Final Report Submitted to:

Culture Division Nova Scotia Department of Communities, Culture and Heritage

Arts & Culture in Nova Scotia – Developing a Sector Profile Framework

March 31, 2011 Submitted by

Kelco Consulting Ltd. with

™ Solutions Inc.

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ARTS & CULTURE IN NOVA SCOTIA SECTOR / DEVELOPING A SECTOR PROFILE FRAMEWORK

File Ref: 11_003 Culture Profile March 31, 2011 Ms. Peggy Tibbo-Cameron Senior Policy Advisor, Culture Nova Scotia Department of Communities, Culture and Heritage Culture Division 1800 Argyle Street, Suite 601 PO Box 456 Halifax, Nova Scotia, Canada B3J 2R5 RE: ARTS & CULTURE IN NOVA SCOTIA SECTOR / DEVELOPING A SECTOR PROFILE FRAMEWORK Dear Ms. Tibbo-Cameron; This document provides a Final Report on the ARTS & CULTURE IN NOVA SCOTIA SECTOR / DEVELOPING a SECTOR PROFILE FRAMEWORK. The report is based on 25 interviews that have been completed as part of this assignment. Additionally, more than 30 existing documents and web-sources have been referenced to generate this report. Please review the enclosed document and please contact me to discuss any comments or questions you may have.

Sincerely,

Thomas McGuire, Senior Consultant Kelco Consulting Ltd. PO Box 816 Kentville, NS B4N 4H8 Encl. Nova Scotia Arts & Culture Sector Study

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EXECUTIVE SUMMARY The culture sector is an economy driver in Nova Scotia. It contributes to our province’s prosperity in a number of ways. It provides a creative outlet through which we can interpret our past and present through a variety of media, exhibiting and enhancing our way of life, and contributing to the quality of life for our residents, while enriching the experiences of visitors to our province. Culture also provides an attraction to visitors, causing them to choose Nova Scotia as among their travel destinations. The sector provides employment in the manufacturing and production of cultural related goods and services and it adds to the overall product and experiences offered by a number of other sectors, from restaurants, to accommodations, to operators in the tourism industry. The challenge for Culture Division is that while the reach and importance of culture is understood and appreciated by many, the lack of current and useful research and analysis necessary to accurately represent the size, health, and economic contribution provided by the Cultural sectors within Nova Scotia is all but missing. The goal of this study was to address this research gap by speaking with industry leaders and reviewing existing research This study was to bring forward information and data that is available or to confirm what is missing in an attempt to generate a sector description that could statistically describe the overall culture sector and its sub-sectors (defined to include: craft, dance, literary sector, music, new media, theatre, and visual arts and design). Multi-cultural organizations, who encompass many of the cultural sub-sectors, were also considered. The approach was to 1) identify what exists to help define the size, scope, and scale of the sector, both within currently available research as well as research that may be collected and maintained by industry organizations and representatives themselves, 2) if it was confirmed that research was limited, identify what research sector organizations would find helpful and relevant, 3) develop a framework that would be of value to the sub-sectors as well as Culture Divisions mandate, and 4) explore the willingness of industry participants to contribute to a process that would generate meaningful information about their sub-sector and the overarching culture sector. Twenty-five interview participants were contacted from culture sector stakeholders including Culture Specific Organizations – those that represent a specific expression of culture and are linked most directly (if not exclusively) with one form of artistic expression; Enabling Infrastructure Related Organizations – those that provide the physical venue for which art and creative goods and services are offered and consumed; Enabling Resources Based Organizations – those that support the development of creative content by providing, for example, the cultural/historic foundations on which creative goods and services are based (e.g.: traditional languages that are preserved and used in the development of literature, song, imagery, etc.); and Individual Producers – organizations that produce cultural product/output.

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Literature consulted for this project is listed in Appendix E. Both the interview findings and the literature review confirm that there is limited existing and current information with which to assemble a cohesive profile of Nova Scotia’s culture sector and its sub-sectors. Existing information is either out of date or aggregated and assembled at a level that does not allow for a subsector profile of culture. While individual organizations do collect data that pertains to their operation, as one may expect, this is usually collected outside a formal structure or approach that would lend itself to evaluation and reporting on a sector-wide basis. Most interview participants had well-formed ideas of the various measures they would like to see tracked as they pertain to their sub-sector. However, they generally lack the staff time and research capacity (in most cases) to develop their own research approaches and ensure that these are implemented on a regular basis. Attempting to define culture using statistical methods provides an understanding of the limitations of quantitative measures in capturing the more intrinsic and qualitative aspects of sectors that are involved in creative expression. Fundamentally, there is no good baseline that encompasses all of culture in Nova Scotia – economic and societal - and this study confirms that generating a baseline representative of all aspects of culture’s impact is not possible based on information that is available. Primary research is necessary and we have outlined a draft framework that could be applied on the basis of: Supply of culture - Number of craft and designer shows, number of concerts, number of plays/ theatre shows, etc. Consumer participation (demand for culture) - website hits, tickets sold, etc. Creative participation - number of cultural artists/creative artists, enrolment in art related training and development, etc. Public and private financial support – such as value of corporate gifts/philanthropy, public expenditures in support of arts and culture in education, non-profit sectors, arts in public policy, etc. Our main recommendation is that Culture Division develop a pilot wherein one or more of the cultural sub-sectors are benchmarked on the basis of the framework described in section 5 of this document. The pilot would establish an initial set of baseline data against which change can be measured and monitored, and a result through which the framework itself can be detailed and improved. The resulting refinements to the framework can be applied more broadly to the other culture

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sub-sectors to gain a complete picture of Nova Scotia’s culture industry. The results of the pilot would be: A developed and tested data collection and analysis tools. A clear understanding of the parts of the process that would be the responsibility of culture industry members and those that would be the responsibility of other stakeholders. Confirmation of the format for the data collection system. Synthesised results and lessons learned. Possible inclusion of a guide for self assessment for culture industry organizations to use for sector/sub-sector marketing and development. Recommendations and options for roll-out to other subsectors within a three-year target period. Selection of a sub-sector as the subject of the pilot project needs to take into account several factors that are important for a successful outcome. It is important that the sub-sector chosen will encompass the characteristics necessary to generate an “overarching” type of model that is general enough to be easily refined for the specifics of other sub-sectors. The pilot sub-sector should be an organization that represents all or a large portion of the sub-sector members, actively endorses and participates in the pilot, has staff that understands all aspects of the subsector and can provide input to the pilot project process, and one that has regular contact with sector participants/members.

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CONTENTS 1.

Introduction & Objectives ....................................................................................................... 2

2.

Secondary Research & Literature Review ............................................................................... 5

3.

Interview Findings ................................................................................................................. 16

4.

Developing a Set of Indicators ............................................................................................... 25

5.

Conclusions and Recommendations ..................................................................................... 33

Appendix A – Interviews .............................................................................................................. 39 Appendix B – Interview Guide ...................................................................................................... 40 Appendix C – Introductory Letter From Culture Division ............................................................. 42 Appendix D – Subsector Indicators ............................................................................................... 43 Craft Sector................................................................................................................................ 43 Dance Sector ............................................................................................................................. 44 Literary Sector (Includes Publishing) ......................................................................................... 46 Music Sector .............................................................................................................................. 47 Choral Sector ............................................................................................................................. 48 New Media Sector ..................................................................................................................... 50 Theatre Sector ........................................................................................................................... 51 Visual Arts Sector (Includes Design) .......................................................................................... 52 Multicultural and Cultural Specific Sectors ............................................................................... 54 Appendix E – References .............................................................................................................. 57

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1. INTRODUCTION & OBJECTIVES The Culture sector is an economy driver in Nova Scotia, contributing to our province’s prosperity by providing a venue through which we can interpret our past and present through a variety of media, exhibiting and enhancing our way of life, and contributing to the quality of life for our residents, while enriching the experiences of visitors to our province. A challenge for Culture Division is that it lacks the research and analysis necessary to accurately represent the size, health, and economic contribution provided by the Cultural sectors within Nova Scotia. The Nova Scotia Department of Communities, Culture and Heritage has been working for some time to develop a research program that will address this information limitation while recognizing that progress toward a viable set of cultural indicators will take time and effort. To this end, Culture Division issued a request for proposals to undertake an arts and culture sector profile. The goal of this research is to generate a sector description that details the culture sector overall, as well as its sub-sectors defined to include: craft, dance, literary (includes publishing), music, new media, theatre, and visual arts (includes design). The resulting sub-sector profiles, and overarching profile, will allow for further research of each sub-sector/discipline, its clients, customers, etc., with a longer-term goal of being able to provide supporting quantitative data that appropriately measures the sector over time. This sector profiling work is also one of benchmarking – taking a snapshot of the various aspects of the sector and it sub-components – as part of an evolutionary development of a research framework for the division. This work will lead to a set of recommendations around what characteristics of the sector (and its subsectors) can and should be tracked and reported on through the ongoing application of a research framework. The process of profiling, therefore, should yield a set of replicable steps, and must not only provide a solid profile of the sector today, but should provide a guide to ongoing monitoring and measurement of the sector and its components. In that view, the most effective outcome of the process will provide the profile that is needed, as well as ‘test’ the applicability and use of core indicators that make up the profile, giving consideration to what indicators are necessary to have, nice to have, and those that offer limited return. As well, the study should consider what core indicators within the profile(s) are ‘high-cost’ to collect or maintain, versus those that are less costly or less burdensome to collect and maintain. Within this context, the study should offer recommendations for ongoing research, identifying methodological options to collect and maintain data, roles for sector participants within this process, and the frequency of collection and reporting that should be targeted (i.e.: what data © 2011

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should the Division collect monthly, semi-monthly, seasonally, etc.), and what level of reporting should become incorporated within the Division’s reporting regime (i.e.: what should be reported monthly, yearly, etc. and what should be reported and evaluated episodically through special ‘one-time’ studies). Finally, the study should identify opportunities to partner with the sub-sectors within culture, because buy-in from these industry participants will be important to the initial benchmarking and the ongoing application and evolution of mapping and collecting culture’s core indicators. This current research project amounts to a benchmarking step for Culture Division, one that will lead to better information on the profile of culture in NS and the development of a replicable framework within which to measure the culture sector over time. Project Goals This study is to profile the sector and its components, and provide a foundation for ongoing research. The goals for this study include the following: 1. Create a potential list of arts and culture organizations to interview. 2. Select (in consultation with the Culture Division) and conduct approximately 20 interviews for the sector profile. 3. Record the findings from these organizations and / or arrange to receive documentation from the organizations for inclusion in the sector profile. 4. Provide an opportunity and sufficient time for the organizations to validate the findings. 5. Verify the information. 6. Write a final report which summarizes: a. The objectives of the sector profile, b. The organizations that were interviewed / contacted for the sector profile, including their contact information, c. Other sources which were contacted / used for the sector profile, d. Lessons learned, and e. Further research needs and opportunities, and next steps (if applicable). The results contained herein provide an overview of the province’s arts and culture sector as a whole. Methodology Our work for Culture Division involved the following core activities: Initial Meetings and ‘Work Plan Update’ that involved Committee comments on what was put forward in our proposal, Document and literature review, © 2011

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Data review, Key informant interviews, and Reporting. The data review, or Secondary Research consisted of a literature review and desktop research (e.g.: statistics, reports, journal review, etc.). A list of reference documents is provided in Appendix E. Primary Research consisted of contacting industry stakeholders to gather information to fill gaps, identify those with whom we should speak, and to verify data and / or information. Other elements of the study methodology are discussed throughout the report. Report Organization The balance of the report is organized according to the following Section 2 – Literature Review, Section 3 – Interview Findings, Section 4 – Developing Indicators, and Section 5 – Conclusions and Recommendations. The Appendices include a list of interview participants, a memo from Culture Division concerning the study and issued to stakeholders, a copy of the interview guide, subsector measurement indicators, and a list of reference materials and websites that were consulted in preparation of this document.

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2. SECONDARY RESEARCH & LITERATURE REVIEW The arts and culture sector in Nova Scotia includes: books & magazines, film broadcasting sound recording music publishing new media performing arts visual arts

crafts architecture photography design advertising festivals cultural education

Activities within the sector include the creation, production, preservation, manufacturing, wholesale / retail, and consumption of cultural related product / output. Nova Scotians and visitors to this province participate in the culture sector in a variety of ways – consumption and creation, for their own enjoyment and recreation, as part of their socialization, for commercial purposes, and for educational purposes. Participation in culture, therefore, includes consumers, government, cultural industries themselves, and sponsors (private, public, corporate, volunteers). In this section, we present the results of our secondary research. Literature Review A large number of reports and studies have been conducted on the Arts and Culture Sector and its sub-sectors. Some of the reports include data and a variety of information to value and describe the sector or the subgroups, but most of the reports either use general sources of information (e.g.: Statistics Canada, United States Census data), or lament the lack of regularly collected, comparable information. This discussion reviews some of the issues associated with acquiring information on the sector and approaches that have been used in various jurisdictions. The following uses the term “culture” to encompass all areas of the arts, culture and heritage sectors for ease of discussion. Interest in monitoring and measuring culture activities has increased over the last few decades, and has led to the relatively new and growing field of Cultural Economics. Areas of analysis tend to fall into three broad categories: performing arts, cultural industries, and heritage 1. The Netherlands2 has developed a program to benchmark culture sectors by digitizing and 1

Herrero, L.C., J.A. Sanz, M. Devesa, A. Bedate, M.J. del Barrio, The Economic Impact of Cultural Events: A Case Study of Salamanca 2002, European Capital of Culture, European Urban and Regional Studies, 2006, 13(1): 41-57. 2

Netherlands, Directorate for Cultural Heritage, Ministry of Education, Culture and Science, undated, estimated 2003. © 2011

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embedding profile and economic information in preparatory or evaluation phases of funding applications. Information gathered is deemed not to be an additional burden on applicants, as it is part of the funding application process. Benchmarking is also presented to organizations as a tool for self-assessment and raising the quality of project plans. However, review of some reports indicates that care should be applied to the interpretation and use of the results of models developed in other jurisdictions. For example, a 2007 report by the organization Americans for the Arts3 collected detailed data from a variety of geographic areas to estimate the economic impact of non-profit arts and culture organizations on the economy. Results included multipliers for impact on local GDP and employment from expenditures by these organizations. Americans for the Arts then made the results available as a model with instructions on how any non-profit organization could calculate their economic impact to support lobbying and funding efforts by applying the average multipliers based on the population of the geographic area in which the organizations operate. The assumption that multipliers developed from specific geographic areas can be broadly applied across the United States is economically questionable, and is unlikely to provide accurate measures beyond the areas within which the information was gathered. A 2006 US study by the Urban Institute4 identified a framework for measurement and measurement tiers for sorting data by usability that help describe the characteristics and requirements related to measuring cultural activity. The authors defined “cultural vitality” as evidence of creating, disseminating, validating, and supporting arts and culture as a dimension of everyday life in communities, and sought to define models for measuring cultural vitality. The framework for measurement has four components: Presence of opportunities to participate, Participation in culture’s multiple dimensions, Support systems for cultural participation, and Impact of Arts & Culture. The authors indicated that their approach was to build on the first three components to achieve the fourth. The first two tiers identified readily available data, while data for the last two are not as easy to gather and use. The four measurement tiers are: Tier 1: Quantitative data that is publicly available free or at minimal cost and is collected at least annually, is able to be disaggregated geographically, and is nationally comparable (e.g.: census data, labour statistics). 3

Arts and Economic Prosperity III: The Economic Impact of NonProfit Arts and Culture Organizations and Their Audiences, Americans for the Arts, May 2007. 4

M. R. Jackson, F. Kabwasa-Green and J. Herranz, Cultural Vitality in Communities: Interpretation and Indicators, Culture, Creativity, and Communities Program, The Urban Institute, 2006. © 2011

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Tier 2: Quantitative data, publicly available free or at minimal cost, annually recurrent and able to be disaggregated (possibly in less detail than Tier 1), not nationally comparable (e.g.: funding data collected by local agencies or foundations). Tier 3: Quantitative data from sources restricted to a single point in time or sporadically (not regular or covering the same material on each repetition). This tier can provide examples of and inform how relevant information might be collected or estimated for indicator development Tier 4: Qualitative or pre-quantitative documentation of phenomena of interest, often from anthropological and ethnographic studies of arts and culture in communities. This tier can provide instructive contextual information on aspects of the community’s cultural vitality. The authors gathered Tier 1 data and used it to describe cultural activity in sample cities. The recommended Tier 1 measures for the first three components of the framework (presence, participation, and support) included: Presence: o Non-profit, public, and commercial arts-related organizations, with a focus on size and function within the cultural and broader community context. o Retail arts venues – bookstores, music stores, film theatres, craft and art supply stores. o Non-arts venues with arts and cultural programming (e.g.: parks, libraries) o Festivals and parades o Arts-focused media outlets (e.g.: print, electronic) o Art schools Participation: o Amateur art making o Collective/community art making o K-12 arts education (kindergarten to grade 12) o Arts after-school programs o Audience participation o Purchase of artistic goods (materials and finished product) o Discourse about arts and culture in the media Support: o Public expenditures in support of arts in all sectors – non-profit, public, commercial o Foundation expenditures in support of the arts - non-profit, public, commercial o Volunteering and personal giving to the arts o Presence of working artists o Integration of arts and culture into other policy areas, and corresponding allocation of resources (e.g.: community development, education) © 2011

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Many of the studies of culture in Canada are based on a framework developed by Statistics Canada in 20045. Required features of a framework include: Definition of culture –to allow some boundaries, so the framework can be manageable. Data should be mutually exclusive to other distinct, established statistical fields that might overlap indirectly with culture sectors or sub-sectors. Specifically includes written media, film industry, broadcasting, sound recording and music publishing, performing arts, visual arts, crafts, architecture, photography, design, advertising, museums, art galleries, archives, libraries and culture education. Also, to a limited degree, support by government and activities by unions/associations related to culture. Taxonomies of industries, goods, services and occupations from recognized standard classifications. Integration of social and economic aspects of culture – broad enough to encompass creation, production, manufacturing, and distribution of culture goods and services, but also consumption of Goods and Services, as well as the social and economic impacts arising from the creative chain and consumption. This report characterized the “creative chain” as encompassing the activities included in a figure reproduced below (Figure 2 of the report, page 17).

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Canadian Framework for Culture Statistics, Statistics Canada Catalogue no. 81-595-MIE – No. 21: Research Paper by Culture Statistics Program of Statistics Canada, August 2004.

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Culture was defined by Statistics Canada as creative artistic activity and the goods and services produced by it, and the preservation of human heritage. The framework for inclusion in the areas measured includes: Creative good that warrants intellectual property rights; Service associated with presenting or preserving creative goods; Good or service supporting creation, production or transmission of other creative goods and services, including a service that adds to, or alters, the content of a culture product; Service associated with conserving, exhibiting or interpreting human heritage; or Educational service aimed at workers who produce creative goods or services. The goods or services provided by the culture sector are distinguished from one another by: Final demand (consumed directly by consumers) vs. intermediate inputs. Core culture goods and services (entire creative chain) vs. non-core culture goods and services (part of the creative chain is in the scope for culture). Differentiated in terms of format (e.g.: books, movie version of book) or content (e.g.: by title, language). Culture goods include original and mass produced goods that contain culture content, as defined by this framework. Culture services include creative services, content services, broadcasts, live performances and other cultural events. The report stated that economic impact results from demand for culture can be divided amongst the economic agents that purchase the good or service based on the following criteria: Personal expenditure, Business investment, Government spending, and Foreign demand for culture goods and services (net exports). The framework ties measurement to Type of Activity (intermediate input, final demand), Status (core, non-core), Standard Classification of Goods (SCG), Central Product Classification (CPC), NAICS and occupation codes. Many national studies follow this framework, particularly those conducted by, or for, the federal government and related agencies. National and provincial information is generally based on census data and annual reports by funding agencies. Census Data As noted, most national studies use the Statistics Canada framework or results from studies that have used this framework. Recent Canadian reports profiling the culture sector or estimating economic impact use 2006 Census data. Earlier reports conducted by Statistics © 2011

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Canada’s Culture, Tourism and the Centre for Education Statistics provided annual estimates, but these appear to have stopped with data for 2002. Thus, most information use in industry studies is at least five years old.

Annual Reports Canada Council for the Arts reports annually on the amount of funding provided to each province, but this data only covers organizations and activities that receive funding. Summary sector and subsector statistics that they provide in their annual reports are also from the 2006 Census. Several reports, listed in the general bibliography, identified the lack of regularly collected information on culture as a significant barrier to assessing the situation and value of the Nova Scotia culture sector. Consultation conducted with industry stakeholders by the provincial government tends to place the responsibility for gathering information on government, although many stakeholders recognize the industry’s responsibility to partner with government to gather information 6. However, organizations and individuals consulted indicated that they did not have the capacity to analyze data, and that analysis by government would be more credible than if it was conducted by the cultural subsectors. As noted in the next section, virtually all sectors consulted expressed a high level of interest and willingness to support such a process.

Potential Nova Scotia Culture Sector Performance Measures The former Nova Scotia Department of Tourism, Culture and Heritage conducted a study in 20077 to propose performance measures within the department to link Culture Division activities to measurable outcomes that fit within the Department’s core business areas and business plan priorities. This project, conducted by Goss Gilroy, developed a logic model to profile Culture Division programs and outcomes – more from a divisional perspective than a broad industry perspective. However, the report identified a periodic province-wide survey of Nova Scotia culture and the culture sector, jointly sponsored with industry, as a tool that should be established to gather data to link to internal data on government programs and activities to the division’s support of the industry.

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Horizons Community Development Associates Inc., Nova Scotia Arts & Culture Consultation: Summary Report, Culture Division, Nova Scotia Department of Tourism, Culture & Heritage, December 2010. 7

Culture Sector Performance Measures for the Culture Division: Nova Scotia Department of Tourism, Culture and Heritage, Goss Gilroy Inc., March 2007. © 2011

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The author of the 2007 report provided a follow-up memo that identified possible performance measures or information that could be collected from analysis of interviews he conducted with stakeholders. Information for some of the measures identified would be difficult to gather and may not be financially or technically feasible to develop as measures, but they provide an idea of the type of information that culture stakeholders believe is important. Most of the items identified would also fit into one of the Tiers identified in the Urban Institute study (discussed above). The measures / comments included: Artists making a living by work in their own mediums (writers, musicians, artists, etc.) International recognition of anchor events Availability of community facilities Costs of organizing / hosting cultural activities, programming, lessons Collaboration as an indicator – the extent and nature of collaboration Ticket sales, album sales, publicity Changes (increases) in tourism events where cultural product at the retail level blends together with tourism activity – product presented in event context Cultural accounting – how cultural programming contributes to well-being and quality of life The “community” of artists – qualities of the community, increases in identification with the community, viability of the community, representativeness of the community Community identity – extent to which Nova Scotians identify with NS community – sense of who we are Preservation and reproduction of arts and crafts techniques historically unique to Nova Scotia from past generations Contributions to increased cultural diversity and multiculturalism Most often we count the quantifiable – more audiences, more artists, greater diversity, increased number of performances. There has to be another way to measure community’s health, values, education, and quality of life. © 2011

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Participation and opportunities for participation Culture programming’s impact on the community. A November 2010 consultation conducted by the Culture Division of the former Department of Tourism, Culture and Heritage8 stated that the Statistics Canada Census continues to be the best source of cultural statistics. The author also questioned the potential reduction in information as a result of the change to the 2011 Census, which removes the voluntary portion of the questionnaire. The sessions included a range of culture organizations and, as part of the day’s activities, identification of statistics and information that participants thought were needed. Participants indicated that Nova Scotia needed to create a profile of the culture sector and understand the role of the cultural community in Nova Scotia, including both quantitative and qualitative dimensions. Measures identified included: Events - persons attending, audience demographics, performances per region, demographics by drawing area. Economic - funding trend analysis, spending analysis, imports and exports, consumption, comparative by province, region and sub-sector, overall sales, return on investment (ROI). Sector/sub-sector - numbers of publishers/members/participants, regional profiles, employment numbers.

Statistical Data and Census Reports A variety of reports provide statistical information with which to form a profile of the culture industry in Nova Scotia; however, almost all of the data is from Statistics Canada Census data that is available every five years. Even recent reports use Census data that is five years old. Nova Scotia and its economy have changed significantly since the 2006 census, particularly as a result of the economic downturn that began in 2008, and demographic changes that have reduced rural populations as Nova Scotians have moved to more populous communities. Continuing to use 2006 Census data upon which to base analysis and policy may weaken the impact of programmes designed to support and develop Nova Scotia’s cultural sector.

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D.W. Pilkey Consulting, Arts and Culture Research Day, Department of Tourism, Culture and Heritage, November 2010. © 2011

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However, Census data is what is available and is summarized below for Nova Scotia9,10 for 2005 from the 2006 Census. The following information is recent relative to studies prior to 2007 that used 2001 census data. A number of reports were reviewed that presented data that was considered too old to be representative of the culture sector in 2011 and that information is not included below. Census Data: There were 8,670 people in Nova Scotia who derived at least a portion of their income from culture. The breakdown of employment by subcategory is: Labour force of 6,550 in Creative and Artistic Production Occupations. o Main occupations included writers; editors; journalists; producers, directors, choreographers and related occupations; musicians and singers; painters, sculptors, and other visual artists; graphic designers and illustrating artists; artisans and crafts persons. Labour force of 605 in Heritage Collection and Preservation Occupations. o Main occupation is librarian. Labour force of 1,515 in Cultural Management Occupations. o Main occupation: supervisor of library, correspondence, and related information clerks. There were 3,735 people who earned more of their income from culture than other employment. This represented 0.73 per cent of the provincial labour force. Median income was less than half that of all Nova Scotia workers ($9,500 for artists compared to $22,600 for all workers). Nova Scotians spent $670 million on cultural goods and services in 2005, which was 3.3 percent of total consumer spending, the sixth highest provincial spending rate on a per capita basis. All levels of government spent $210 million on culture in 2003-04. In 2005 the three most popular culture activities in Nova Scotia were reading newspapers, listening to music, and watching a video. In 2005, 30 percent of Nova Scotians 15 years or older attended a concert or performance by professional artists. Canada Council Funding11: Canada Council for the Arts funding is provided to individuals and organizations that are chosen for support for 2009-10, and the following is not meant to represent all funding to the Nova Scotia culture sector. 9

Hill Strategies Research Inc., Provincial Profiles of Cultural and Heritage Activities in 2005, Statistical Insights on the Arts, Vol.6, Nos. 1 and 2, October 2007. 10

Labour Market Information for Canada’s Culture Sector, Labour Market Information Report for Canada’s Culture Sector 2010, The Conference Board of Canada, Cultural Human Resources Council, December 2010. 11

Council of the Arts Funding to Artists and Art Organizations in Nova Scotia, 2009-10, Canada Council for the Arts.

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Total grants to the arts in Nova Scotia were $4.3 million, consisting of $626,550 in payments to 58 artists, and $3.7 million to 79 arts organizations. Nova Scotia funding represented 2.7 percent of the national total to artists, and 3 percent of total funding to organizations. Payments totalling $262,600 were made to 618 authors through the Public Lending Right Program, plus an additional $145,800 in special funding. Grants were made in the disciplines of dance, media arts, theatre, visual arts, interdisciplinary and performance art, and writing and publishing. The largest amounts of total funding were to theatre ($1.1 million), music ($981,940) and visual arts ($724,300). Nova Scotia funding applications represented 2.7 percent (440 applications) of the total number received. $3.4 million was awarded to artists and arts organizations in Halifax and Dartmouth, with the balance distributed among 36 other Nova Scotia communities. Halifax Regional Municipality (HRM) Economic Impact Study12: HRM commissioned an economic impact study in 2005 to estimate the value to the metropolitan area of its culture sector. Data was based on the 2001 Census, a literature review, additional Statistics Canada data, and interviews. The study authors included both professionals and volunteers in their measurement and estimated the impact on HRM’s GDP and employment. The study found that: Direct impact on GDP in HRM was $490 million in 2003 (measured in 1997 dollars) Direct employment in 2003 was 8,500 (1.7% of provincial workforce). Combined direct and indirect impact was $780 million or 3.1% of total provincial GDP in 2003. Direct and indirect employment was 14,250 in 2003. The literary sector accounted for the largest percentage of culture employment (28 percent), visual arts was second (24 percent), followed by heritage (17 percent), performing arts (11 percent), media arts (10 percent), music (6.4 percent) and festivals and events (4 percent). Volunteers (10,950 people) in 2004 provided 1.64 million hours to support culture in HRM. Secondary research identified a variety of approaches to gathering data and using it to estimate or describe characteristics of the culture sector or subsectors. However, almost all of the literature reviewed identifies the lack of accurate, relevant and current data as a shortcoming in 12

Gardner Pinfold Consulting Economists Ltd., HRM Arts & Culture Sector Economic Impact Study, Halifax Regional Municipality, June 2005. © 2011

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being able to apply the various models to support and enhance culture. Data is frequently outof-date or not specific enough to use beyond provincial, regional or national applications so that local impacts can be estimated. Previous provincial government studies and industry-related activities have identified the type and range of data that would meet the requirements of various industry stakeholders, but none proposed a specific model and approach to gathering the information for Nova Scotia. The recommendations at the end of this report are designed to fill this gap. Appendix E provides a list of all sources consulted as part of this study.

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3. INTERVIEW FINDINGS Twenty-five interview participants were contacted in person and by phone. Several individuals were contacted multiple times to discuss their feedback and / or supplemental commentary on the project. Interview participants can be grouped into the following categories: Culture Specific Organizations – those that represent a specific expression of culture and are linked most directly (if not exclusively) with one form of artistic expression. Examples of these organizations include Dance Nova Scotia, Theatre Nova Scotia, and Visual Arts Nova Scotia. Enabling Infrastructure Related Organizations – those that provide the physical venue for which art and creative goods and services are offered and consumed. These are the performance venues through which arts and culture are delivered. An example of these organizations is the Dalhousie Arts Centre. Enabling Resources Based Organizations – those that support the development of creative content by providing, for example, the cultural/historic foundations on which creative goods and services are based (e.g.: traditional languages that are preserved and used in the development of literature, song, imagery, etc.). Examples of these organizations include the Gaelic Council of Nova Scotia and the Multicultural Association of Nova Scotia. Individual Producers – organizations that produce cultural product/output. Examples of these interview candidates include Neptune Theatre and Symphony Nova Scotia. It should be acknowledged that categorizations such as these are somewhat arbitrary and could be further refined. Individual producers of creative product could be further defined, for example, among those that develop the creative content (i.e.: those who make ‘art and culture’) and those who deliver services (e.g.: the performers in the case of theatre and music). In many cases, interview candidates represented organizations that crossed several lines, such as Nova Scotia Centre for Craft and Design, and the Cape Breton Centre for Craft and Design. Both of these organizations offer ‘enabling’ programming (e.g.: development of young and emerging artists), and exhibit space. They are also specific to craft. The interviews were assisted with an interview guide (Appendix B) and focused on: Attributes of the culture sub-sectors, wherein interview participants explained their subsector’s role in culture, their sub-sector’s relationship with other cultural sub-sectors, and highlighted some of the challenges of this study from their perspectives,

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Existing data and studies that the sectors have assembled on Nova Scotia, specifically focusing on the research that interview participants may be aware of, pertaining specifically to their sector as well as the overall cultural sector, Existing studies from other jurisdictions and sectors that exemplify how the culture sector should be profiled, Desirable data for the Nova Scotian Context, and The sub-sector’s willingness to participate in the process. In the context of the interviews, those with whom we spoke (listed in Appendix A) represented cultural sector-related organizations. Current Information We asked interview participants about the type of information they are tracking with respect to their individual organization. Responses indicated a variety of things were being tracked and, depending on the nature of the organization, the information that was being tracked was quite detailed. Where organizations are funded through government and other programs, data is collected and provided within annual reports for application renewals and yearly reporting. This level of data may include general operating revenue and expenses, details on programs that have been supported, details on membership, attendance at events that may have been supported, etc. Likewise, all organizations would make an annual filing, wherein they would provide information to Revenue Canada as part of their non-profit status. Again, however, this would be focused on organizational operations and have less to do with the sector the organization represents. Depending on the sources of funding, organizations may generate data as part of submissions to the Canada Council (for the CADAC database) and to the Province of Nova Scotia, which has a listing of more than 1,500 clients that have been supported through culture-related divisions. Once again, this information is typically financial and organization specific. In the case of the province, application data does not exist in a format that would allow for statistical analysis. Likewise, project completion reports (associated, for example, with the support of an individual artist or cultural-related activity) are reviewed for compliance and reporting, but the results are not tracked in a way that would allow analysis beyond a case study methodology (e.g., aggregation is not possible). Like most small organizations that have a mission and a mandate to carry out a set of activities, monitoring, tracking, measuring, and the capacity to evaluate the results is not likely to be © 2011

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internalized. Essentially, statistical tracking and reporting is a challenge at the sector participant level because human resources are directed to the artistic side, rather than the analytical side – in terms of skills and capacity, as well as in terms of the time and resources to invest in statistical reporting and tracking. Outside of the collection of information to satisfy granting requirements, most organizations we spoke with make the case that the statistical reporting should be in the domain of government. They are, however, willing to help with this process. Several other information sources were suggested by interviewees. Examples include: Canada Revenue Agency – particularly tax filer data on sources of income from Arts & Culture, and Statistics Canada – which has a definition of arts and culture and some details on professional artists.13 As noted in the literature review, much of the secondary research material has been based on recycled and / or re-purposed analysis of data that was originally provided by Statistics Canada, and most of the work can be traced back to the 2006 Census as the main informational underpinning. Cultural statistics and information that exist among the organizations we interviewed meets their administrative needs. It does not exist in a form that could be synthesised and combined with other sources to provide a complete picture of culture in Nova Scotia. We therefore discussed with interview participants their organization’s access to information, and how these channels could be leveraged though a data collection framework. Accessing Information Organizations that are membership-based typically maintain a current list of members, most of who are contacted via e-mail lists maintained by the organizations where memberships are held. Within this segment, members could be individuals, as in the case of the craft sector, or the members could be other organizations (such as theatre companies, in the case of the theatre sector). In cases where other organizations are members of the cultural federations, those organizations may, in turn, have a contact list that they may maintain. For example, a theatre company may maintain information on performing artists who work for the theatre company. In this sense, several organizations we spoke with are effectively ‘gate-keepers’ through which Culture Division may work to better collect information on the culture sector and its components. 13

We understand through NS Culture Division that Statistics Canada is currently working on a satellite account for arts and culture. © 2011

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Information that is currently tracked ranges from basic contact information to more detailed information on individual artists, such as information about their particular art. Generalizing, the membership application is typically the main avenue through which the interviewed organizations collect information about their membership/stakeholders. As such, most of the information is more relevant to the administration of the membership, rather than information that would support a detailed profile of the sector. Many interview participants indicated that they also conduct special studies or surveys of their membership. In the case of Neptune Theatre, for example, a full-blown economic impact study was commissioned and executed by an independent consulting team of student researchers, under academic guidance, through the Saint Mary’s University Business Development Centre (http://www.neptunetheatre.com/userfiles/file/SMU-Economic-Impact-Study.pdf). Other organizations we spoke with have used survey methodology to identify specific characteristics of their membership. The Writers Federation, for example, is currently developing a survey of its membership to identify, among other things, sources of income in addition to writing, income from residuals and royalties, companies with whom writers have published work, employment outside of writing, etc. Still other organizations are able to leverage work that is being done by their national associations. Dance and the Choral Federation, for example, each have national associations that are in the process of conducting various research elements. The Canada Council of Dance is developing a dance-mapping project to research dance across Canada. The Association of Canadian Choral Communities (www.choralcanada.org) is also undertaking a research project across Canada, and the Executive Director of the Nova Scotia Choral Federation sits on the committee that will guide this research. Therefore, there may be several opportunities for a well-framed NS Cultural Research Direction to benefit from the early research design phases of these and other research projects at a national level. The requirement for effective cooperation, however, would be identification of common research goals between Culture Division and cultural organizations in Nova Scotia and, in turn, these organizations having an avenue to influence national research design. While most of the organizational-level information is not well aligned with the information needs for a statistical profile, the important finding is that there is significant potential to partner with a number of culturally-based organizations and channel a data collection methodology through these organizations – a methodology that would address Culture Division’s research needs, as well as offering benefit to the sub-sectors within the cultural sector. While the research resources that are available among most of the organizations we © 2011

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interviewed were limited, all indicated a willingness to support a broad-based research initiative and, in one case where an organization had research support, they were willing to channel this resource toward common objectives with Culture Division. Research reports that were provided to our team are included in Appendix E and included in the summary of literature in Section 2 of this report. Developing a Framework We asked interview participants about how they view their data needs and how those needs would support the development of a cultural profile for their sub-sector, and for culture overall. Adapting existing frameworks from the literature review to support the interview discussion, we outlined a concept of arts and culture to the interviewees from the perspectives of the following:14 Supply of culture - Number of craft and designer shows, number of concerts, number of plays/ theatre shows, etc. Consumer participation (demand for culture) - website hits, tickets sold, etc. Creative participation - number of cultural artists/creative artists, enrolment in art related training and development, etc. Public and private financial support – such as value of corporate gifts/philanthropy, public expenditures in support of arts and culture in education, non-profit sectors, arts in public policy, etc. For the most part, interview participants agreed with this characterization. One individual remarked that their organization would not currently be able to provide much data to address these four areas, but these are “great ideas on how to collect this”. Others offered additional perspectives/areas where the culture sector needs to be measured. These included: Identifying who is doing what in our community with respect to culture (in the context of a supply chain), The need to “vet” the framework (more an outline at this stage than a ready-to-apply framework), Measurable data are easiest to express, but the “quality of life” dimensions need to be reflected as well, The role of cultural support in leveraging other funding (private and public), Identifying lost and unaccounted for revenues in the context of the number of sector 14

The arts-related examples included in these four areas of analysis are intended to be representative of some of the sectors, and not intended to be an exhaustive list of all cultural sub-sectors. © 2011

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participants who are ‘under-paid’, The level of qualifications and credentials of the highly-skilled people working in the sector, The impact of cultural motivation as a factor in drawing people to Nova Scotia, The number and type of awards won by Nova Scotia artists, and / or the level of recognition given to Nova Scotia artists here and / or elsewhere, The role of availability in venues / infrastructure ‘pushing’ supply and ensuring that the assessment includes the enabling resources of the sector, The spinoffs (in the sense of all elements along the supply chain) and how cultural production impacts the host communities (e.g.: co-packages in tourism), The role of culture in the creative economy, The role of the sector and the fact that the majority of the money is spent on people in Nova Scotia and local communities, The attraction of youth to the sector – an outlet for youth, and a social benefit for all, as youth are engaged in productive, creative endeavours, The anchoring role of culture in many towns and communities. Working through the four areas above, measures related to supply and demand are perhaps easier to collect. Most organizations we spoke with keep full records, on an annual basis, related to specific activities in which they engage. For a theatre, this means the plays they produce, the tours they undertake, the number of shows, specific venues used, attendance by performance, information on royalties due, and linkages with creative people who may own the rights to music, plays, etc. Creative participation may also be among the more straightforward indicators to track. Organizations we spoke with knew, for example, the number of cultural artists/creative artists they represent (or have as members), enrolment in art related training and development programs, etc. However, accurate information on artists outside the organization’s membership was in the category of “best guess”. Public and private financial support is also tracked. Organizations know, for example, who their funders are and how much they’ve received from these funders. Maintenance of this information is, in fact, a requirement for tax filer information and needs to be maintained for several years for audit purposes. Most indicated that there is an immediate need to develop a regular and consistent approach to recording and gathering information, and that this would be preferable to the variety of surveys and reports that are now collected, often periodically. Some even commented that many of these ‘one-off’ studies are done without a clear purpose. The thinking among several interview participants is that whatever is adopted needs to tie into work across the country (and internationally) for more effective benchmarking of the industry and measuring industry © 2011

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impact. Assembly of the many sources of information would require effort that would need to be guided by a standardized data collection framework. While we agree that information needs to be provided more regularly and in a way that is easily understood, consistently across time, we have not uncovered a universally accepted framework for doing so. Therefore, Nova Scotia can take a leadership role and develop its own framework, recognizing that that framework will evolve over time as industry ownership of the process increases, and as new methods and approaches emerge from other jurisdictions.

Indicators Given the nature of, and limits on, the information available at the organizational level, we asked interview participants if there was a minimum set of indicators that they felt should be tracked and reported on through the ongoing application of a research framework to measure the cultural sector. We characterized these indicators as the ‘low hanging fruit’ – the indicators that could be collected immediately or easily, and would be an outcome of current administrative activities (and therefore at no incremental costs) or incorporated into administrative activities with little or no cost (such as within an annual survey of membership). Turning to specific indicators, those that are likely to be more easily assembled include counts of ‘units produced or sold’ for craft and visual arts, for example attendance at events, galleries, plays, or performances; ticket sales for ticketed events; enrolment in arts-related programming, and so on. Effectively, direct financial data and attendance-related data should be relatively easy to collect. In some cases, employment will be easy to collect for those sectors that operate through an employer / employee relationship. Where the artists work on contract, commission, or in the sector from a more speculative vantage point (e.g.: making crafts and finding out what revenues are made after the crafts go to market), the concept of employment is less relevant, and may be replaced by ‘share of incomes’, which may be among the more difficult-to-collect indicators. Those cultural indicators that are considered more difficult to collect include data that would represent the economic impact of the sector and its sub-sectors. Interview participants told us that there is a need for this information to better meet the information and reporting requirements of funders and stakeholders throughout the Arts and Culture sector. Many other industries are able to use impact modeling to inform government of the tax, GDP, employment, and household income effects of an investment in their sector. Arts and Culture is not able to do this at present because of data gaps. Interview participants speculate that this limitation is the result of resource limitations in the sector, and a lack of expertise in economics and evaluation among those who work in the sector. © 2011

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Other, more difficult indicators include those qualitative elements such as the benefit of a healthy arts and culture sector on society (e.g.: social cohesion, impact of music and art on brain development, etc.). Jurisdictions Interview participants were also asked about other jurisdictions/sector study examples that they believed offered something worthy of emulation here in Nova Scotia. A number of studies and practices were mentioned. These included: o Industry discussions around “healthy cultural policy” and its impact on the wellbeing of the community, such as www.creativecities.ca; o Kingston Ontario for its cultural policy and monitoring practices; o Victoria, Vancouver and Calgary for their efforts to track their cultural sectors; o The work of Hill Strategies and their insights into the Statistics Canada data; o Efforts in Europe to track culture, with several examples from Britain in particular, o Some jurisdictions have attempted to measure the impact of professional artists on non-professionals (e.g.: each professional supports/mentors 10 non-professionals through free training, school presentations). The Niagara Region was also mentioned for its work on measures to develop a cultural policy, as was St. Catherine’s, credited with being the first city to institute a Cultural Policy and hire a Cultural Manager (who we interviewed for this report). In the case of St. Catherine’s, they have developed a cultural asset map, mapping the cultural infrastructure including public libraries, public archives, galleries for permanent or temporary exhibitions, theatres, multi-use venues that accommodate the arts, studios/production, rehearsal and education space for the arts, museums, etc. and cultural administrative infrastructure (organizations involved in the cultural sector).

Summary of Interviews Interview findings confirm that there is limited existing and current information with which to assemble a cohesive profile of the culture sector and its sub-sectors. Existing information is either out of date or “lumpy” in that it is aggregate and assembled at a level that does not allow for a subsector profile of culture. The literature review (section 2) confirms this assessment. Individual organizations collect data that pertains to their operation, but often this is collected outside a formal structure or approach that would lend itself to evaluation and reporting. Rather, data is collected based on the organization’s individual circumstances or need, and this may or may not align with the data collection goals of an overarching research framework.

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Most interview participants had well-formed ideas of the various measures they would like to see tracked as they pertain to their sub-sector. However, they generally lack the staff time and research capacity (in most cases) to develop their own research approaches and ensure that these are implemented on a regular basis.

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4. DEVELOPING A SET OF INDICATORS Towards a workable framework, one interview participant indicated that most not-for-profits already collect data for three bottom-lines that they must represent to their stakeholders: o Financial sustainability – is the organization covering its cost through a combination of earned revenues and funding application success? This bottom-line is more relevant to the organization than the sub-sector it represents; o Artistic excellence – measured in a variety of ways such as juries, customer surveys, sales, percent of sold out concerts, calibre of acts booked, etc. o Community engagement – through outreach into schools, business and the general public, activities which can be considered a measure of engagement, if counted. Of course, the measurement within these three bottom-lines will vary by type of activity. A fourth bottom-line may be the impact of the sector on the community. Industry stakeholders and their needs will vary by organization, but are generally categorized as government, the industry, and the community. For these audiences, we were told the “sector presently uses the little bit of data available to make the case for its own support”. What is needed is an “arms-length system for measuring the importance of the sector” so that the results are credible to these stakeholders. We therefore built upon concepts for data collection frameworks at the sub-sector level and asked industry what data points they would want to have available to share with their stakeholders. This step occurred concurrently with our mining of existing data and the completion of the key informant interviews. Elements of the following sections were circulated to relevant sector representatives for feedback. We have incorporated the resulting comments. Craft Sector The Craft Sector is among the most diverse and vibrant cultural sectors in Nova Scotia. The Nova Scotia Designer Crafts Council and the Craft Alliance support craft in the region, and crafters and exhibiters sells their works at a variety of venues and events, ranging from Farmers’ markets to the annual Atlantic Craft Trade Show (ACTS), held at the World Trade and Convention Centre in Halifax. The diversity of professional and hobby crafting activities in Nova Scotia makes this sector one of the largest and most difficult to define. Many of the indicators for craft-related cultural activities will overlap with those in the Visual Arts sector. Sector Status: The Nova Scotia Designer Crafts Council has been working to secure funding for a province-wide survey and economic impact assessment of crafts. Their goal is to accurately

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represent the economic impact and export value, with the hope of using this information to further develop and make the case for investment in the sector. Membership in the Nova Scotia Designer Crafts Council is approximately 380, with 75 to 80 of these members being professionals. This provides an avenue through which primary data collection can take place, and the Nova Scotia Designer Crafts Council, Cape Breton Centre for Craft & Design, and Nova Scotia Centre for Craft & Design have all expressed a willingness to be involved in a process that will support their individual research needs and those of Culture Division.

Dance Sector The Nova Scotia dance sector includes both performance-based activities, including dance forms as disparate as ballet and belly dance, and social dance. Some dance forms, like Highland, Hip-Hop, or Flamenco, can be performed to an audience or practiced socially. A wide variety of dance forms are taught and practiced within Nova Scotia; many of these, such as African, Highland, and Irish Set Dance, have a strong ethnic or cultural component. There may be as many as 10,000 dancers in Nova Scotia. Dance includes a mix of organizations – some are independently owned businesses (schools). These businesses may offer classes for as few as 30 students per week up to 600 or more students per week. Schools may offer 3 to 10 hours of instruction per week teaching children, teens, and adults. Programs may have a recreational component or competitive element wherein students are tested for achievement of various levels of expertise. There are schools that are non-competitive and those that are competitive. Within the sector, there are many unique organizations and forms. Highland Dance, for example, is organized according to schools and runs like a sport in that classes are offered from September to June, with competitions taking place throughout the summer. Step Dance and Traditional Square Dance are less formal, frequently operating from community halls. Urban Dance is characterised by a number of small groups that organize themselves around youth access and through the public school system with as many as 20 participating schools in the HRM area alone. Many Ethnic Dance forms are usually associated with multi-cultural events and, consequently, dancing occurs only at special times around these multi-cultural festivals and events. The dance teams are likely to be non-professional volunteers. Maritime Centre for African Dance (MCAD) is a not-for-profit organization and has as its mandate “teaching, sharing and promoting African Culture through the art of dance to youth and adults across Nova Scotia and Canada.” According to their website, the MCAD has taught well over 100,000 children and adults. The venues typically include schools and community, as well as programming associated with other services (e.g.: camps for youth). With its culturally specific mandate, the MCAD is a collective of different individuals from Africa who are trained in traditional dance that ranges from the South, North, West and East of Africa. There are also dance group that represent First Nations communities (e.g.: Eskasoni). © 2011

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Some dance schools have their own dance company (Halifax Dance) and some do not (Maritime Dance Academy). Professional dance companies include: Compañía Azul El Viento Flamenco Gwen Noah Dance Maria Osende Flamenco Company Mocean Dance S.I.N.S (Sometimes in Nova Scotia) Dance Collective Dance Nova Scotia is “the provincial umbrella organization for all forms of dance” 15 and emphasizes “the importance of dance as part of the larger cultural framework”16. This organization lists six professional dance companies in Nova Scotia in addition to 19 other member organizations offering lessons and performing a variety of dance forms. There are also independent artists who self-present but, for all the diversity within the sector, Dance Nova Scotia (www.dancens.ca) acts as a ‘gate-keeper’ to the sector and provides an avenue through which a data collection framework could be generated. Resource constraints may need to be addressed, but Dance Nova Scotia expressed willingness during interviews to contribute to a data collection process. Literary Sector (includes Publishing) Nova Scotia’s literary sector is both varied and prolific. Within Nova Scotia, there are probably 800 to 850 writers of all types, based on discussions with the Writers’ Federation of Nova Scotia. There are those who make a career out of writing, as well as those who write as part of their employment. The Atlantic Publishers Marketing Association (APMA) - an industry support organization representing book publishers located in Atlantic Canada - lists 14 publishers in Nova Scotia, but their list does not include chapbook (i.e.: short inexpensive booklets) publishers, or self-published writers. The Writers’ Federation of Nova Scotia’s website currently lists over 250 published writers17, but the Federation has, in March 2011, 656 members: Nova Scotia writers of fiction, both published and unpublished, along with authors of non-fiction, children’s books, poetry, journalism, plays, histories, and more. The writing and publishing sector is witnessing the significant impact of new technology that is changing the entire industry. The e-book and digital publishing is changing the way writers 15

www.dancens.ca

16

ibid www.writers.ns.ca

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work, get published, and are paid. The industry is working to catch up with the new technology, addressing the implications of e-business rights and how the writer’s creative work can be promoted and protected, so that the writers have a legal attachment to their creative works. APMA conducted a Book Publishing in Nova Scotia study in 2009. The report reviewed the current publishing industry, opportunities for the sector, and made a case for government investment based on a jurisdictional comparison to Ontario and that government’s support for the sector. The study did not appear to include the up-stream input into the book publishing sector – the writers themselves. The Writers’ Federation had attempted to survey their membership in the past but participation was not as high as had been hoped, perhaps owing to the diverse group of writers making up the Federation’s membership. At the time of this report preparation, the Federation is about to undertake a survey of their membership wherein they will ask basic contact information, as well as questions about production, markets, income, type of work, etc. Units of measure for the sector are number of pages; percent of income from writing, percent of income from residuals from past work (royalties); where writers are published (e.g. markets); the number of artists who win awards/shortlisted for awards, etc.

Music Sector Nova Scotia has long been known as a hotbed of musical activity. The Music Nova Scotia online directory currently lists 450 members18 as disparate as Symphony Nova Scotia, Dutch Robinson, Caledonia (whose “library of original music lends itself to varying genres including sixties rock grooves, reggae, folk, alt-country, eighties new wave and modern rock”19), the celebrated folk/country musician Gordie Sampson, and folk rocker Joel Plaskett. Traditionally, Nova Scotia’s musical reputation was solidly founded in folk superstars such as the Rankin Family, Rita MacNeil and Anne Murray; however, more recently, hip-hop and R&B artists such as Chelsea Nisbett, Buck 65 and Classified have been successful regionally, nationally, and internationally, attesting to the richness and diversity of the province’s music industry and culture. Music Nova Scotia is a lead music industry association in Nova Scotia operating under the mandate to “encourage the creation, development, growth and promotion of Nova Scotia’s music industry.” The membership based organization has been in existence since 1989. The association offers a number of services to members and the general public. Music Nova Scotia roles include providing education, information and resources to their membership, and advocate for the industry, promotion of the export of Nova Scotia , among other roles. 18

www.musicnovascotia.ca

19

Ibid

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According to their web site, Music Nova Scotia membership is mainly made up of Nova Scotians and includes songwriters, musicians, agents, managers, promoters, distributors, photographers, associations, lawyers, accountants and other industry professionals. Choral Sector The Nova Scotia Choral Federation (NSCF) is a “not-for-profit organization [that] exists to serve the needs of the choral community, to raise public awareness and to foster an appreciation and enjoyment of choral music.”20 This organization, which has been operating since 1976, supports choral activities for both adults and children. There are 117 organizations that are members of the Nova Scotia Choral Federation with the sizes of these groups ranging between 10 and 75 members. There are an estimated 3,500 members of choirs associated with the Federation. All are amateurs, with some paid support staff. Of the 117 organizational members, about 5% are community / church groups. A study from 1993 estimated approximately 940 church/community choirs in Nova Scotia; however, this study is now outdated. Given the changes in demographics and the closure of several churches since 1993, it is probable that there are now fewer than 940 churches / community choirs in the province. Activities of the federation include festivals, programming, camps, choirs that are administered by the federation, operating the camps, developing the programming, a library of sheet music, etc. Measures important to the sector include the number of rehearsals, number of concerts, audience (ticketed or estimates), salaries for conductors (a study had been completed 8 or so years ago), ticket costs (so that accessibility to music, relative to other forms of entertainment, can be included in the discussion). The Executive Director of the Nova Scotia Choral Federation is a member of a national committee through www.choralcanada.org that is embarking on a Canada-wide research project. Having a Nova Scotia connection on such a research project could be supportive of the development of best practices in the Nova Scotia context. New Media Sector New Media in Nova Scotia is among the most rapidly expanding cultural sectors, thanks in part to the province’s growing film and television industry. Local filmmakers, supported by the Atlantic Filmmakers Cooperative (AFCOOP) and Film Nova Scotia, enjoy opportunities to develop their work and, often, to bring it to audiences at local theatres and at the annual Atlantic Film Festival and Halifax Independent Filmmakers Festival. Meanwhile, more and more major Canadian and international production companies are choosing to film their movies, television, and web series in Nova Scotia, providing local film crews and actors with the

20

http://www.nscf.ns.ca/

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opportunity to work on popular and big-budget projects such as Titanic, Haven, Amelia, and the Trailer Park Boys television series and feature films. Film Nova Scotia was started in 1990. As a provincial crown corporation, it has as its mandate to “grow Nova Scotia’s film industry” with “partners by stimulating investment and employment and by promoting Nova Scotia’s producers, productions, locations, skills and creativity in global markets.” The corporations system of tax credits and direct investment though the province of NS contribution between $15 and $25 million annually to Nova Scotia film industry. Activities of Film Nova Scotia’s include investment in NS Films, export development, marketing, and industry development. The Atlantic Filmmakers’ Cooperative is a “member-run arts-centre for the production and presentation of creative films in a collaborative, learning environment.” The goals of the cooperative are to provide assistance to members for the production of independent, noncommercial films, provide facilities and instruction for the training of filmmakers, and provide film-related programming within the community.

Theatre Sector Theatre is ‘company art’ where a group of artists and support people (e.g.: wardrobe, scenery, direction) express something as a group or a company, in contrast to visual arts or craft, as examples, which are frequently created solely by an individual artist. Currently, Theatre Nova Scotia boasts more than 40 members21, ranging from professional theatres like Halifax’s Neptune Theatre (the largest theatre company in Nova Scotia) or Dartmouth’s Eastern Front, to active and ambitious community theatre organizations like Bedford Players and a wide range of smaller professional, semi-professional and amateur theatre groups. The majority of companies are small, and several are project based (i.e.: they do not have a building and assemble to put on theatre based on a specific project). Those that are smaller may not track audiences or at least not to the extent that Neptune and larger theatre groups are able to do. There are also ‘presenters’ who operate facilities (e.g.: Aster Theatre Society) and book (buy and sell) acts that may include theatre as well as other performances. Often the mandates of the presenters include the use and preservation of the facility in which the organization presents its programming. Other companies may also produce as well as buy and sell acts. Theatre is performed in professional venues, festivals such as Halifax’s annual Fringe Theatre Festival, and an impressive array of ad-hoc theatres, temporary performance venues, and openair locations like Point Pleasant Park, the site of annual Shakespeare by the Sea performances. Ninety per cent of the companies are non-profit. The artistic process is supported by the producing companies with the inputs including people, sponsors, actors, and the presentation 21

www.theatrens.ca

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facility. Theatre needs people to produce the product, with the presentation facility or venue being of less importance. Indicators that are important, therefore, include volunteers in the cultural sectors, participation, and attendance; however, supporting infrastructure such as dedicated theatre venues should also be identified.

Visual Arts Sector (includes Design) Like the Crafts Sector, Nova Scotia’s Visual Arts sector is large and diverse; in fact, a number of activities and artistic products straddle both sub-sectors. The Visual Arts sector is broadranging, encompassing installations, sculptures, digital technology, gallery work, some elements of experimental film, and so on. There are about 600 members of the organization Visual Arts Nova Scotia. In addition, digital design artists’ work can often be included in the New Media Category because it relates to content development rather than the technology that delivers the content. Visual Arts Nova Scotia (VANS) is “a provincial artist-run organization incorporated in 1976 to serve visual artists”22, supporting artists by providing exhibition, marketing and educational opportunities. Visual artists in Nova Scotia work in a wide variety of mediums, and show their work in public and commercial galleries, studios, retail stores, festivals, Farmers’ Markets, and community art shows. Visual arts sector membership is open to self identified visual artists and the VANS offers programming to established and professional artists, professional development, exposure through an Atlantic Canadian Magazine called Visual Arts News (subscription list – with a circulation of 1,200), various resources for artists. As with other organizations we spoke with, the VANS is open to pursing common research interests and provides a logical point through which to access the sector’s creative participants.

Multi-Cultural and Cultural Specific Sectors Multi-cultural and culturally specific organizations tend to cut across many of the other cultural sub-sectors discussed above. The Multi-Cultural Association of Nova Scotia (MANS), for example, represents multi-cultural craft, music, art, etc. The Gaelic Council of Nova Scotia, along with elements of what MANS provides, focuses on enabling activities to support multicultural activities. Gaelic Council of Nova Scotia, for example, supports the preservation, protection and promotion of the Gaelic language. The language is, in effect, an input for the artistic and cultural interpretation and expression that uses the Gaelic language as an input or foundation for that expression – a story told in Gaelic, for example. Generalizing, however, the goal of multi-cultural and culturally specific organizations includes the protection, promotion, and preservation of cultural diversity. Examples include the annual Nova Scotia Multicultural Festival, the Halifax Greek Festival, the Lebanese Festival in Halifax, among others.

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5. CONCLUSIONS AND RECOMMENDATIONS The government’s role, according to Nova Scotia’s Cultural Policy, is not to create culture but to create an environment that is supportive of a vibrant cultural sector. Nova Scotia’s Cultural Policy outlines a number of commitments intended to support the sector. The Policy also provides a framework to monitor government performance in supporting the sector. The Culture Division, however, does not have at this time a formal research plan to support their activities. As well, available published statistics are very limited and often out-of-date. The following recommendations are intended to provide a draft Research Plan for Culture Division, with the intended goal to develop a research program that will allow monitoring, measurement and reporting on the culture sector on an ongoing basis. In December of 2010, the project manager of the consulting team for this study tabled a discussion document toward defining a research plan wherein he advised that an initial and important first step in researching culture in Nova Scotia would be to inventory exiting research. The goal of this step is to test and confirm measures that are of interest to the communities within culture, identify data collection processes that may be utilized to leverage research areas within Culture, and prioritize measures so that those that are most meaningful can be identified and pursed first. After twenty-five interviews, and having reviewed more than 30 source documents and web sites, this report addresses the recommendation for an inventory of existing research. Existing information, while providing isolated glimpses into various aspects of cultural sectors, does not provide data from which to construct a robust statistical profile of the cultural sectors. Primary research is required. Setting a Research Direction Culture Division was once part of a Nova Scotia government department that included Tourism, Culture, and Heritage. Recently, Culture Division was moved into a new Department of Communities, Culture & Heritage. Tourism has become part of Economic and Rural Development and Tourism. There are many reasons for the departmental changes; however the practical connections between culture, heritage and tourism will continue. It is worth considering these connections in the context of benchmarking culture. For the purpose of developing a research framework, we offer our working concept of the relationships between Tourism, Culture, and Heritage. Tourism – markets/sells/brands/positions Nova Scotia’s culture and heritage activities, physical and natural assets so that the market is aware of these services;

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Culture – is content; the process of making creative content for its own sake (the need to create), for commercial enterprises (the need to earn a living), for local consumption, for tourism consumption, for export, and global consumption; and Heritage – our physical, natural and cultural content over time; the stories of “how we lived”, “where we lived”, “when we lived”. In this context, core indicators for cultural activity must be taken from those activities that contribute to cultural content, and those activities that allow for the exchange of what has been created between those who create cultural output, and those who consume this output. Heritage fuels and enables culture, and the supply of culture is consumed by visitors and residents alike. In this light, it makes sense to consider the ‘supply’ of cultural output, the ‘demand’ for cultural output, and those that participate in this exchange as creators, consumers, and enablers (e.g.: government). The following can be viewed as an overarching framework for the cultural sector, although the framework will have to be adjusted and fine-tuned for each culture-industry subsector. Availability – the availability or Supply of Culture, is an inventory of the number of opportunities to watch, listen, enjoy and participate in a culture-related activity. Indicators may include: Number of cultural related entities such as organisations representing artists, arts venues (e.g.: theatres, galleries, craft fairs). The information for this indicator could be expanded to include their activities and, where applicable, membership. Number of art shows including details on the type of show (e.g., paintings, photography). Number of craft and designer shows, including average number of presenters. Number of concerts and type (e.g.: traditional, classical, alternative). Number of plays / theatres shows and type of theatre group presenting (e.g.: professional, community-based). Number of items (CDs, DVDs, pictures, etc) available for sale by type and category (e.g.: music, theatre, crafts). Number of events that took place during a convention, sporting event, trade show or other type of activity that supported indirect participation of culture events (e.g.: dance and/or music performance). Consumer Participation – the level of participation in cultural related activities by those in the general public and visitors to Nova Scotia can be thought of as the Demand for Culture. Indicators of consumer participation may include:

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Receipts / revenues in total, by geographic area, by sub-sector, average per consumer and/or performer, etc. Website hits to culture-related sites, indicating relative interest from consumers. Number of tickets sold and given away relative to the capacity of the event. This may indicate the relative “intensity” of consumer interest in an event or type of event. Participation in festivals or other cultural community events. Crowd counts / estimates for each activity, where possible, to assist in estimating economic impact and consumer interest. Number of items (CDs, DVDs, pictures, etc.) sold to support economic impact estimates. Profile of the participants (age profile, origin, nights stayed, reasons for travel to NS, etc.) to assist stakeholders in targeting promotional information and estimating economic impact. Creative Participation – the level of participation within the sector from those who create and support cultural products and services, as well as those who are learning and participating in training within the culture sector. Indicators may include: Total volunteer hours by type of activity, region/location, etc. Total paid labour hours (and / or household income derived) by type of culture activity and location. Number of full time / part time working artists (% of income derived) as compared to non-artist support people, volunteer or professional. Enrolment in art schools or university-based arts programs by category, which will indicate future sector and sub-sector development. Number of children and adults involved in cultural education in school, AGNS, AFCOOP training programs, theatre training programs, recreation programs, and in after school programs Membership in arts related associations or unions compared to estimates of nonmember artists. Number of arts and cultural organizations and an assessment of their strength relative to proportion of sector members represented, organizational structure (e.g.: staff), and effectiveness. Creative participation in concerts, acts, arts activities, festivals, or other cultural community events, measured as the number of Nova Scotia artists involved in each event, and provincial artists as a proportion of total artists presenting. Number of members of arts clubs, providing an indication of non-professional artists. Profile of the performers (e.g.: age, formal education, additional training). Sales of materials / supplies for the arts sectors (factors of production to create/make art); materials and services used by artists as opposed to revenue from consumers of culture.

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Media coverage of cultural activities / events (newspapers insertions and electronic media - television, radio, web) measured by number and topic. Public and Private Support – the level of support provided by private, corporate, and government to arts and cultural related services, programs, and activities. Core indicators could include: Total program moneys made available; number of program participants supported; leveraged monies from other sources because of the initial funding support. Total annual value of corporate gifts / philanthropy. Public expenditures in support of arts and culture in education. Public expenditures in support of arts and culture in non-profit cultural sectors. Public expenditures in support of arts and culture in commercial cultural sectors. In-kind support from volunteers, communities (e.g.: free theatre venues), and professional artists providing free services (e.g.: school presentations). Number of cultural entities supported through program funding. Business endorsements / value of advertizing and sponsorships at cultural events. Total value of volunteer time supporting arts and cultural activity. Presence and type of public policies relating to arts and culture at the federal, provincial and local level. Integration of arts and culture into other policy areas not directly responsible for culture activities, such as tourism, agriculture (e.g.: farm/craft markets), and so on. Defining culture using statistical methods provides and understanding of the limitations of quantitative measures in capturing the more intrinsic and qualitative aspects of sectors that are involved in creative expression. Fundamentally, there is no good baseline that encompasses all of culture in Nova Scotia – economic and societal - and this study confirms that generating a baseline representative of all aspects of culture’s impact possible based on information that is available. Primary research is necessary. First, we recommend that Culture Division adopt the use of electronic applications for program support, funding, and reporting. This will ensure consistent information is gathered from all funding applicants in a format useable for analysis and aggregation. These metrics, embedded in existing programming, will reduce the burden on applicants and government to assemble the measures in a go-forward setting and become part of the monitoring process by building the information gathering activity into the application process where possible. Our main recommendation to fill other data gaps is to build on previous work, including the results of this project, and develop a pilot wherein one or more of the cultural sub-sectors are benchmarked on the basis of the framework discussed above.

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The initial application of these measures should be a pilot project – a first application to one culture sub-sector that sets baseline data against which change can be measured and monitored, and through which the framework itself can be detailed and improved. The resulting refined monitoring framework for the pilot sub-sector would then be adjusted for specific issues of each sub-sector and applied to the rest of the culture industry. Care must be taken when developing the pilot that information that is periodically available from other sources and beyond Nova Scotia (e.g.: census data, other provinces’ benchmarking projects) can be compared to the results of Nova Scotia’s unique approach to supporting and developing the culture sector’s potential. The objective of the pilot project is to refine, apply and test the proposed measurement framework. The theoretical framework described above defines a “best case” scenario and the realities of industry structure and budget constraints will influence the model that can actually be applied to the province’s culture sector. In our view, the steps to develop and complete the pilot project would include, but not be limited to: Confirm terms of reference and issues identified in this report (e.g.: lack of data, shortcomings of census data and way it is being used, etc). Establish a Pilot Project Steering Committee including industry representation. Select the pilot sector for developing and testing the framework. Parameters for the pilot sector are discussed below. Run the pilot and evaluate the results relative to the best case scenario identified in this report and value of information gathered. Focus of the pilot is to develop, test and amend the data collection model to best reflect information that is needed and the realities of collecting the data. Maintain the committee on an ad hoc basis for the next phase, which will be the roll-out of the model to the entire sector over a three-year timeframe. Fine tuning to each subsector may begin in the pilot development phase but will be completed during the application phase. It is important that application of the model process to the whole sector be completed over a relatively short period so that meaningful information can be aggregated to assist government and other stakeholders to develop policy and programs based on good information and data. A communications program should be developed by Division to ensure that the entire culture sector is aware of the results of this study, the objectives of the pilot project, and proposed steps to roll out the program to the entire sector. Preferred results of the pilot project would include: Developed and tested data collection and analysis tools. A clear understanding of the parts of the process that would be the responsibility of culture industry members and those that would be the responsibility of other stakeholders. © 2011

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Confirmation of the format for the data collection system. Synthesised results and lessons learned. Possible inclusion a guide for self assessment for culture industry organizations to use for sector/sub-sector marketing and development. Recommendations and options for roll-out to other subsectors within the three-year target period.

Selection of a sub-sector as the subject of the pilot project needs to take into account several factors that are important for a successful outcome. It is important that the sub-sector chosen will encompass the characteristics necessary to generate an “overarching” type of model that is general enough to be easily refined for the specifics of other sub-sectors. The pilot sub-sector should have the following characteristics: An organization that represents all or a large portion of the sub-sector members. The organization should have a Board of Directors that will actively support the pilot project by providing feedback to periodic updates on project progress. An organization that is relatively well developed, particularly with staff that understand all aspects of the sub-sector and can provide input to the pilot project process. Organization membership should receive regular contact from the organization so that information on the project can be disseminated and member participation sought through their own organization rather than the Division or project consultant. A final criterion could include the sub-sector’s own research capacity or resources. In several cases include organizations we spoke with had researchers on staff and were willing to devote a portion of their researchers time toward collecting data via a framework that supported culture division’s mandate and was of value to the organization itself.

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APPENDIX A – INTERVIEWS 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25.

Atlantic Publishers Marketing Association Canada Council for the Arts Cape Breton Centre for Craft & Design Celtic Colours International Festival City of St. Catharines, Recreation and Community Services Crafts Alliance Dalhousie Arts Centre Dance Nova Scotia Federation culturelle acadienne de la Nouvelle-Écosse Gaelic Council of Nova Scotia Mermaid Theatre of Nova Scotia Multicultural Association of Nova Scotia Multicultural Association of Nova Scotia Music Nova Scotia Neptune Theatre Neptune Theatre Nova Scotia Centre for Craft & Design Nova Scotia Choral Federation Nova Scotia Designer Crafts Council Office of African Nova Scotia Affairs Office of Gaelic Affairs Symphony Nova Scotia Theatre Nova Scotia Visual Arts Nova Scotia Writers Federation of Nova Scotia

Peggy Walt, Executive Director Ms. Claire McCaughey, Head Research & Evaluation Section and Manager, CADAC Secretariat Carol Beaton, Executive Director Joella Foulds, Artistic Director; also Chair, NS Arts & Culture Partnership Council Rebecca Cann, Cultural Planning Supervisor Bernard Burton, Executive Director Heather McGean, Director Dianne Milligan, Executive Director Martin Theberge, Executive Director Caroline Cameron, Coordinator Sara Lee Lewis, Managing Director Ifty Ilyas, Executive Director Sylvia Parris, Vice President Scott Long, Executive Director Charlie Rhindress And Jenney King Susan Charles, Director Tim Callahan-Cross, Executive Director Susan Hanrahan, Executive Director Wayn Hamilton, CEO Lewis MacKinnon, CEO Erika Beatty, CEO Chris Shore, Executive Director Briony Carros, Executive Director Nate Crawford, Executive Director

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APPENDIX B – INTERVIEW GUIDE Preamble The Culture sector is an economic driver for Nova Scotia, contributing to our province's prosperity by providing a venue through which residents and visitors can interpret our past and present through a variety of media. Culture drives our economy, exhibits and enhances our way of life, and contributes to the quality of life for our residents and enriches the experiences of our visitors. A challenge for the sector is a lack of research necessary to accurately represent the size, health, and economic contribution provided by NS' Cultural Industries. We do not accurately know, for example, how much people rely on the cultural sector for their livelihood. The purpose of this study is to examine available information and assemble an overall cultural industry profile - taking a snapshot of the various aspects of the sector and it sub-components benchmarking the culture industries in Nova Scotia with respect to their economic size, composition, participation, household income derived, employment, etc. As part of this work, we are conducting a series of interviews with leaders in the cultural industry to identify what research may be available through sector participants, what information may be of interest to culture sector participants, and identify what industry profile data falls under the headings of 'must have', 'like to have,' and 'nice to have' for the culture sectors. The work will also provide a foundation for ongoing research, so that the characteristics of the culture sector (and its subsectors) can be tracked, measured, and reported on over time. Interview Questions 1. What information are you now tracking that allow you to talk about the size and importance of the culture sector you represent? Are there existing studies or data that pertain to your industry that help? Can we have copies? 2.

Are you able to provide data on your culture sector that would highlight the sector from the perspective of the: a. Supply of culture - Number of craft and designer shows, Number of concerts, Number of plays/ theatres shows, etc)? b. Consumer participation (demand for culture) - website hits, ticket sold, etc. c. Creative participation - number of cultural artists / creative artists, enrolment in art related training and development, etc. d. Public and private financial support - e.g. value of corporate gifts / philanthropy, public expenditures in support of arts and cultural in education, non-profit sectors, arts in public policy, etc.

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3.

Are there other perspectives / areas where the culture sector needs to be measured?

4.

Is there a minimum set of indicators that you think should be tracked and reported on through the ongoing application of a research framework to measure the cultural sector? What are they?

5.

Would you be willing to contribute to this process (e.g., for example, by sharing your information toward an overall profile of the sector)?

6.

Are there jurisdictions / examples where you think the cultural sector does a good job of representing its size and importance to the economy and community? What are they / where are they?

7.

If you were asked to profile your component of the culture sector, what characteristics of the sector would you find easiest to include?

8.

What characteristics would be hardest to include (e.g., data is non-existent or costly to obtain)?

9.

If you had a current profile of the overall culture sector, and your sub-sector, how would you want to use this profile? Who are the audiences you would want to reach and what would you want to be able to tell them about your sector?

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APPENDIX C – INTRODUCTORY LETTER FROM CULTURE DIVISION

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APPENDIX D – SUBSECTOR INDICATORS This appendix presents the general indicator framework adjusted to reflect specific culture subsectors. Section 5, above provides more explanation of the indicators than the lists that follow and this appendix should be reviewed in parallel with the discussion in that section. As in the general framework, indicators are grouped under four headings: Indicators that address the Availability or Supply of Culture refer to those indicators that identify the inventory / number of opportunities to watch, listen, enjoy, and participate in a culture-related activity. Indicators that address Consumer Participation or Demand for Culture track the level of participation in culture-related activities by those in the general public and visitors to Nova Scotia who “consume” culture: the Demand for Culture. Indicators of Creative Participation demonstrate the level of participation within the sector, from those who create as well as those who are learning and participating in training within the culture sector. Indicators of Public and Private Support indicate the level of support provided by private, corporate, and government organizations to arts and culture-related services, programs, and activities.

CRAFT SECTOR Availability of Supply – Indicators may include: o Number of individuals producing crafts o Number of craft-related entities / associations / organizations o Number of craft and designer shows – could be expanded to include details on the type of shows (e.g., crafts by sub-category) o Number of events that took place during a convention, sporting event, trade show, or Farmers’ Market, etc. Consumer Participation or the Demand For Culture – Minimally, these indicators may include: o Receipts / revenues o Website hits to craft-related sites o Participation in festivals or other community craft events o Crowd counts / estimates o Profile of the participants (age profile, origin, nights stayed, reasons for travel to NS, etc.) © 2011

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Creative Participation – Indicators may include: o Total volunteer hours o Total paid labour hours (and / or household income derived) o Number of full time / part time working crafters (% of income derived) o Enrolment in art schools or university-based arts programs o Membership in craft-related associations or unions o Number of arts and craft organizations (and an assessment of their strength) o Enrolment in training programs o Creative participation in arts activities, festivals, Farmers’ Markets, or other community craft events o Number of members in craft clubs o Profile of the performers (who is involved—age profile, origin) o Sales of materials / supplies for the arts sectors (factors of production to create / make art) o Number of children and adults involved in cultural education in school, AGNS, recreation programs, and in after school programs o Media coverage of craft activities / events (newspapers insertions and electronic media - television, radio, web) Public and Private Support – Core indicators could include: o Total program moneys made available; number of program participants; leveraged monies o Total value of corporate gifts / philanthropy o Public expenditures in support of arts and crafts in education o Public expenditures in support of arts and crafts in non-profit cultural sectors o Public expenditures in support of arts and crafts in commercial cultural sectors o In kind support o Number of craft-related entities supported through program funding o Business endorsements / value of advertizing and sponsorships at craft-related events o Total value of volunteering time supporting craft-related activity o Presence and type of public policies about crafts at the federal, provincial and local level o Integration of craft-related issues and opportunities into other policy areas

DANCE SECTOR Availability – Indicators may include: o Number of dance-related entities – could be expanded to include their activities and their membership that support dance directly or indirectly o Number of shows © 2011

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o Number of events that took place during a convention, sporting event, trade show Consumer Participation – Indicators may include: o Receipts / revenues o Website hits to dance-related sites o Number of tickets sold / given away o Participation in festivals or other community dance or cultural events o Crowd counts / estimates o Profile of the participants (age profile, origin, nights stayed, reasons for travel to NS, etc) Creative Participation – Indicators may include: o Total volunteer hours o Total paid labour hours (and / or household income derived) o Number of full time/part time working dancers (% of income derived) o Enrolment in dance schools or university-based dance programs o Membership in dance-related associations or unions o Number of dance organizations (and an assessment of their strength) o Enrolment in dance-training programs o Creative participation in concerts, performances, shows, festivals, or other community events o Number of members in dance clubs o Profile of the performers (who is involved—age profile, origin) o Sales of materials / supplies for the dance sector (factors of production to create / make art): includes costume and makeup for the performers, and materials required to build sets or decorate stages o Number of children and adults involved in dance education in school, recreation programs, and after-school programs o Media coverage of dance activities / events (newspapers insertions and electronic media - television, radio, web) Public and Private Support – Indicators may include: o Total program moneys made available; number of program participants; leveraged monies o Total value of corporate gifts / philanthropy o Public expenditures in support of dance in education o Public expenditures in support of dance in non-profit cultural sectors o Public expenditures in support of dance in commercial cultural sectors o In-kind support o Number of dance entities supported through program funding o Business endorsements / value of advertizing and sponsorships at dance events © 2011

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o Total value of volunteering time supporting dance activity o Presences and type of public policies about dance at the federal, provincial and local level o Integration of dance into other policy areas

LITERARY SECTOR (INCLUDES PUBLISHING) Availability – Indicators may include: o Number of literary-related entities – could be expanded to include their activities and their membership o Number of shows – could be expanded to include details on the type of shows, such as literary festivals o Number of events that took place during a convention, sporting event, trade show o Number of books, e-books, and other publications available for purchase Consumer Participation – Indicators may include: o Receipts / revenues o Website hits to literary-related sites o Number of books sold o Participation in festivals or other literary community events o Crowd counts / estimates at book fairs, readings or author appearances o Profile of the participants (age profile, origin, nights stayed, reasons for travel to NS, etc) Creative Participation – Indicators may include: o Total volunteer hours o Total paid labour hours (and / or household income derived) o Number of full time / part time working writers/publishers (% of income derived) o Enrolment in writing or publishing programs in schools or university-based writing / publishing programs o Membership in writing / publishing-related associations or unions o Number of writing and publishing organizations (and an assessment of their strength) o Enrolment in writing / publishing training programs o Creative participation in readings, literary activities, festivals, or other writing / publishing community events o Number of members in writing / publishing / literary clubs o Profile of the writers and publishers (who is involved—age profile, origin) o Sales of materials / supplies for the writing and publishing sectors (factors of production to create / make literature)

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o Number of children and adults involved in writing / literary education in schools, recreation programs, and after school programs o Media coverage of literary activities / events (newspaper insertions and electronic media - television, radio, web) Public and Private Support – Indicators may include: o Total program moneys made available; number of program participants; leveraged monies o Total value of corporate gifts / philanthropy o Public expenditures in support of writing and publishing in education o Public expenditures in support of writing and publishing in non-profit cultural sectors o Public expenditures in support of writing and publishing in commercial cultural sectors o In-kind support o Number of literary entities supported through program funding o Business endorsements / value of advertizing and sponsorships at literary events o Total value of volunteering time supporting writing and publishing activity o Presence and type of public policies about writing and publishing at the federal, provincial and local level o Integration of writing and publishing into other policy areas

MUSIC SECTOR Availability – Indicators may include: o Number of music-related entities – could be expanded to include their activities and their membership o Number of concerts o Number of events that took place during a convention, sporting event, trade show Consumer Participation – Indicators may include: o Receipts / revenues o Website hits to music related sites o Number of tickets sold / given away o Number of albums sold o Number of songs or albums purchased online o Number of T-shirts, posters, and other related merchandise sold o Participation in festivals or other musical community events o Crowd counts / estimates o Profile of the participants (age profile, origin, nights stayed, reasons for travel to NS, etc.) © 2011

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Creative Participation – Indicators may include: o Total volunteer hours o Total paid labour hours (and / or household income derived) o Number of full time/part time working musicians (% of income derived) o Enrolment in music schools or university-based music or recording programs o Membership in music-related associations or unions o Number of musical organizations (and an assessment of their strength) o Enrolment in music and recording training programs o Creative participation in concerts, acts, festivals, or other cultural community events o Number of members in music clubs o Profile of the musicians (who is involved—age profile, origin) o Sales of materials / supplies for the arts sectors (factors of production to create / make music): sales of musical instruments and related items (sheet music, guitar picks, supplies to maintain musical instruments in working order, etc.) o Number of children and adults involved in musical education in school, recreation programs, and in after-school programs o Media coverage of musical activities / events (newspaper insertions and electronic media - television, radio, web) Public and Private Support – Indicators may include: o Total program moneys made available; number of program participants; leveraged monies o Total value of corporate gifts / philanthropy o Public expenditures in support of music in education o Public expenditures in support of music in non-profit cultural sectors o Public expenditures in support of music in commercial cultural sectors o In-kind support o Number of music-related entities supported through program funding o Business endorsements / value of advertizing and sponsorships at musical events o Total value of volunteering time supporting music-related activity o Presence and type of public policies about music and recording at the federal, provincial and local level o Integration of music into other policy areas

CHORAL SECTOR Availability – Indicators may include: o Number of choir-related entities, such as the NSCF, and individual choirs – could be expanded to include activities and membership o Number of choral performances and concerts © 2011

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o Number of items (CDs, DVDs, posters, etc) available for sale o Number of events that took place during a convention, sporting event, trade show Consumer Participation – Indicators may include:: o Receipts / revenues o Website hits to choir-related sites o Number of tickets sold / given away o Participation in festivals or other cultural community events o Crowd counts / estimates o Number of items (CDs, DVDs, posters, etc) sold o Profile of the participants (age profile, origin, nights stayed, reasons for travel to NS, etc) Creative Participation – Indicators may include: o Total volunteer hours o Total paid labour hours (and / or household income derived) o Number of full time/part time working choir members (% of income derived) o Enrollment in choral schools or university-based choral programs o Membership in choir-related associations or unions o Number of choral organizations such as the NSCF (and an assessment of their strength) o Number of choirs (and an assessment of their strength) o Enrollment in choral training programs o Creative participation in concerts, festivals, or other community choral events o Number of members in choirs and choral federations o Profile of the performers (who is involved—age profile, origin) o Sales and rentals of materials / supplies for choirs (such as choir robes or costumes, sheet music, sound systems, materials needed to build stages, etc.) o Number of children and adults involved in choral education in school, NSCF camps and training programs, recreational choral programs, and in after-school programs o Media coverage of choral activities / events (newspaper insertions and electronic media - television, radio, web) Public and Private Support – Indicators may include: o Total program moneys made available; number of program participants; leveraged monies o Total value of corporate gifts / philanthropy o Public expenditures in support of choirs in education o Public expenditures in support of choirs in non-profit cultural sectors o Public expenditures in support of choirs in commercial cultural sectors o In-kind support © 2011

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o Number of choral entities (choirs and choral federations) supported through program funding o Business endorsements / value of advertizing and sponsorships at choral events o Total value of volunteering time supporting choral activity o Presences and type of public policies about choirs at the federal, provincial and local level o Integration of choir-related issues into other policy areas

NEW MEDIA SECTOR Availability – Indicators may include: o Number of new media-related entities – could be expanded to include their activities and their membership o Number of new media shows – could be expanded to include details on the type of shows: film festivals, screenings of local film, etc. o Number of films, television, and web series o Number of events that took place during a convention, sporting event, trade show Consumer Participation – Indicators may include: o Receipts/revenues o Website hits to new media-related sites (including online views of trailers, web series, etc) o Number of tickets sold / given away o Number of DVDs and related products sold o Participation in festivals or other new media community events o Crowd counts / estimates o Profile of the participants (age profile, origin, nights stayed, reasons for travel to NS, etc) Creative Participation – Indicators may include: o Total volunteer hours o Total paid labour hours (and / or household income derived) o Number of full time / part time working artists (% of income derived) o Enrolment in media schools or university-based new media programs o Membership in new media-related associations or unions o Number of new media organizations (and an assessment of their strength) o Enrolment in new media training programs o Creative participation in acts, new media activities, festivals, or other cultural community events o Number of members in new media clubs o Profile of the performers (who is involved—age profile, origin) © 2011

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o Sales and rentals of materials / supplies for the new media sector (factors of production to create/make new media) o Number of children and adults involved in new media education in school, AFCOOP programs, private acting lessons, recreation programs, and in after school programs o Media coverage of new media activities / events (newspapers insertions and electronic media - television, radio, web) Public and Private Support – Indicators may include: o Total program moneys made available; number of program participants; leveraged monies o Total value of corporate gifts / philanthropy o Public expenditures in support of new media in education o Public expenditures in support of new media in non-profit cultural sectors o Public expenditures in support of new media in commercial cultural sectors o In kind support o Number of new media entities supported through program funding o Business endorsements / value of advertizing and sponsorships at new media events o Total value of volunteering time supporting new media activity o Presences and type of public policies about new media at the federal, provincial and local level o Integration of new media into other policy areas

THEATRE SECTOR Availability – Indicators may include: o Number of theatre-related entities – could be expanded to include their activities and their membership o Number of shows and performances o Number of events that took place during a convention, sporting event, trade show Consumer Participation – Indicators may include: o Receipts / revenues o Website hits to theatre-related sites o Number of tickets sold / given away o Participation in festivals or other community theatre events o Crowd counts / estimates o Profile of the participants (age profile, origin, nights stayed, reasons for travel to NS, etc.) © 2011

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Creative Participation – Indicators may include: o Total volunteer hours o Total paid labour hours (and / or household income derived) o Number of full time / part time working actors, directors, set designers, etc. (% of income derived) o Enrolment in theatre schools or university-based theatre programs o Membership in theatre related associations or unions o Number of theatre organizations (and an assessment of their strength) o Enrolment in theatre training programs o Creative participation in performances, acts, festivals, or other theatrical community events o Number of members in theatre clubs o Profile of the performers (who is involved—age profile, origin) o Sales of materials / supplies for the theatre sector (factors of production to create/make art): includes costumes and makeup for the performers, and materials required to build sets or decorate stages o Number of children and adults involved in theatrical education in school, Neptune Theatre school, recreation programs, and in after school programs o Media coverage of cultural activities / events (newspapers insertions and electronic media - television, radio, web) Public and Private Support – Indicators may include: o Total program moneys made available; number of program participants; leveraged monies o Total value of corporate gifts / philanthropy o Public expenditures in support of theatre in education o Public expenditures in support of theatre in non-profit cultural sectors o Public expenditures in support of theatre in commercial cultural sectors o In kind support o Number of theatrical entities supported through program funding o Business endorsements / value of advertizing and sponsorships at theatrical events o Total value of volunteering time supporting theatrical activity o Presences and type of public policies about theatre at the federal, provincial and local level o Integration of theatre into other policy areas

VISUAL ARTS SECTOR (INCLUDES DESIGN) Availability – Indicators may include:

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o Number of visual arts-related entities – could be expanded to include their activities and their membership o Number of art exhibitions – could be expanded to include details on the type of shows (e.g., paintings, photography, etc) o Number of events that took place during a convention, sporting event, trade show that used visual arts-related items (e.g., for display or for awards, etc.) o Number of websites devoted to showing visual art Consumer Participation – Indicators may include: o Receipts / revenues o Website hits to visual arts-related sites o Number of tickets sold / given away o Number of visual art pieces sold o Participation in festivals or other cultural community events o Crowd counts / estimates o Profile of the participants (age profile, origin, nights stayed, reasons for travel to NS for non-local population, etc.) Creative Participation – Indicators may include: o Total volunteer hours o Total paid labour hours (and / or household income derived) o Number of full time / part time working artists (% of income derived) o Enrolment in art schools or university-based arts programs o Membership in arts-related associations or unions o Number of visual arts organizations (and an assessment of their strength) o Enrolment in arts training programs o Creative participation in art exhibitions, arts activities, festivals, or other community arts events o Number of members in arts clubs o Profile of the artists (who is involved—age profile, origin) o Sales of materials / supplies for the arts sectors (factors of production to create / make art) o Number of children and adults involved in art education in school, AGNS, recreation programs, and in after school programs o Media coverage of cultural activities / events (newspapers insertions and electronic media - television, radio, web) Public and Private Support – Indicators may include: o Total program moneys made available; number of program participants; leveraged monies o Total value of corporate gifts / philanthropy o Public expenditures in support of arts in education © 2011

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o o o o o

Public expenditures in support of arts in non-profit cultural sectors Public expenditures in support of arts in commercial cultural sectors In kind support Number of artistic entities supported through program funding Business endorsements / value of advertizing and sponsorships at art-related events o Total value of volunteering time supporting arts activity o Presences and type of public policies about arts at the federal, provincial and local level o Integration of arts into other policy areas

MULTICULTURAL AND CULTURAL SPECIFIC SECTORS (Note: The term “culture” or “cultural” is used in the following to represent “multicultural and cultural specific” for presentation purposes and should be understood to represent the entire Sector). Availability – Indicators may include: o Number of cultural-related entities – could be expanded to include their activities and their membership o Number of cultural-related performances / shows – could be expanded to include details on the type of shows (e.g., festivals, awareness conferences, multi-cultural paintings, craft, photography, etc) o Number of venues for culturally specific events (dedicated venues, temporary) o Number of cultural craft and designer shows o Number of cultural concerts o Number of cultural plays / theatres shows o Number of cultural items (CDs, DVDs, pictures, etc) available for sale o Number of cultural events that took place during a convention, sporting event, trade show Consumer Participation – Indicators may include: o Receipts / revenues for multi-cultural festivals, shows, etc. o Website hits to cultural related sites o Number of tickets sold / given away o Participation in cultural festivals or other cultural community events o Crowd counts / attendance estimates o Number of culturally specific items (CDs, DVDs, pictures, etc) sold o Profile of the participants (age profile, origin, nights stayed, reasons for travel to NS, etc)

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Creative Participation – Indicators may include: o Total volunteer hours within the multi-cultural sector o Total paid labour hours (and/or household income derived) o Number of full time/part time working multi-cultural sector artists (% of income derived) o Enrolment in multi-cultural sector programming / related arts in schools or university-based multi-cultural sector / arts programs o Membership in cultural arts related associations or unions o Number of cultural arts and cultural sector organizations (and an assessment of their strength) o Enrolment in cultural sector-related training programs o Creative participation in cultural concerts, acts, cultural activities, cultural festivals, or other cultural community events o Number of members in cultural sector related organizations / cultural art clubs, etc. o Profile of the cultural performers (who is involved—age profile, origin) o Sales of materials/supplies for the multi-cultural sectors (factors of production to create/make art) o Number of children and adults involved in cultural education in school, training programs, theatre training programs, recreation programs, and in after school programs o Media coverage of cultural activities / events (newspapers insertions and electronic media - television, radio, web) Public and Private Support – Indicators may include: o Total program moneys made available; number of program participants; leveraged monies o Total value of corporate gifts / philanthropy o Public expenditures in support of the multi-cultural sector in education o Public expenditures in support of the multi-cultural sector in non-profit cultural sectors o Public expenditures in support of multi-cultural arts and culture in commercial cultural sectors o In-kind support for multi-cultural sector o Number of cultural entities supported through program funding o Business endorsements / value of advertizing and sponsorships at multi-cultural events o Total value of volunteering time supporting multi-cultural arts and cultural activity o Presences and type of public policies about multi-cultural arts and culture at the federal, provincial and local level o Integration of multi-cultural arts and culture into other policy areas © 2011

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APPENDIX E – REFERENCES Web Sources 1. http://www.georgianbaymappingculture.com/project/ 2. http://www.woodbuffalo.ab.ca/Living_2227/Culture/Cultural-Asset-Mapping.htm 3. http://nscad.ca/en/home/research/strategicresearchplan.aspx 4. http://www.statcan.gc.ca/subject-sujet/theme-theme.action?pid=3955&lang=eng&more=0 5. http://www.artsusa.org/information_services/research/services/economic_impact/default. asp 6. http://www.writers.ns.ca/website.html 7. http://www.theatrens.ca/ 8. http://www.craftcouncil.nl.ca 9. http://pcj.typepad.com/planning_commissioners_jo/2011/02/444b.html 10. http://camra.culturemap.org.au/ 11. http://choralcanada.org/ACCC_en/index.html 12. http://www.nscf.ns.ca/links/federations.asp

Documents 1. 2010 Nova Scotia Music Week Economic Impact Assessment; Canadian Sport Tourism Alliance; 2011 2. An Essay “On the Back of the Twenty Dollar Bill” by Charlie Rhindress; 2009 3. Artists in Canada’s Provinces and Territories Based on the 2006 Census; Hill Strategies Research Inc., March 2009 4. Arts & Economic Prosperity III, SUMMARY & NATIONAL REPORT - The Economic Impact of Nonprofit Arts and Culture Organizations and Their Audience; Americans for the Arts; 2007 5. Arts & Heritage Plan for the City of Ottawa; April 2003 6. Arts and Culture Research Day for Culture Division Department of Tourism, Culture and Heritage; D.W. Pilkey Consulting; November 4, 2010) 7. Barrieau, N., The Culture Sector in Atlantic Canada: Its Economic Impact and Export Potential, The Canadian Institute for Research on Regional Development, 2004. 8. Black Cultural Tourism in Nova Scotia – Market Readiness and Tourism Potential Analysis; A. L. Arbic Consulting, Genesis Consulting, Tourism Solutions, Carmelita Robertson; 2008 9. Book Publishing in Nova Scotia, 2009 10. Canada Council for the Arts; Funding to artists and arts organizations in Nova Scotia, 200910 11. CANADA’S CULTURAL SECTOR LABOUR FORCE; Cultural Human Resources Council 2004 12. Canadian Arts Data / Données sur les arts au Canada Quick Start Guide; Version 1.3.1; Prepared by Dapasoft Inc.

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13. Capturing the audience experience: A handbook for the theatre; Independent Theatre Council; Theatrical Management Association; 2009 14. Creative Input: The Role of Culture Occupations in the Economy During the 1990s, Stats Can catalogue no. 81-595-M – no. 64, 23, Research Paper by Culture, Tourism and the Centre for Education Statistics, April 2008. 15. CREATIVE NIAGARA: Economy, People, Places, Identity; A Niagara Region Culture Plan 16. Creative Nova Scotia How Arts and Culture Can Help Build a Better Nova Scotia; Nova Scotia Arts and Culture Partnership Council; October 2006 17. Creative Nova Scotia: How Arts and Culture can Help Build a Better Nova Scotia, Nova Scotia Arts and Culture Partnership Council, October 2006. 18. Cultural Heritage Research Prospectus; Department of Environment, Climate Change and Water; NSW; 2010 19. Cultural HR Study 2010 - December HR Trends and Issues Report; The Conference Board of Canada; 2010 20. CULTURAL HR STUDY 2010 - LABOUR MARKET INFORMATION FOR CANADA’S CULTURAL SECTOR REPORT; The Conference Board of Canada; December 2010 21. Cultural Indicators, St. Catherine’s Integrated Community Sustainability Plan, Cultural Pillar, 2010 22. Cultural Vitality in Communities: Interpretation and Indicators Culture, Creativity, and Communities Program; The Urban Institute, 2006 23. CULTURE BUILDING: INFRA-STRUCTURING A CULTURAL POLICY FOR HONG KONG; Andrew Lam; 2006 24. Culture Division Logic Model; Poel, MacLellan, McGuire, Goss Gilroy Inc; October 2006 25. Culture Sector in Ontario by Vik Singh ISBN: 0-662-38282-X; 2004 26. Culture Sector Performance Measures for the Culture Division: Nova Scotia Department of Tourism, Culture and Heritage; Prepared for: Corporate Affairs and Culture Divisions, Nova Scotia Department of Tourism, Culture and Heritage; March 2007 27. Culture, Tourism and the Center for Education Statistics Canadian Framework for Culture Statistics by Culture Statistics Program; ISBN: 0-662-37897-0; 2004 28. Culture, Tourism and the Centre for Education Statistics; Creative Input: The Role of Culture 29. Culture, Tourism and the Centre for Education Statistics; Economic Contribution of the Culture Sector in Canada – A Provincial Perspective by Vik Singh ISBN: 0-662-38371-0 30. Culture, Tourism and the Centre for Education Statistics; Economic Contribution of the 31. Draft Evaluation Framework drawn from Workshop 2 /Culture Division/NS TCH / GGI 32. Economic Contribution of Culture to Canada – A Provincial Perspective, Statistics Canada catalogue no. 81-595-MIE – no. 25, Research Paper by Culture, Tourism and the Centre for Education Statistics, December 2004. 33. Economic Contribution of Culture to Canada, Statistics Canada catalogue no. 81-595-MIE – no. 23, Research Paper by Culture, Tourism and the Centre for Education Statistics, December 2004. 34. Gaelic Language Cultural Survey Form, Office of Gaelic Affairs, Province of Nova Scotia

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35. Gaelic Nova Scotia: An Economic, Cultural and Social Impact Study GAELIC; Michael Kennedy; Nova Scotia Museum; November 2002 36. HRM Arts & Culture Sector Economic Impact Study; Submitted to the Halifax Regional Municipality; June 2005 37. MINORITY LANGUAGE RENEWAL: GAELIC IN NOVA SCOTIA, AND LESSONS FROM ABROAD A; Study by Dr. Robert Dunbar, Reader in Celtic and Law, The University of Aberdeen For FIOS; May, 2008 38. Neptune Theatre Economic Impact Study; Saint Mary’s University Business Development Centre; April 2010 39. Niagara Region Culture Committee; Presentation to Regional Council; November 29, 2007 40. Niagara Regional Cultural Asset Mapping Framework – As of November 29, 2007 41. Nova Scotia and the New Economy, A Strategy for Developing the Creative Economy as a Key Element in Nova Scotia's Economic Recovery; Prepared by the Research and Strategy Group 42. Nova Scotia and the New Economy: A Strategy for Developing the Creative Economy as a Key Element in Nova Scotia’s Economic Recovery, Research and Strategy Group of the Nova Scotia Cultural Action Network, March 2010. 43. NOVA SCOTIA ARTS & CULTURE CONSULTATION REPORT; Horizons Community Development Associates Inc.; 2010 44. NOVA SCOTIA ARTS & CULTURE CONSULTATION Summary Report; Culture Division, Nova Scotia Department of Tourism, Culture & Heritage; December 2010 45. Nova Scotia CAN: Building the Creative Economy in Nova Scotia; Nova Scotia Cultural Action Network; 2009 46. Nova Scotia Cultural Action Network Nova Scotia CAN Vision Statement; 2007 47. Occupations in the Economy During the 1990s by Michael Schimpf; ISBN: 978-0-662-484110; 2008 48. PRIORITIES, STRATEGIES, BENCHMARKS AND PERFORMANCE MEASURES for Coos County; Oregon; 2007 49. Profile and Development Strategy for Craft in Canada, Peartree Solutions Inc, The Canadian Crafts Federation, October 2003. 50. Profile and Development Strategy for Craft in Canada: Appendices; Peartree Solutions Inc.; 2003 51. Profile and Development Strategy for Craft in Canada; A Study Coordinated by Conseil des métiers d'art du Québec (CMAQ) for The Canadian Crafts Federation/Fédération canadienne des métiers d'art (CCF/FCMA); Peartree Solutions Inc.; October 2003 52. REPORT FROM RESEARCH PLAN CONSULTATIONS CLUSTER SESSION: CULTURE AND HERITAGE; Memorial University Research Plan ; 2007 53. Review of interim report material – draft logic model and evaluation framework matrix; Poel, MacLellan, McGuire, Goss Gilroy Inc; November 2006 54. Suzanne Burns, Sue Harrison, Dance Mapping: A Window on Dance 2004-2008, Arts Council England, 2009.

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55. The Culture Sector in Atlantic Canada: Its Economic Impact and Export Potential; Canadian Institute for Research on Regional Development; 2004 56. The Economic Activity of Dance in New York City, Dance/NYC, 2004. 57. THE ECONOMIC IMPACT OF CULTURAL EVENTS A CASE-STUDY OF SALAMANCA 2002, EUROPEAN CAPITAL OF CULTURE; Luis César Herrero, José Ángel Sanz, María Devesa,Ana Bedate and María José del Barrio University of Valladolid, Spain; 2002 58. The impact of the culture sector on the Canadian economy by Vik Singh; Catalogue no. 87004-XIE; 2005 59. The Impact of the Culture Sector on the Canadian Economy, Quarterly Bulleton from the Culture Statistics Program, Stats Can catalogue no. 87-004-XIE, Vol 15, No.1, April 2005. 60. The rise of the dragon: The growing importance of China to Canada’s culture goods trade by Vik Singh and Miles Rowat; Catalogue no. 87-004-XPB; 2006 61. The UK Cultural Sector Profile And Policy Issues; Edited BY Sara Selwood

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