With the release of the long awaited Drummond report, Ontarians can now see some options for how their provincial government might move from the generalities of fiscal restraint to the specifics of what it means for them and the services they count on. In its own words, the report paints a ‘profoundly gloomy’ future if Ontario preserves the status quo. It argues that thoughtful, fundamental reforms can change this.
The Report does not address the cultural sector specifically, but recommendations around overall spending, the relationship with the non-profit sector and the merit of refundable corporate income tax credits have direct and meaningful implications for Ontario’s arts, heritage and creative industries.
For the non-profit sector, including many arts and heritage organizations, the prospect of a re-defined relationship with government holds promise and opportunity. While resources can be expected to be reduced no matter which recommendations the Ontario government accepts from the Drummond Report, the recognition that more nimble, flexible non-profits can deliver service better and more efficiently is welcome news. There is the potential that administrative burdens will be lightened.
The biggest unknown for the cultural sector going forward is the Commission’s recommendation to sunset all refundable tax credits, including the array that supports the cultural and creative industries. Worth $268 million in 2009-10, these tax expenditures are central to the business model of the film, music and publishing industries in Ontario.
Stay tuned for interesting days ahead.
Friday, February 17, 2012
Monday, December 12, 2011
MInister Michael Chan has opportunity to make his voice heard on importance of culture to Ontario
One can’t miss the fact that Canadian Heritage Minister James Moore is working hard to strengthen the relationship between the cultural sector and the federal government, one that has clearly had its rocky moments. Tonight’s launch of the Minister’s first Music Night on Parliament Hill is further evidence of his efforts to garner support for the sector.
It follows that Minister Moore is calling on all governments to come together to recognize the importance of the creative economy. Recently, at the International Institute of Communications Conference in Ottawa, he said
In challenging economic times, all governments have to come together to recognize the importance of the creative economy, … not for its own sake, not as a boutique element in government investment, but as a central pillar in maintaining our cultural communities, our quality of life, and supporting a central piece of Canada’s economic infrastructure.
With the prospect of difficult times ahead for Ontario (and many cities in the province) Ontario Tourism, Culture and Sport Minister Michael Chan has the opportunity to take up the federal minister’s suggestion and add heft and substance to what are now the Province’s well-worn statements on the importance of the creative economy.
With culture absent as an issue in the recent provincial election, and concern about the watering down of its importance the undercurrent of many conversations, the sector would welcome Minister Chan becoming a stronger advocate.
Later this week, he may have that opportunity when he joins Toronto’s Creative Trust and the Professional Arts Organizations Network for Education for the launch of the Performing Arts Education Overview.
It follows that Minister Moore is calling on all governments to come together to recognize the importance of the creative economy. Recently, at the International Institute of Communications Conference in Ottawa, he said
In challenging economic times, all governments have to come together to recognize the importance of the creative economy, … not for its own sake, not as a boutique element in government investment, but as a central pillar in maintaining our cultural communities, our quality of life, and supporting a central piece of Canada’s economic infrastructure.
With the prospect of difficult times ahead for Ontario (and many cities in the province) Ontario Tourism, Culture and Sport Minister Michael Chan has the opportunity to take up the federal minister’s suggestion and add heft and substance to what are now the Province’s well-worn statements on the importance of the creative economy.
With culture absent as an issue in the recent provincial election, and concern about the watering down of its importance the undercurrent of many conversations, the sector would welcome Minister Chan becoming a stronger advocate.
Later this week, he may have that opportunity when he joins Toronto’s Creative Trust and the Professional Arts Organizations Network for Education for the launch of the Performing Arts Education Overview.
Monday, November 14, 2011
MPs and Canada's Sesquicentennial: arts and culture key to the conversation
At a time when economic doom and gloom dominates much of Ottawa’s agenda, it’s refreshing to know that the House of Commons Standing Committee on Canadian Heritage is looking forward to 2017 and how to best celebrate Canada’s sesquicentennial anniversary. Happily, arts, heritage and cultural institutions appear poised to be central players in making this happen.
Many, if not most, Canadians have a fond memory of either the reality, or recollections, of our country’s centennial in 1967. Its legacies and accomplishments have resonated ever since. Looking ahead, Canadians appear ready for another national celebration. According to an Environics poll commissioned earlier this year, 49% of us think it is very important to commemorate this event in a meaningful way.
This week, leaders of Luminato, the Stratford Shakespeare Festival, The Banff Centre and the Coastal Jazz and Blues Society will be appearing before the Committee. They have a fabulous opportunity to speak with MPs about how arts and culture can deepen the conversation about what kind of Canada we want, and how we need to adapt to our rapidly changing country. Beyond that of course, we can probably expect that they will point to how arts and culture can tell our sesquicentennial story to the world!
The Arts Advocate will be watching.
You can too by going to a video link on the parliamentary webpage.
Many, if not most, Canadians have a fond memory of either the reality, or recollections, of our country’s centennial in 1967. Its legacies and accomplishments have resonated ever since. Looking ahead, Canadians appear ready for another national celebration. According to an Environics poll commissioned earlier this year, 49% of us think it is very important to commemorate this event in a meaningful way.
This week, leaders of Luminato, the Stratford Shakespeare Festival, The Banff Centre and the Coastal Jazz and Blues Society will be appearing before the Committee. They have a fabulous opportunity to speak with MPs about how arts and culture can deepen the conversation about what kind of Canada we want, and how we need to adapt to our rapidly changing country. Beyond that of course, we can probably expect that they will point to how arts and culture can tell our sesquicentennial story to the world!
The Arts Advocate will be watching.
You can too by going to a video link on the parliamentary webpage.
Tuesday, November 8, 2011
From the Ground Up, a new report that reinforces the connection between jobs and culture
From the Ground Up: Growing Toronto’s Cultural Sector is a new report prepared for the City of Toronto by the Martin Prosperity Institute, and six other partners, that explores the link between culture, economy and place and its relationship to economic prosperity. It adds further evidence that culture, and the jobs it creates, are a fundamental part of an international economy. This comes at a time when the City of Toronto is wrestling with its 2012 budget, amid continued skepticism that arts and culture is a frill.
The Report reinforces that culture positively impacts:
- Jobs;
- Business growth;
- International attraction; and
- Quality of Life.
Not surprisingly, it argues for continued cultural investment, not less.
What is new about this report is that it provides new tools for identifying the geographic patterns of Toronto’s cultural resources. The project partners hope that this information can feed into more pro-active land-use strategies and planning, business development and preservation. All of this, they suggest, will lead to increased global competitiveness for the City of Toronto.
The model put forward in From the Ground Up speaks to a large urban centre. That said, it advances principles and a framework that other centres can apply to their cultural planning and economic development.
The Report reinforces that culture positively impacts:
- Jobs;
- Business growth;
- International attraction; and
- Quality of Life.
Not surprisingly, it argues for continued cultural investment, not less.
What is new about this report is that it provides new tools for identifying the geographic patterns of Toronto’s cultural resources. The project partners hope that this information can feed into more pro-active land-use strategies and planning, business development and preservation. All of this, they suggest, will lead to increased global competitiveness for the City of Toronto.
The model put forward in From the Ground Up speaks to a large urban centre. That said, it advances principles and a framework that other centres can apply to their cultural planning and economic development.
Wednesday, October 26, 2011
The longstanding transparent criteria-based processes of arts grant decisions a great example to be showcased
The process around the federal government’s decision to award $33 billion in shipbuilding contracts to Seaspan and Irving Shipbuilding has been widely applauded.
In Ottawa, according to some Parliament Hill journalists, “the debate is over why future procurement contracts – such as that multibillion-dollar, fifth-generation, fighter-jet deal – cannot be structured the same way as the shipbuilding contracts.” Removed from the political realm, the process used was a points-based evaluation on an established set of criteria. It is seen as transparent and fair.
All of this sounds remarkably like the longstanding, well-established process of determining grants at the country’s arts councils:
Important cultural agencies, like the Canada Council for the Arts, or the Ontario Arts Council’s have a strong track record in making funding and granting decisions that are, for the most part, seen as fair and objective. In fact, in a ‘special examination’ of the Canada Council in 2008, the Auditor General of Canada commended it and said that ‘the Canada Council’s systems and practices have contributed to success in several areas.’
So why the sudden revelation in Ottawa and public policy circles that an objective set of criteria, administered through a process removed from political realm, renders good decisions? We’ll leave our readers to ponder that question.
Maybe though, those of us in the cultural sector, should blow our horns just a little louder when it comes to demonstrating the transparent administrative effectiveness and sound policies of the organizations that invest in Canadian arts and culture.
In Ottawa, according to some Parliament Hill journalists, “the debate is over why future procurement contracts – such as that multibillion-dollar, fifth-generation, fighter-jet deal – cannot be structured the same way as the shipbuilding contracts.” Removed from the political realm, the process used was a points-based evaluation on an established set of criteria. It is seen as transparent and fair.
All of this sounds remarkably like the longstanding, well-established process of determining grants at the country’s arts councils:
Important cultural agencies, like the Canada Council for the Arts, or the Ontario Arts Council’s have a strong track record in making funding and granting decisions that are, for the most part, seen as fair and objective. In fact, in a ‘special examination’ of the Canada Council in 2008, the Auditor General of Canada commended it and said that ‘the Canada Council’s systems and practices have contributed to success in several areas.’
So why the sudden revelation in Ottawa and public policy circles that an objective set of criteria, administered through a process removed from political realm, renders good decisions? We’ll leave our readers to ponder that question.
Maybe though, those of us in the cultural sector, should blow our horns just a little louder when it comes to demonstrating the transparent administrative effectiveness and sound policies of the organizations that invest in Canadian arts and culture.
Friday, October 21, 2011
Tourism and culture in the minority legislature: steady as she goes
Markham MPP Michael Chan will continue as Minister of Tourism and Culture in Premier Dalton McGuinty’s minority cabinet, unveiled 20 October 2011. He is one of just a few ministers remaining in their previous portfolio (despite no new faces being added to Cabinet).
Minister Chan’s reappointment will bring stability and predictability for the sector. It also suggests that the government will be staying the course on cultural files, holding steady to past accomplishments with little in the way of new initiatives. Any cultural announcements will almost certainly be filtered through the ‘jobs’ lens, the dominant priority of Premier McGuinty and his colleagues.
The stand pat position of the Ontario government was evident in this fall’s election, when, for the first time, the Liberal party did not issue a stand alone cultural platform, as it has done since 2003. Rather, the Liberals stood on their record. Citing a $4.1 billion investment in the cultural sector since 2003, the Liberal’s indicate that ‘creative-industry jobs have increased 15% - representing 39,000 jobs’.
Jobs results like this will be helpful to holding the sector in good stead as the Ontario government looks to contain its costs and address the fiscal deficit.
Minister Chan’s reappointment will bring stability and predictability for the sector. It also suggests that the government will be staying the course on cultural files, holding steady to past accomplishments with little in the way of new initiatives. Any cultural announcements will almost certainly be filtered through the ‘jobs’ lens, the dominant priority of Premier McGuinty and his colleagues.
The stand pat position of the Ontario government was evident in this fall’s election, when, for the first time, the Liberal party did not issue a stand alone cultural platform, as it has done since 2003. Rather, the Liberals stood on their record. Citing a $4.1 billion investment in the cultural sector since 2003, the Liberal’s indicate that ‘creative-industry jobs have increased 15% - representing 39,000 jobs’.
Jobs results like this will be helpful to holding the sector in good stead as the Ontario government looks to contain its costs and address the fiscal deficit.
Wednesday, October 5, 2011
Ontario election: the implications of cultural policy silence
The way politics happens in Ontario has changed.
Gone are the days when sectors could engage political leaders and parties in meaningful dialogue and discussion to better understand their perspective on the issues affecting them. Nowhere was this more evident than in the decision of Ontario’s two leading political parties to decline participation in a roundtable dialogue with the Ontario NonProfit Network last week.
The same is true for the cultural sector. Barely a whisper has been heard on the contribution and potential of this sector, despite its impressive contribution to Ontario’s economy. (The cultural sector accounts for over 4% of Ontario’s total employment, or over 252,000 jobs for the province).
This means that going forward, the arts, heritage and cultural industries have little sense of what the future holds in the way of cultural policy, regardless of which party forms government.
There’s no question that broad policy initiatives, such as deficit reduction, will impact the sector; but the policy lens which will inform these decisions is unclear.
* Will audience access be the priority, or will it be opening up international markets?
* Will there be a download to municipalities, or will there be continued strong provincial investment?
* Whither the Entertainment and Creative Cluster?
These are just some points to ponder, with no compass to provide a guide.
As the cultural sector looks ahead to working with the next government, whatever stripe, it will want to consider how it engages with government on these broader cultural policy questions.
Leaving it only to happenstance is unlikely to yield the best possible results.
Gone are the days when sectors could engage political leaders and parties in meaningful dialogue and discussion to better understand their perspective on the issues affecting them. Nowhere was this more evident than in the decision of Ontario’s two leading political parties to decline participation in a roundtable dialogue with the Ontario NonProfit Network last week.
The same is true for the cultural sector. Barely a whisper has been heard on the contribution and potential of this sector, despite its impressive contribution to Ontario’s economy. (The cultural sector accounts for over 4% of Ontario’s total employment, or over 252,000 jobs for the province).
This means that going forward, the arts, heritage and cultural industries have little sense of what the future holds in the way of cultural policy, regardless of which party forms government.
There’s no question that broad policy initiatives, such as deficit reduction, will impact the sector; but the policy lens which will inform these decisions is unclear.
* Will audience access be the priority, or will it be opening up international markets?
* Will there be a download to municipalities, or will there be continued strong provincial investment?
* Whither the Entertainment and Creative Cluster?
These are just some points to ponder, with no compass to provide a guide.
As the cultural sector looks ahead to working with the next government, whatever stripe, it will want to consider how it engages with government on these broader cultural policy questions.
Leaving it only to happenstance is unlikely to yield the best possible results.
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