdictions is adapting to change driven by digital technologies, globalization, the fiscal environment, and demographic shifts.

As part of this environmental scan, the authors reviewed arts and culture strategies and related documents from other Canadian^{footnote 412[412]} and international jurisdictions. Implementation approaches varied, but several common strategic directions emerged:

Fostering inclusion by promoting cultural diversity as an asset to creative expression and social cohesion, and respecting Indigenous cultures;
Strengthening communities by fostering sense of place, enhancing tourism, and building capacity for sustainable development;
Enhancing the economic benefits of culture by accessing global markets and strengthening financial capacity;
Leveraging digital technologies by establishing new organizations and adopting digital strategies;
Investing in the culture sector workforce by promoting skills development and workforce sustainability; and
Encouraging collaboration and partnerships across sectors (e.g., with business, health, technology, environment) and between levels of government or government departments.

These themes may be useful to Ontario as it develops its culture strategy.

Fostering inclusion

Many jurisdictions make diversity and inclusion a cornerstone of their culture strategy. For example, “Diversity and Access” is one of the guiding principles of Alberta’s culture policy. The objective is to foster a sense of belonging through participation in cultural activities that reflect and celebrate Alberta’s Aboriginal traditions and contemporary cultures.^{footnote 413[413]}

Similarly, a guiding principle in the Australia Council for the Arts Cultural Engagement Framework is that respecting and interacting with cultural diversity makes the arts more relevant, dynamic, innovative, and reflective of Australia.^{footnote 414[414]}

Through their strategic plans, arts councils in a number of jurisdictions aim to expand participation in culture and reduce historical and systemic barriers. The Ontario Arts Council’s recent strategic plan Vital Arts and Public Value identifies Deaf artists and artists with disabilities, Aboriginal artists, artists of colour, francophone artists, and new generation artists (aged 18 to 30) as priority groups.^{footnote 415[415]} With a focus on these priority groups, the plan commits to ensuring fair and equitable access to funding programs and processes and to learning opportunities.^{footnote 416[416]} The plan includes collecting and sharing stories reflecting the diversity of Ontario artists and their work.

Indigenous communities

Access to and participation in culture by Indigenous communities is a priority in several Canadian culture policies.^{footnote 417[417]} For example, New Brunswick seeks to preserve Indigenous artists’ and First Nations’ heritage and promote it to the rest of the population.^{footnote 418[418]} It emphasizes creating partnerships with First Nations to share and disseminate cultural goods and experiences.

Newfoundland and Labrador’s policy enshrines the principle of cultural and linguistic diversity, including that of Indigenous peoples.^{footnote 419[419]} Its strategic direction “Aboriginal peoples and communities” recognizes the distinctive contributions of Indigenous peoples to the province’s cultural diversity and asserts the goal of ensuring that Indigenous communities direct and control their cultural development and preservation. The policy aims to ensure financial support to Indigenous artists and communities so that they have the means to preserve and foster their distinct cultures.^{footnote 420[420]}

One of the key goals in the Northwest Territory’s culture and heritage strategic framework, Strong Cultures, Strong Territory 2015, is respect for diversity. Their priorities and principles highlight the importance of respecting the foundational role of Aboriginal cultures, clearly recognizing the legacy of colonialism and residential schools on Aboriginal cultures. This priority specifically recognizes the importance of language. The Northwest Territories has 11 official languages, English, French and 9 different Aboriginal languages.^{footnote 421[421]} This priority commits to supporting Aboriginal communities in the revitalization and protection of these languages. The framework also includes the recognition of traditional place names, and other aspects of intangible heritage such as skills, knowledge and traditional practices.^{footnote 422[422]}

In Australia, the New South Wales Aboriginal Arts and Cultural Strategy aims to increase the participation and recognition of Aboriginal people in cultural activities. The strategy also seeks to strengthen the culture sector and support the development of Aboriginal jobs and enterprises within the cultural industries through residencies, workshops, and mentorships.^{footnote 423[423]} The strategy also includes partnering with arts and cultural organizations to create a network of Aboriginal educational and curatorial workers who can undertake cross-agency initiatives that encourage Indigenous people to participate as audience-members or contributors.

Francophone communities

Although Francophone cultural producers share many of the same challenges as their English-speaking counterparts, these challenges are exacerbated by the small and dispersed population and the smaller communities in which some cultural producers work. A study conducted by the Office of the Commissioner of Official Languages found that demographic decline, and lack of dedicated facilities for the arts and development opportunities has a major impact on artists working in Francophone communities.^{footnote 424[424]}

Touring, audience development, promotion and export to the Québec and French markets, access to professional development opportunities in French and media exposure, are significant challenges for Francophone artists and cultural producers.^{footnote 425[425]} For example, television still dominates the media-consumption habits of Franco-Ontarians. However, while 91% of Francophone youth in Ontario watch television on average 14 hours per week, a significant proportion of youth (41%) only watch English stations.^{footnote 426[426]} Therefore, a large number of Francophone youth are not consuming Francophone cultural products.

To address these specific and inherent challenges, New-Brunswick emphasizes Francophone linguistic and cultural development in their cultural policy. For example, the policy promotes the goal of enhancing identity and community pride by developing opportunities for cultural exchange to ensure that members of both official language groups share their cultural experiences with each other.^{footnote 427[427]}

New Brunswick’s strategy also recognizes the importance of supporting French-language schools as a place for linguistic and cultural development.^{footnote 428[428]} The strategy links to New Brunswick’s Linguistic and Cultural Development Policy (2014), which reinforces the connection between the French-language and the vitality of French-speaking culture.^{footnote 429[429]} In French-speaking Ontario, French-language schools have a similar mandate to protect, enhance and transmit the French language and culture.^{footnote 430[430]} This objective is achieved by curriculum that is adapted to the Francophone community as well as the integration of cultural activities into the school.^{footnote 431[431]}

By virtue of Section 41 of the Official Languages Act, the federal government supports the development of official-language minority communities by supporting cultural organizations. To support this, the federal government has struck agreements with federal agencies such as the Canada Council for the Arts, Telefilm and National Film Board to foster greater participation of Franco-Canadian artists in their programs.

Youth, seniors and people with disabilities

Some jurisdictions have developed specific strategies or initiatives to ensure greater access to cultural activities for seniors, youth, and people with disabilities.

Creative Scotland, Time to Shine, the country’s first national youth arts strategy, aims to support youth to flourish and achieve.^{footnote 432[432]} Key initiatives include funding to establish youth arts hubs across Scotland, develop new ways for young people to participate in the arts, nurture young talent, and develop young peoples’ digital creativity.^{footnote 433[433]}

In Northern Ireland, the Arts and Older People Strategy of the Arts Council of Northern Ireland^{footnote 434[434]} assists seniors in increasing their access to and participation in the arts. The strategy aims to promote tolerance, inclusion, and health and well-being. It addresses the social and creative needs of seniors through participation in the arts, encouraging active living and life-long learning, supporting opportunities for volunteering, and raising awareness of issues affecting seniors.^{footnote 435[435]}

Northern Ireland has also developed an Arts and Disability Policy. The country has the highest rate of disability in the UK and Ireland. More than 20% of the population are people with disabilities. For this reason, improving access to and participation in the arts is a priority.^{footnote 436[436]} The Policy puts forward a number of strategies for addressing the need, including a national central information point for artists with disabilities, easy-to-understand information on funding opportunities and assistance with applications, inclusive professional development programs, and local peer support and networking programs. The policy also aims to create a more inclusive infrastructure through actions aimed at attitudinal change, encouraging proactive support for artists with disabilities by cultural organizations, and monitoring of access by the Arts Council.^{footnote 437[437]}

Strengthening communities

Recognizing the role of culture in enhancing sense of place, promoting tourism, and supporting sustainable development, government strategies in many jurisdictions are seeking to leverage investment in culture to strengthen communities. Many such strategies emphasize the importance of partnerships.

Sense of place

The Nova Scotia Leadership Council recommends engaging the culture sector to help create employment, respond to population aging, curtail outward migration, and diversify local economies.^{footnote 438[438]} Their recommended strategy is to seek relationships to strengthen local economies, and to help communities develop strong, place-based experiences that attract creative people and industries.

Pride of Saskatchewan similarly recognizes the role of culture in creating vital communities with a high quality of life and distinctive character that make them attractive places to live, attract business, and promote tourism.^{footnote 439[439]}

New Brunswick’s culture policy recognizes the role that the conservation of built heritage plays in the revitalization of city cores and main streets, and the benefits to the environment and the local economy. The policy takes this one step further and includes actions related to creating a unique contemporary built environment through a public art policy, improved design and planning approaches, and support for educational programs related to urban design.^{footnote 440[440]}

Cultural tourism

Culture is integral to tourism. The Statistics Canada Travel Survey of Residents of Canada and International Travel Survey (2012) reports that 11% of overnight trips by US residents and 31% of overnight trips by overseas residents included visiting museums or art galleries. These numbers are even higher for historic sites. The same report found that 19% of overnight trips by US residents and 41% of overnight trips by overseas residents included visiting a historic site.^{footnote 441[441]} Culture is an important trip motivator and trip enhancer for the North American market, but it is an even more important for attracting overseas travellers, who stay longer and contribute significantly to economic prosperity and growth.

The Ontario Tourism Marketing Partnership Corporation (OTMPC) 2012 Consumer Insight Study found that events and festivals, as well as museums, history, and galleries are major attractions for tourists.^{footnote 442[442]} Canadian, American, and overseas visitors expect to include culture in their itineraries. The 2009 Ontario Tourism Competitiveness Strategy recognized that investing in major festivals and events would help raise the profile of Ontario and capitalize on the province’s strong culture sector, as well as its sport infrastructure and natural assets.^{footnote 443[443]}

A key priority of the Queensland Arts Strategy in Australia is to grow cultural tourism and to encourage place-based participation in culture. The strategy aims to support unique cultural experiences by partnering with regional tourism organizations and local governments. It is expected that working with tourism bodies to promote local assets will generate cultural and economic impact and strengthen community identity and pride.^{footnote 444[444]}

In New Zealand, arts, culture, heritage, and tourism are even more strongly linked through the New Zealand Arts, Cultural and Heritage Tourism Strategy to 2015 (2008). The strategy focuses on raising awareness of New Zealand arts, culture, and heritage among international and domestic travelers.^{footnote 445[445]} The plan is to promote New Zealand culture in the domestic market, encourage deeper engagement between the culture and tourism sectors, and build tourism capability in cultural organizations.

Sustainable development

Culture is increasingly being linked to environmental sustainability. In Ontario, culture is recognized as a fundamental aspect of the environment. Protection of cultural heritage resources is built into environmental assessment processes, legislation, and policy. The Ontario Heritage Trust, through its land acquisition, public awareness, and awards programs is also building connections between environmental sustainability and heritage protection.

Quebec’s Agenda 21 for Culture positions culture within the government’s strategy for sustainable development.^{footnote 446[446]} The policy connects biodiversity and cultural diversity through the stories, uses, and preservation of cultural landscapes. The policy’s three priorities include the protection, promotion, and preservation of cultural diversity as essential to sustainable development, the responsible and sustainable use of cultural heritage resources, and support for creativity and social and technological innovation as essential to the long-term viability of development. An action plan supports implementation of the strategy.^{footnote 447[447]}

Scotland and Ireland have introduced cultural landscape conservation strategies that integrate principles of sustainable development. “Our Place in Time: The Historic Environment Strategy for Scotland” is a high-level framework setting out a 10-year vision for the historic environment.^{footnote 448[448]} The key outcome of the strategy is to ensure that the cultural, social, environmental, and economic value of Scotland’s heritage makes a strong contribution to the well-being of the nation and its people. The strategy positions Scotland’s historic environment as a sustainable resource, for example through the sustainable reuse of historic buildings and sustainable management of heritage landscapes.

Similarly, Ireland’s National Landscape Strategy promotes the sustainable protection, management, and planning of cultural landscapes.^{footnote 449[449]} The strategy recognizes the contribution of cultural landscapes to the well-being of society, the environment, and the economy and aims to balance environmental and economic considerations with social and cultural needs.

Enhancing the economic benefits of culture

In many jurisdictions, the cultural industries are perceived to be drivers of economic growth, generating significant GDP directly or indirectly.^{footnote 450[450]} Many jurisdictions are developing sector-specific strategies to help promote their cultural industries globally and strengthen the financial capacity of companies and individuals involved in the production of cultural products and services.

The UK has implemented numerous strategies to support the creative industries, including infrastructure development, skills building, exports, and innovation. Because of its long-standing recognition of the sector’s importance, the UK has developed sophisticated tracking of the economic performance of the culture sector.^{footnote 451[451]}

Business innovation

To foster the growth of the cultural industries, many jurisdictions are supporting innovation, encouraging exports, and strengthening financial capacity to gain competitive advantage globally. Across the US, states such as Arkansas, Colorado, and Mississippi are supporting the development of innovation hubs, cultural districts, and spaces for artists and other creative talent to cluster.^{footnote 452[452]} These strategies facilitate co-location or geographic clustering of complementary industries and the removal of physical, social, or cultural barriers to collaboration.^{footnote 453[453]}

Creative incubators are emerging to help young companies grow. The DMZ (formerly Digital Media Zone) at Ryerson University in Toronto is Canada’s first-ranked university incubator and fifth in the world^{footnote 454[454]} At the DMZ, students, alumni, and young entrepreneurs collaborate and innovate to develop new technology-driven products. Since its launch in 2009, the DMZ has helped young digital industry companies, including those working in entertainment, to raise over $70 million in seed funding and create over 1,500 jobs.^{footnote 455[455]}

The University of Abertay in Dundee, Scotland, created White Space, a business incubator mixing the talents of computer arts students, staff, business people, broadcasters, and artists, encouraging them to work across disciplines. The Grand Theft Auto franchise was originally developed in Dundee, now a major seat of games development and other creative businesses, driven by innovations emerging from the University of Abertay.^{footnote 456[456]}

Accessing international markets

International markets provide opportunities for exports, creative collaboration, and increased global visibility for Ontario’s culture sector. The Ontario Media Development Corporation’s Export Fund provides funding to book publishing, film and television, and interactive digital media companies for business-building trips to international markets and trade fairs.^{footnote 457[457]} The Ontario government also promotes music exports through the Ontario Music Fund.

Saskatchewan’s culture policy promotes new partnerships between culture, business, technology, and educational institutions to develop brand recognition and market opportunities for cultural products at the provincial, national, and international level. It also aims to make First Nations and Métis cultural products available and accessible to a growing audience.^{footnote 458[458]}

At the national level, the Canada Council for the Arts supports artists and arts organizations to access international markets, strengthen international collaboration, and engage a broader public.^{footnote 459[459]} Quebec’s provincial arts council, le Conseil des arts et lettres du Québec, developed an international action plan, recognizing that the international marketplace for the arts provides significant opportunities to increase and diversify revenues, to collaborate and innovate on creative projects, and to promote Quebec on the global stage.^{footnote 460[460]}

The strategy of providing opportunities to increase access to international markets is an international trend. In the UK, the Trade and Investment department’s International Strategy for the Creative Industries focuses on helping companies develop global partnerships.^{footnote 461[461]} The strategy brings together domestic companies with overseas businesses and organizations in informal consortia. Another UK example is the British Museum, which has an extensive international touring exhibition program. Each year, the program allows more than two million people outside the UK to see parts of the collection.^{footnote 462[462]}

Denmark is seeking to strengthen its brand as a creative country with unique strengths in design, fashion, and architecture. It plans to leverage cultural industries such as film and television to encourage international collaborations and help attract talent and cultural tourists.^{footnote 463[463]}

Capital investment

Companies in the cultural industries sector require access to capital in order to grow. Financial instruments that support access to capital are particularly important for small and medium-sized enterprises (SMEs).^{footnote 464[464]} Government responses to the financing gap for culture-related SMEs include tax incentives, public sector loans and equity investments, and grants.

An innovative approach in Europe is to offer loan guarantees to private lending institutions to encourage lending to the culture sector. Under the European Union’s framework of support for the cultural and creative industry sectors, Creative Europe includes a new loan guarantee facility for small cultural enterprises in architecture, archives and libraries, artistic crafts, audio-visual (including film, television, video games, and multimedia), cultural heritage, design, festivals, music, performing arts, publishing, radio, and visual arts.^{footnote 465[465]} In addition, the program aims to increase understanding of the culture sector within European financial institutions by providing training and sharing expertise.^{footnote 466[466]}

Leveraging digital technologies

Digital technologies and the Internet afford unprecedented opportunities for access to culture. Quebec, Australia, New Zealand, the UK, and other jurisdictions are developing policies to encourage the development and distribution of cultural products using digital technologies.^{footnote 467[467]} These policies are far-reaching, addressing infrastructure needs such as bandwidth and Internet access, digital skills development, and digital cultural content creation, production, distribution, and use.

Creative Australia’s National Cultural Policy will encourage production of innovative Australian content for emerging platforms. The policy recognizes that digital technologies drive the creation of new cultural products and their distribution, and that digital technologies can expand the capacity of audiences to engage with content. The policy provides for significant new government investment in digital content. It will also ensure that Australia’s regulatory environment is conducive to digital content creation, including a review of its copyright legislation.^{footnote 468[468]}

In Quebec, the Ministry of Culture and Communications has developed a comprehensive digital strategy for the culture sector built around three priority directions: 1) to increase the supply of digital cultural content; 2) to ensure that this content is distributed and available to the public; and 3) to ensure a conducive business environment; for example, by strengthening protection of intellectual property. ^{footnote 469[469]}

Other jurisdictions are building digital priorities into sector-specific strategies. For example, Yukon’s Department of Tourism and Culture recognizes the importance of the digital preservation of its cultural heritage and is developing a digital preservation management policy. The policy aims to strengthen historic and heritage resources management and ensure that Yukon’s art, material culture, and archival and natural history collections are properly managed.^{footnote 470[470]}

Like Ontario, many jurisdictions are recognizing the role of libraries in providing access to digital technology. One of the key priorities of the Scottish National Library Strategy is to ensure universal digital inclusion by promoting virtual libraries and digital library services, creating a national solution to increasing the lending of e-books, promoting digital and information literacy, and providing access to digital technologies not generally available in other public places.^{footnote 471[471]} The Irish National Library Strategy seeks to ensure that libraries support building digital literacy skills in the community for everyone by creating a single national digital online library, accessible to all citizens.^{footnote 472[472]}

Investing in the culture sector workforce

Investing in the culture sector workforce, whether business, technical, or creative professionals, ensures that they have access to skills they need to innovate, seize business opportunities, and design and deliver digital products and services to the public.

The Ontario Arts Council’s strategic plan prioritizes strengthening skills, capacity building, and sharing knowledge among Ontario’s artists and arts organizations. Objectives include ensuring that artists and other arts professionals have access to learning opportunities and convening, connecting, and promoting collaboration within the arts community.^{footnote 473[473]}

Education and training

Several Canadian jurisdictions have culture policies to encourage careers in the culture sector, strengthen the sector’s competitiveness, and build future demand for cultural goods.

New Brunswick cites increased recognition and support for artists as one of the key goals of its policy, to be achieved by identifying, supporting, and promoting professional development through education and training opportunities for professional artists.^{footnote 474[474]}

BC Creative Futures is an education, arts engagement, and professional skills training strategy aimed at strengthening the province’s creative economy. The strategy supports the province-wide BC Jobs Plan and aims to develop the next generation of creative leaders. It focuses on programing for young people, post-secondary programs, scholarship programs, and co-op placements to promote young professionals working in BC’s creative businesses.^{footnote 475[475]}

Digital skills

Developing digital skills allows creative individuals and companies to seize new business and creative opportunities. Australia’s creative industry strategy recognizes the importance of creative and digital skills in creating a more innovative workforce and provides three national initiatives designed to improve digital skills in the sector. The Workforce Innovation Program supports digital skills development through creative industry associations.^{footnote 476[476]}

Scotland has recently released its skills investment plan for the creative industries.^{footnote 477[477]} The plan recognizes the importance of developing skills in entrepreneurship, communication, and leadership. The plan also acknowledges the growing demand for “digital skills in relation to design capability, use of technology to support creative storytelling, and in business practice.”^{footnote 478[478]} In describing the role of digital and computing skills in driving the creative sector, the plan notes that digital skills are relevant for new entrants to the creative workforce. Senior managers also need a solid understanding of the commercial opportunities afforded by digital exploitation, including how to plan for and execute digital strategies.

Leadership

Leadership and succession planning continue to be an important issue in the culture sector. For example, in Arts Council England’s strategic framework for the arts, a key priority is to increase arts leadership skills to enhance leaders’ understanding of their communities, ability to work creatively with a wide range of people, and understanding of the potential of digital technologies. The framework specifies skills development, collaborative working, and knowledge-sharing as priority areas for action.^{footnote 479[479]}

Saskatchewan’s strategic plan focuses on ensuring that the culture sector has the business skills to succeed commercially. The plan emphasizes building organizational capacity in leadership, human and financial resources, infrastructure, and strategic plans.^{footnote 480[480]}

In 2013, the Ontario Museum Association (OMA) launched the museumsuccession project to enable organizational capacity-building, enhance governance models, encourage career and professional development, and support planning for sustainability and leadership. A key component of the program provides training and resources to help museum professionals develop skills to meet the challenges facing the sector and ensure smooth leadership transition.

Within the arts community, some arts funding organizations and private foundations are creating tools and online resources to help arts groups plan for new leadership. For example, in the US, the National Arts Strategies Foundation provides training and online resources to support leadership development in the arts,^{footnote 481[481]} and the National Alliance of Media Arts and Culture, which developed the long-standing Leadership Institute, relaunched it in 2015 as the Creative Leadership Lab in a partnership with the Sundance Film Institute.^{footnote 482[482]}

Encouraging collaboration and partnerships

A trend in culture policy is to encourage collaboration across government departments and levels of government. Another is to strengthen partnerships across sectors, including business, health, education, and technology.

Newfoundland and Labrador’s culture policy promotes partnerships between artists and the private sector. The policy commits to the establishment of a working group with the Newfoundland and Labrador Arts Council, and key stakeholders to investigate and develop cultural partnership initiatives with the private sector.^{footnote 483[483]} The plan encourages companies that are involved in culture to establish work placements, internships, and training opportunities to help assist the culture sector. It also addresses businesses that are not directly involved in the culture sector to use the services of the sector (e.g. donate, adapt and use arts and heritage structures, use arts and heritage design and techniques in manufacturing, and develop products that target the needs of the culture sector). The policy also commits the Newfoundland and Labrador government to promoting awareness of the culture sector to the province’s chambers of commerce, business and industry groups.^{footnote 484[484]}

Some jurisdictions are encouraging greater synergy between culture and other sectors to leverage new resources, and address fiscal realities, broaden social benefits, and fuel innovation.^{footnote 485[485]} For example, the 2015 Report by the Warwick Commission on the Future of Cultural Value makes an economic argument that the cultural and creative industries and traditions are important to the British economy and that future sustainability and growth need to become a priority for public sector investment. The report sets out a “Blueprint for Growth,” a set of goals to enhance the interconnected sectors that make up the cultural industries (e.g. publishing, film, TV, video, design, crafts, architecture, music, museums, galleries and libraries, etc.).^{footnote 486[486]} The report emphasizes the economic benefits of the culture “ecosystem” as the fastest-growing industry in the UK. Recommendations include taking a joint approach to culture policy making by making the connection between culture, heritage, and creativity across various government departments, including Business, Innovation and Skills, Education, Department for Environment, Food and Rural Affairs in order to increase and emphasize investment potential for the culture sector.^{footnote 487[487]}

The Arts Advocate and its partners recently brought together a number of sector leaders to explore challenges and opportunities for the culture sector. The keynote speaker, Matthew Taylor of the Royal Society for the Arts, challenged the culture sector to think differently and embrace opportunities to collaborate more with other sectors. He articulated the theme of the symposium, that culture sector needs to move away from the “ask” to making an “offer”.^{footnote 488[488]} Culture organizations should invite local governments to explain their challenges and think about how the culture sector could make a unique contribution to solving social issues. The arts, heritage, and cultural industries have much to offer other sectors, including creativity, innovation, collaboration, and a captive audience.

Footnotes

footnote[412] Back to paragraph Canadian jurisdictions examined include Yukon, North West Territories, British Columbia, Alberta, Saskatchewan, Manitoba, Ontario, Quebec, New Brunswick, Nova Scotia, Prince Edward Island and Newfoundland and Labrador.
footnote[413] Back to paragraph Alberta, “The Spirit of Alberta: Alberta’s Cultural Policy” (Alberta, 2008).
footnote[414] Back to paragraph Australia Council for the Arts.
footnote[415] Back to paragraph Ontario Arts Council, “Vital Arts and Public Value,” 6. Note: The term “artists of colour” is based on the Statistics Canada definition of “visible minority”.
footnote[416] Back to paragraph Ontario Arts Council, “Vital Arts and Public Value.”
footnote[417] Back to paragraph For example, Yukon, Alberta, Quebec, Saskatchewan, Newfoundland and Labrador, New Brunswick, and British Columbia.
footnote[418] Back to paragraph New Brunswick, “Creative Futures: A Renewed Cultural Policy for New Brunswick, 2014-2019” (New Brunswick, June 2014).
footnote[419] Back to paragraph Newfoundland and Labrador, “Creative Newfoundland and Labrador: The Blueprint for Development and Investment in Culture” (Newfoundland and Labrador, 2006).
footnote[420] Back to paragraph Newfoundland and Labrador, “Creative Newfoundland and Labrador.”
footnote[421] Back to paragraph Northwest Territories, “Strong Cultures, Strong Territory: GNWT Culture and Heritage Strategic Framework, 2015-2025” (Northwest Territories, 2015): 11.
footnote[422] Back to paragraph Northwest Territories, “Strong Cultures, Strong Territory,” 13.
footnote[423] Back to paragraph Arts New South Wales, Communities New South Wales, “NSW Aboriginal Arts and Cultural Strategy 2010.”
footnote[424] Back to paragraph Canada, Office of the Commissioner of Official Languages, “Federal Government Support for the Arts and Culture in Official Language Minority Communities” (Canada, 2008): 12.
footnote[425] Back to paragraph Fédération culturelle canadienne-française and Canada Council for the Arts, “A Current Look at the situation of artists in the Canadian francophonie, Canadian Institute for Research on Linguistic Minorities” (2013).
footnote[426] Back to paragraph Ontario, Office of Francophone Affairs and Groupe Média TFO, “The Media Habits of Francophones in Ontario” (Ontario, 2013).
footnote[427] Back to paragraph New Brunswick, “Creative Futures,” 12.
footnote[428] Back to paragraph New Brunswick, “Creative Futures,” 13.
footnote[429] Back to paragraph New Brunswick, “Creative Futures,” 33.
footnote[430] Back to paragraph Ontario, “The Aménagement Linguistique: A Policy for Ontario’s French-Language Schools and Francophone Community” (Ontario, 2004).
footnote[431] Back to paragraph Ontario, “The Aménagement Linguistique.”
footnote[432] Back to paragraph Creative Scotland, “Time to Shine: Scotland’s Youth Strategy for Ages 0-25” (Creative Scotland, 2014).
footnote[433] Back to paragraph Creative Scotland, “Time to Shine.”
footnote[434] Back to paragraph Arts Council of Northern Ireland, “The Arts and Older People Strategy” (Arts Council of Northern Ireland, 2010).
footnote[435] Back to paragraph Arts Council of Northern Ireland, “The Arts and Older People Strategy.”
footnote[436] Back to paragraph Arts Council of Northern Ireland, “Arts and Disability Policy, 2013-2018” (Arts Council of Northern Ireland, 2014): 9-10.
footnote[437] Back to paragraph Arts Council of Northern Ireland, “Arts and Disability Policy, 2013-2018,” 10
footnote[438] Back to paragraph Creative Nova Scotia Leadership Council (CNSLC), “Culture: Nova Scotia’s Future” (CNSLC, 2014): 10.
footnote[439] Back to paragraph Saskatchewan, “Pride of Saskatchewan: A Policy Where Culture, Community and Commerce Meet” (Saskatchewan, 2010): 5.
footnote[440] Back to paragraph New Brunswick, “Creative New Brunswick,” 21.
footnote[441] Back to paragraph Statistics Canada, “Travel Survey of Residents of Canada, 2012, Statistics Canada, “International Travel Survey,” http://www5.statcan.gc.ca/COR-COR/objList?lang=eng&srcObjType=SDDS&tgtObjType=CST&srcObjId=3152.
footnote[442] Back to paragraph Ontario Tourism Marketing Partnership Corporation, “Traveller Segment Profiles” (2015).
footnote[443] Back to paragraph Ontario Tourism Competitiveness Study, “Discovering Ontario: A Report on the Future of Tourism” (Ontario, 2009).
footnote[444] Back to paragraph Department of Science, Information Technology, Innovation and the Arts, “Arts for all Queenslanders Strategy 2014–2018” (Queensland, n.d.).
footnote[445] Back to paragraph New Zealand, “New Zealand Arts, Cultural and Heritage Tourism Strategy to 2015” (New Zealand, Ministry for Culture and Heritage, September 2008).
footnote[446] Back to paragraph Quebec, ministère de la culture, des communications et de la condition féminine, “Agenda 21C de la culture au Québec” (Quebec, November 2012).
footnote[447] Back to paragraph Quebec, ministère de la culture et des communications, “Notre culture, au Coeur du développement durable – Plan d’action de développement durable 2013-2015” (Quebec, 2013).
footnote[448] Back to paragraph Scotland, “Our Place in Time: The Historic Environment Strategy for Scotland” (The Scottish Government, 2014).
footnote[449] Back to paragraph Department of Arts, Heritage and the Gaeltacht, “National Landscape Strategy for Ireland.”
footnote[450] Back to paragraph Creative Nova Scotia Leadership Council, “Culture: Nova Scotia’s Future”: 25.
footnote[451] Back to paragraph For example, see UK Trade & Investment, UK Creative Industries - International Strategy(UK, 2015). Earlier strategies include Department for Business Innovation & Skills, Digital Britain (UK, 2009); and Department for Culture, Media and Sport Creative Britain: New Talents for a New Economy, (UK, 2008).
footnote[452] Back to paragraph National Governors Association, “New Engines of Growth.”
footnote[453] Back to paragraph National Governors Association, “New Engines of Growth.”
footnote[454] Back to paragraph Kristen Heredia, “DMZ Ranked Fifth Globally and First in Canada in University Business Incubator’s Global Ranking,” posted on DMZ News (dmz.ryerson.ca/dmznews), June 25, 2014.
footnote[455] Back to paragraph Ryerson University DMZ website
footnote[456] Back to paragraph University of Abertay and White Space website. See also Scotland, Skills Development Scotland, Skills Investment Plan for the Creative Industries Sector (The Scottish Government, June 2015).
footnote[457] Back to paragraph Ontario Media Development Corporation, Annual Report 2013-14: 10.
footnote[458] Back to paragraph Saskatchewan, Pride of Saskatchewan.
footnote[459] Back to paragraph Canada Council for the Arts, “Canada Council Increases Support for International Market Access,” press release, June 27, 2012.
footnote[460] Back to paragraph Conseil des arts et lettres du Québec, Plan d’action international (Quebec, Direction du développement, de l’action régionale et internationale, 2006).
footnote[461] Back to paragraph UK Trade & Investment, “UK Creative Industries – International Strategy.
footnote[462] Back to paragraph The British Museum, “Towards 2020: The British Museum’s Strategy” (The British Museum, n.d.): 4.
footnote[463] Back to paragraph Denmark, “Denmark at Work: Plan for the Growth in the Creative Industries – Design” (The Danish Government, February 2013).
footnote[464] Back to paragraph European Commission, “Creative Europe: The Cultural and Creative Sectors Loan Guarantee Facility, Frequently Asked Questions” (European Commission, July 2012). See also John Rigby and Ronnie Ramlogan, “Access to Finance: Impacts of Publicly Supported Venture Capital and Loan Guaranties” (NESTA Working Paper No. 13/2, January 2013).
footnote[465] Back to paragraph European Commission, “Creative Europe.”
footnote[466] Back to paragraph European Commission, “Creative Europe.”
footnote[467] Back to paragraph Quebec, ministère de la culture et des communications, “Pour occuper l’espace numérique: stratégie culturelle numérique du Québec” (Quebec, March 2014); Australia, “Creative Australia: National Cultural Policy” (Australian Government, 2013); Department for Culture, Media and Sport and Business Innovation & Skills, 2009; New Zealand, “Creating A Digital New Zealand: New Zealand’s Digital Content Strategy” (New Zealand, August 2007).
footnote[468] Back to paragraph Australia, “Creative Australia.”
footnote[469] Back to paragraph Quebec, “Pour occuper l’espace numérique.”
footnote[470] Back to paragraph Yukon Tourism and Culture, “Strategic Plan 2013-2018” (Yukon, 2013).
footnote[471] Back to paragraph Scotland, Skills Development Scotland, “Skills Investment Plan for Scotland’s Creative Industries Sector.”
footnote[472] Back to paragraph Department of the Environment, Community and Local Government, “Opportunities for All: The Public Library as a Catalyst for Economic, Social and Cultural Development” (Dublin: Department of the Environment, Community and Local Government, 2013).
footnote[473] Back to paragraph Ontario Arts Council, “Vital Arts and Public Value.”
footnote[474] Back to paragraph New Brunswick, “Creative Futures,” 16, 18.
footnote[475] Back to paragraph British Columbia, “BC Creative Futures: Building British Columbia’s Creative Economy” (British Columbia, 2013).
footnote[476] Back to paragraph Australia, “Creative Industries: A Strategy for 21^st Century Australia” (The Australian Government, 2011).
footnote[477] Back to paragraph Scotland, Skills Development Scotland, “Skills Investment Plan for Scotland’s Creative Industries Sector.”
footnote[478] Back to paragraph Scotland, Skills Development Scotland, “Skills Investment Plan for Scotland’s Creative Industries Sector,” 10.
footnote[479] Back to paragraph Arts Council England, “Achieving Great Art For Everyone: A Strategic Framework for the Arts” (Arts Council England, November 2010).
footnote[480] Back to paragraph Saskatchewan, “Pride of Saskatchewan,” 22.
footnote[481] Back to paragraph National Arts Strategies. See also Illinois Arts Council Agency.
footnote[482] Back to paragraph National Alliance for Media Arts and Culture.
footnote[483] Back to paragraph Newfoundland, “Creative Newfoundland and Labrador,” 21.
footnote[484] Back to paragraph Newfoundland, “Creative Newfoundland and Labrador.”
footnote[485] Back to paragraph Matthew Taylor, blog entry, “Arts and Culture: Time to Get (Even More) Serious” (Royal Society for the Encouragement of Arts, Manufactures and Commerce, February 20, 2015).
footnote[486] Back to paragraph The Warwick Commission on the Future of Cultural Value, “Enriching Britain: Culture, Creativity and Growth” (The University of Warwick, 2015): 13.
footnote[487] Back to paragraph The Warwick Commission on the Future of Cultural Value, “Enriching Britain,” 26.
footnote[488] Back to paragraph The Arts Advocate, report on symposium proceedings, “Reframing the Cultural Policy Dialogue: Shifting from the Ask to the Offer,” The Arts Advocate 21, no.3 (June 29, 2015).

Updated: July 15, 2024

Published: April 19, 2016