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OurPlanningContextReportCreateVictoriaArtsandCultureMasterPlan

ForReferenceDecember2016

OOurPlanningContextReportForReference

PreparedforCityofVictoriabyPatriciaHuntsmanCulture+CommunicationinpartnershipwithNordicity. Nodistributionwithoutwrittenpermission.

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TableofContents

A. Introduction Page1B. BroaderContext:What’sAheadforArtsandCulture?Page4C. InternationalContext Page7D. CanadaandBCContext Page14E. FirstNationsContext Page15F. RegionalPerspective Page17G. WithintheCity(ContextMapandPolicyReview) Page19

A. Introduction

Victoria radiates creativity. It is home to an incrediblemix of artists, designers, performers,entrepreneursandinnovatorswhocontributetoavibrantartsandculturescene.

The City of Victoria is developing Create Victoria, a five-year Arts and Culture Master Plandesignedtonurtureconditionsforthiscreativitytoflourish.Theplanwillalign ideas,people,and resources around a shared vision and a set of goals, strategies and tactics to realizeVictoria’sfullpotential.

Cultureandcreativityareessentialtoolsforvibrantandsustainablecities.Theroleofcultureincreatinghealthy,dynamiccommunities iswidelyacknowledgedandculturalactivitiessuchasfestivalsandpublicartarevitaltoolstoengageacommunityandarticulatetheirvalues.

“Victoria’screativesectorcontributesdirectlyandindirectlytothecommunity’sprosperitybygeneratingeconomicactivity,providingemploymentandmakingthecityattractivetotoday’smobileknowledgeandtechnologyworkers.”1

1CityofVictoriaArtsandCultureMasterPlan,ProjectPlan,January21,2016.2Fromajurisdictionalscanbytheauthors.2016

“Theaimofcreativecity-makingistothinkofyourCityasalivingworkofart,wherecitizenscaninvolveandengagethemselvesinthecreationofatransformedplace.”

CharlesLandry,CreativeandtheCity:ThinkingThroughtheSteps



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A.1UnderstandingOurPlanningContext

With one of the most integrated municipal cultural service portfolios at both strategic andservicedelivery levels2,Victoriahasmany ‘touch-points’ on culturebothwithinCityHall andoutinthecommunity.

At the same time, the cultural landscape is changing both globally and nationally.Understanding the broader context of these changes and their potential impact on planningandpolicy-makingiskeytoensuringacurrentandadaptiveArtsandCultureMasterPlan.

Thepresentdocument,OurPlanningContext,providesabackdroptotheplanningprocessbysummarizing the International,National,Provincial, Indigenous,Regional andLocalcontextsandconsiderationsthatwill shapeCreateVictoria. Itwillalsosupport thecommunicationstoCouncilandthecommunityandassistinfurtheringanunderstandingofcreativeecology.

It offers a review and comparative analysis of global and Canadian best practices, industrytrends and other driving forces in the external environment that serve as a backdrop toplanning. It also includes an internal assessment of key documents, policies, and plans andidentifiescurrentinformationgapsaswellaspolicylinkages.Asupportingresearchdocument,theMatrixReview,developedforthepresentreport,identifieskeypoliciesandplansreviewedthroughaculturalresourceframeworkandheritagelens.

2Fromajurisdictionalscanbytheauthors.2016



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A.2“Cultureisatthetable”

TheCityofVictoriarecognizesthecentralrolethatartsandculture play to create a community well-being, socialsustainabilityandqualityoflife.

Thecultureof creativity that theCityhas crafted throughpoliciesandprogramscontributes to thequalityof lifeby“buildingcommunityspirit,socialcohesionandtolerance”andcontributes totheoverall senseofplaceandregionalidentity.3

In its cultural services delivery—currently managed andcarried out by a small team, theArts, Culture and Eventsdepartment—theCityactsasakeyconnectortobuildinga‘creativecity’.

The City of Victoria has a fundamental role in culturalplanning, policy development, programs and incentives,andgrants.Ithasownershipandpartownershipofcertaincultural facilities, and alsomanagespublic spaces for artsand cultural activation and events. The City functions astheregionalcentre forartsandcultureandmanyculturalfacilitiesandspacesresideinthedowntown.

A.3DefiningArtsandCulture:What’sincluded?(Seeglossaryoftermspage24)

TheOfficialCommunityPlan(OCP)definescultureaspracticesandvalues,heritageandplace,the arts, diversity and social history.Within the broader context of culture, the arts includevisual media (e.g. painting, print-making, drawing, sculpture, crafts, pottery and ceramics,photography,filmandvideo),theatre,music,song,spokenword,literaryartsanddance.

“Culturalindustry”isanumbrellatermforareasofcreativeworkandculturalproduction,suchas:advertising,architectureandinteriordesign,artandantiquemarkets,artisancrafts,fashiondesign,industrialdesign,performingarts,printmediaandpublishing,radioandtelevisionandvisualmedia.

3Ibid.

ThecurrentroleoftheCityinculturaldevelopment

FundertoCapitalRegionalDistrict,RoyalandMcPhersonTheatres,Heritage,StrategicPlanning,andFestivalInvestmentGrants

Facilitatorandcatalystforarts,cultureandheritageinitiativesincludingpartnershipswithbusinesses,artorganizationsandeducationalinstitutions

Plannerandstewardforpublicart,publicrealmandurbandesign

Regulatorfortheuseofpublicspaceforevents,filmsandfestivals

Policy-makertoencourageahealthycreativeecology

Communicatorandpromoterofarts,culture,andheritageprograms



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Source: Canadian Framework of Cultural Statistics- Statistics Canada

B. Broader Context: What’s Ahead for Arts &Culture?EnvironmentalScanSummary

§ Shiftinglifecycleofartsorganizations§ Newapproachestoart-making(atoddswithfundingmodels)§ Rapid scaleprototyping to respond to community issues/Arts-based interventionsand

strategies§ Newoperatingmodels,eg.Epochmodel---artsorganizationscreatedforaspecifictime

frameandscope.§ Generational considerations: decline in volunteerism and membership based

organizations§ Festivalsarealeadingwayforparticipatoryculturalconsumption----ashiftfrompassive

consumption§ DigitalStrategies=new$88.5MfundfromtheCanadaCouncil

KeyconsiderationsforCreateVictoria:

1. LeadershipinTruthandReconciliation:TheCallstoActionidentifiedintheOctober3rd,2015TruthandReconciliationCommissionReportidentifyanumberofspecificactionsthat local governments and arts and cultural organizations need to consider in theircommunity context, namely not the encouragement to include Indigenous artisticpracticeandparticipationbuttheexpectationthatthispeer-basedinclusionispresentin the organization’swork. Reviews of existing policies and plans from an Indigenousperspectiveisafirststep,andisincludedintheMatrixReportfortheCityofVictoria.

2. Lifecycle of arts organizations: The 1970s in BC, in particular, represented a time ofsignificant investmentofartsandculturalorganizationsand relatedassets.Manyartsorganizations are maturing and are percieved to be preventing new entrants andgrowingorganizationsfromreceivingincreasedfunding.Assuch,manyfundingbodiesare now trending towards, or at the least further considering, a life-cycle-basedapproach to funding (asopposed toartisticdiscipline).Artsorganizationswillneed tofocusoncapacity-building in-keepingwith life-cycle indicatorsandcharacteristics (e.gstartup,growth,maturity,decline/renewal,andtermination,respectively).DefiningtheCity’s role in supporting capacity-building is an important considerations for CreateVictoria.



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3. Newapproaches toart-making: are atoddswith fundingmodels. Partly generational

and partly creative, new approaches to art-making and space requirements aregenerating more entrepreneurial instincts towards creating and sustaining artisticpractices. In turn, creating spaces for new approaches is a further consideration forculturalplanners.

4. Rapid scale prototyping to respond to community issues: As evidenced globally, and

morerecently inresponsetotheU.S.election,artistsandartsorganizationsaremoreactively responding to their societal context in rapid-scaleproduction.Thestrengthofthisapproachisdemonstratingtherelevanceoftheartsasamediumfortheexpressionof social change, especially amplified through socialmedia channels.Anextension, asshowninmanyUSandUKexamples,isusingtheartsasastrategictool(oneexample:usingarchitecturalchoreographywithcraneoperatorsaspartofacampaigntoattractyoungworkerstotrades).

5. Newoperatingmodels, eg. Epochmodel:While the life-cycle approach to funding is

one aspect in the broader context of artistic and operational practice globally, newoperating models are also being generated where specific, temporary, and designedoperational life-cycle is envisioned, rather than the ‘let’s create it and continueindefinitelyapproach’.Instead,anenddateissetaspartofacollaborators’contract.

6. Digitalstrategies:Today,enormoussocietalchangesareunderwaylargelydrivenbythe

emergenceofnewdigital technologies. These technologiesaredrivingbehavioral andpreference changes in audiences to where arts and creative content are becoming‘experiences’ rather than commodities or services. As further detailed in theInternationalContextsectionofthisreport,whetheritisforcreativecontentproductionorengagementpurposes,digitalishereandartsorganizationsmustconsiderthisaspartoftheirmix.Typicaldigitalstrategypillarsfororganizationsnowinclude:

§ Creation/production§ Access/dissemination§ Marketing/engagement§ Sales/fulfillment§ Assetbuilding

The introduction of the $88.5million Arts in a DigitalWorld funding program of theCanada Council stresses an importance of cultivating creative ecosystems incommunitiesthatencouragepartnershipsbetweensectorssuchastech,entrepreneursandthearts.



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7. Generational Considerations. Increasingly in the future, the maturing millennial

demographic will become an important consideration. As suggested above, theseaudiences are driven by personal relations and human connections principallyfacilitatedthroughsocialmediaandmoderntechnologies.Afutureobjectiveshouldbeto implement targeted engagement strategies that are familiar with specificprogrammingandservicedeliveryinitiatives.

8. ChangestotheNon-profitLandscape. In2011,ImagineCanadaidentifiedsevenmajor‘drivers’thatwerehavinganeffectonCanadiannon-profitorganizationsingeneralandvariousgovernmentaloperationalservicesinparticular.Theyare:

• TheincreasingimportanceandinfluenceofsocialinnovationinCanada;• Structural shifts in the revenuebasewhichsupports theworkofcharitable

andnon-profitorganizations;• Shortage of talent to strengthen and lead charitable and non-profit

organizations;• Lackofgrowthinthenumberofvolunteerstogovern;• Supportandpromotecivicandcommunityorganizations;• Heighteneddemandfortransparency,accountability;• Communicationofimpactandpublicpolicyengagement;• Thegrowingneedfortransformativepartnershipsamongcharitiesandnon-

profitorganizationsandwithothersectors.

9. FestivalsandAudienceTrends:TheCityofVictoriahasrecognizedtheexpandingreachoffestival-basedandoutdoormulti-artsdeliveryandparticipationasthemainchannelfor cultural participation which also sees digital (and live-to-digital) experienceemerging.Themainpersonalbenefits citedamongparticipants ina recent large-scalesurveyofperformingartsattendanceinCanadawere:“entertainment/fun”(84%);“emotional/spiritual/intellectualstimulation”(58%);andto“learn/experiencesomethingnew”(57%).Collectivebenefitstocommunitieswerecitedbyrespondentsas:Bringingenergyandvitalitytothecommunity(42%);improvingqualityoflifeandwell-being of residents (38%); fostering amore creative community (37%), and promotingeconomicdevelopment(32%).

10. Creative Place-Making. Creative place-making is an evolving field of practice thatintentionally leverages thepowerof culture, creativity and thearts towards servingacommunities needs. In a broader agenda, the goal is to create change, growth andtransformationinawaythatbuildsbothcharacterandasenseofplace.Today,thereisamajorculturalpolicyandfundingshiftintheUnitedStatesthatpositionscommunity-drivenartsatthecenterofitscommunityplanninganddevelopment.

C.InternationalContextC.1Culturalplanning+thecreativeeconomyFew sectors of the economy have the potential to transform communities like the creativeindustries.Notonly can they reshapea city’s image,but theyarewellpositioned tobecomemagnetsforoutsidetalent,andtoboostthevibrancyandqualityoflifefromwhichtoprovideaneconomicadvantageovercompetingcommunities.

Creative industries fuel a ‘creative economy’ – namely, one driven by ideas, innovation,knowledge, diversity, collaboration and creativity. This economy encompasses the creativeindustries in which ideas and intellectual property produce value and generate wealth. Itrepresents an aggregation of a complex collection of industrial and creative service sectorsincluding design, media, advertising, film, music, performing arts, publishing and interactivesoftwaredevelopment.Conceivedofasacreative‘productionchain’,theseindustriesformfourkeylinks:

§ Creation/contentorigination–Themultipleprocessesbywhichcreativematerialandintellectualassetsareoriginatedandproduced–this‘stage’includesallcreativeforms(images,ideas,compositions,designs,games,titlesandpackages)

§ Manufacture–Themakingof‘one-offs’orproto-types,whichmaybereproducedlaterplusspecialistgoodsusedtowardscreativeproduction(suchaspaintbrushes,camerasandmusicalinstruments)

§ Distribution and mass production – Activities that channel content and services tomarkets(suchasCDreplication,shippinganddigitaldeliverysystems)

§ Exchange – The exhibition of creative products (for example, venue-based activitiesundertakenintheatres,concerthallsandcinemas)andtheretailingofproducts(suchasbooks,CDs,games,orevenproductssoldonthebasisofbrand)4.

4ArtscapeToronto.



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Buildingonthe ideathatcreativityandculturecanbeageneratorofeconomicgrowth, localgovernments and cities around the world are directingmore andmore investment towardsnew cultural industries and districts, including public spaces whose cultural amenities areintended to harmonize different social interests and improve the quality of urban life5. Thisresponse reflects the changing nature and role of cities and, moreover, the shift towards aserviceandknowledgebasedeconomy.Indeed,creativity,humancapitalandthecapacityforinnovationareincreasinglythemeanstomeasurewhetheracommunityiscompetitive–bothregionally and globally. These developments are, in turn, are leading many communities torethink:

• Thequalityofplaceintheircommunitiesandassesstheurbanassetsthatcontributetosustainableeconomicgrowth;

• Theirabilitytoattracttheworkforcetalentassociatedwiththisnewcreativeeconomy;and,

• Their broader cultural resources, amenities and facilities by seeing themas strategicurbanassets,whichplay an important role in cultural planning andanemergingneweconomy.

Culture is a key foundation of an economic development where the ability to innovate,problem-solveandcommunicateisbothvaluedandrewarded.IncommunitiessuchasVictoriaand the region,weunderstand that there is growing recognition of the arts as an economicengine and, in turn, growing demand to facilitate stronger connections between arts andbusinesscommunities,and increasedpublicandprivatesectorsupportofculturalenterprisesand innovations6–ultimately supporting theattractionofhumancapital toa locale that cancompeteonaninternationallevel.

Key considerations:Oneof theobjectives of theCityofVictoria’sArt&CultureMasterPlanistodemonstratethattheeconomicvalueofculturerangesfromtheoriginaldesign,creation and performance of new content, to the global production and distribution ofmedia and products. That, fundamentally, the culture sector contributes real and directeconomicbenefitstotheCityofVictoria.

5ColinMercer,CulturalPlanningforUrbanDevelopmentandCreativeCities,20066AleadingpracticecanbefoundintheCityofAustin’sCreativeIndustriesLoanGuaranteeProgram,designedtoencourageprivatelenderstoprovidefinancingforcreativeindustries,notjobcreationandretention.



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C.2Digitaldisruptioninartsandculture

Inherent toanyculturalplanning in thedigitalageisarecognitionthattheartsandcreativeindustriesare shaping – and are being shaped by – majorsocietal transformations emanating from digitaltechnologies. The technologies and platformsthemselvesarenotonlydrivingtransformation,butasarethebehavioursandpreferencesofaudiencesthemselves. Indeed, thanks todigital technologies,the arts and creative content are increasinglybecoming experiences rather than purecommoditiesorservices.

Audienceperspective

Digitaltechnologiesempowerpeopletobecometheirowncuratorsandco-creatorsofcontentandexperiences.Visualartlovers,forexample,cannowbuildtheirownvirtualwallofgalleryart rather than relying on visits to professionally curated art exhibits in bricks-and-mortarexhibitionspaces7.

Artsandcreativecontentaudiencesareusingdigitaltechnologiestoaccesscontentanywhere,on any platform, and, ideally, at no cost. Mobile technologies and platforms are an ever-growing means of communicating, disseminating and accessing content. Of over 24 millionsubscribers to mobile services in Canada, for example, more than 80% of these use theirsmartphonestoplaygames,watchvideo,chatandmessage,engageinsocialmediaandshop8.The reality of this interaction is quickly changing the face of creative and cultural sectors bydissolving barriers between local, city-led offers, and globally positioned cultural goods andservices.

7Forexample,visitorstonextyear’s2167event(celebratingCanada’s150thanniversary),willdonavirtualrealityhelmetandexperienceCanadaasenvisionedbysixindigenousartistsandfilm-makers,150yearsinthefuture.8Nordicity’s2016reportfortheCanadaCouncilfortheArts(CCA),ArtsinaDigitalWorld(unpublished).

“Co-creation”meansonce-passiveconsumersarenowactiveparticipantsina“contentgeneratingexperience”(e.g.collaborativecreationthroughwikis,participationintheWorldOnlineOrchestra),andimpliesablurringoftheboundariesthatonceexistedbetweenprofessionalandamateurartistsorcreators.



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CreativeIndustryPerspective

These transformations inbehaviourandexpectationshavealso imposedmassive changesonmonetizationmodels.WhilecontentusersexpectInternetcontenttobefree,Internetrevenuemodelsremainhighlyad-driven,meaningadplacementsarefollowingaudiences–awayfromtelevision, print and radio, and toward digital platforms. Subscription-based services dogenerate another stream of revenue, but the remuneration to creators is far less thanwithphysicalcopysales.Thesuccessofdigitalcontentislessrelatedtoclicksonwebsites,oruniquevisits, than to audience retention. Content that engages audiences has more impact, morepotentialtoachievetheartist’sgoalsand, inacommercialworld,morepotentialtogenerateadvertisingorsubscriptionrevenue.

Ofcourse,thesebusinessmodelsapplytocontentintendedformassaudiences.Justasintheanalogworld, digitalmonetizationmodels are driven by “hits,” a relatively small amount ofoverwhelminglypopularcontent.Forcontentcreators,whoseworkfits insteadintothe“longtail”(wheremanyspecializedcommunitiesaccessmorenichecontent),theabilitytobefoundinthedigitalworld–‘discoverability’–isbothessentialandelusive.Inaworldwherehundredsof hours of video are uploaded to YouTube every minute, where Canadian book publishersalonepublishover6,000Canadiantitleseachyear,wherethousandsoftitlesareavailableonNetflixattheclickofamouse,artistsandthecreativeindustriesneednewtoolsandstrategiesjusttobefoundonline.

Thesenewtoolsandstrategiescan includesocialmediasavviness, theability tocapitalizeonmulti-platform business models, and, inevitably, the development of fit-to-purpose publicpolicy (from the local to the global). Public policies that have traditionally protected smallercountries and smaller producers – such as broadcasting regulation or user levies (such asFrance’s proposed “Netflix tax”) – are proving to be unpopular and are losing theireffectiveness.Instead,fundingsupportprograms,oftenatthelocallevel,arecriticaltocreatorsinordertosupportcreativelivelihoodsandallowthemtosustainablycreatecontent.

Key considerations: Cultural planning at the city level needs to address these pressingchallengesforpolicysoastoencouragediscoverability,fosterviablemonetizationmodels,and enable the arts and creative industries to adapt and thrive amid an era of digitaldisruption.



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C.3.CulturalclustersandhubsCultural clusters /cultural hubs are a geographically-defined area or space where there is aconcentration of cultural activity which can include cultural institutions, arts and culturalvenues, live-work spaces for artists, cultural businesses and creative industries. These hubsprovideopportunitiesforpublicparticipation,theincubationofideas,networkingandculturalproduction.Culturalclustersandhubscanhelpregenerateneighborhoodsordowntowncorestoattractnewresidentsandservices.

ExamplesexistacrossCanadaandaroundtheworldofcitiesthathaveembracedtheiruniquecultural facilities and creative clusters as a means of attracting tourists, creating jobs, andenjoyingahigherqualityoflife.TwoleadingpracticesinCanadaareofrelevance:

§ TheVancouverRoundhouse,operatedbytheVancouverBoardofParksandRecreationis located inVancouver’soldestheritagebuildingandhasa twofoldmandate: tobeacentre for community cultural development and a community source for recreationalactivities for all ages. The Roundhouse Advisory Committee is composed ofneighborhood representatives, heritage supporters, members of the arts communityandParkBoardstaff.Thefacility’sfeaturesincludeablackboxPerformanceCentre,anexhibitionhall,woodworking,potteryanddancestudios,a full-sizegymnasium,acafearea,andvariousmulti-purposespaces.Arguably,ofmostimportantly,theRoundhouseacts as a community connector and catalyst, serving the needs of widely divergentcommunities.

§ HamiltonCreativeCatalystProject(HCCP):TheCityofHamiltonconductedafeasibilitystudy which recommended that the creative sector, particularly Hamilton’s musicindustry, be harnessed and catalyzed as a means to grow Hamilton’s economy, re-activate the downtown area, improve the physical condition of buildings andneighbourhoods, and build pride in the community. A ‘creative catalyst’ typicallyoccupiesalarge,iconicbuildingdowntownwithaneducationalorculturalinstitutionasan anchor, although tenants could include established or new businesses defined ascreative industries (e.g.music creation, promotion, distribution, film production), anybusinessthatwouldbenefitfromco-locatingwithcreativepeopleandbusinesses,andnewenterprises(e.g.graphicdesign,newsmedia,computerprogramming).Thebuildingand the programming within such facilities are typically designed to encourageinteractionamongstthetenants,withthestreet,andthesurroundingcommunity.

KeyConsiderations:TheCityofVictoria’sArts&CultureMasterPlanningprocessmayconsiderarangeofleadinglanduseleverstosupportthedevelopmentofsuchculturalclustersandhubsand,inturn,itswidercreativeeconomy.



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D.CanadaandBCContextCurrentTrendsandOperatingEnvironment

When the cultural sector is taken as whole, it represents $53.4 Billion dollars or 3.4% ofCanada’sGrossDomesticProduct—outperformingindustriessuchasforestry,agriculture,andfisheries;utilities;sport;andaccommodationandfoodindustries,combined.The reason thecultural sectorhas suchamajoreconomic impact inCanada is theshift fromtraditionalsectorstocreativeandknowledge-basedeconomies.Thesemorerecenteconomiesdemand less financial input (e.g. volunteer labour, no bricks and mortar) to generate theirsignificanteconomicimpact.

As such, many communities across Canada are trying to attract creative professionals andknowledgeworkerswho are enticed by quality of life amenities, such as recreation, culinaryscene,artsandculture.Cities, includingVictoria,arealso fosteringand incorporatingculturaldevelopment in theirorganizational cultureeither throughdirect staff representatives, cross-departmentalteamsand/orintegratedintotheirplanninginitiatives.

Atthistime,localgovernmentsinBritishColumbiaareoftensaddled with the bulk of cultural investment in theircommunities, as the province has historically received thelowest amount of federal funding for arts and culture inCanada.WhilenewfundingthroughBC’srecentlyannouncedCreative Economy strategy may help (e.g. CollaborativeSpacesFund),theprovinceisstilloneofthelowestspendersonartsandcultureofalltheprovincesandterritories.Similarto deferred infrastructure investment, this results in B.C.municipalities evaluating priorities and gauging optimalfunding requirements to ensure community arts andcultural resources and assets can be maintained. (HillStrategies,2015).

KeyConsiderations:WhiletheProvince’sartsandculturalassetshavegrown,thesectorhastraditionally been quite fragmented and often a lack of understanding or duplication ofservicesmayexistatlocalandregionallevels.

• 87,996jobsincreativesector

• 24,800artists• Generates$5.7billion

intoprovincialeconomySource:MinistryofTourism,CultureandtheArts,210-13



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E.FirstNationsContextBuildingaLocalLegacyTogetherTheCityofVictoria is locatedonthetraditional territoryof theSongheesandEsquimaltFirstNations—whoarepartofthelargergroupofCoastSalishpeoples.Oralhistoriesandevidencetracetheirsettlementofthelandbackmorethan4,000years.WithintheCityofVictoria,theGorgewaterwayisunderstoodtobethefirstvillagesite,calledCamossung.9TheOfficialCommunityPlanprovidesdirectionfor theArtsandCultureMasterPlanto“seekopportunities to partner and collaborate with the Songhees and Esquimalt First Nations oninitiativesthatacknowledgeandcelebratethetraditional territoryandculturalvaluesofFirstPeoples.”10

TruthandReconciliation

Since January 2015, work towards implementing Municipal Truth and Reconciliationrecommendationsbeganwitha“reporttoCouncilpresentedadraftTermsofReferenceforanewtask force [to] focuson theTruthandReconciliationCommission'sCalls toAction11 thatarewithintheCityofVictoria'sjurisdictiontoact.”ThetaskforcehasbeentitledtheTruthandReconciliationCommission's(TRC's)CallstoActionTaskForce.TheCityofVictoriahasdeclared2017astheYearofReconciliation.

TheTruthandReconciliation’sFinalReport,identifiestrustasthemostsignificantchallengeforFirstNationsandtheCrownrelationsandcallsforthebrokentrusttoberepaired.“Thevisionthat ledtothatbreachintrustmustbereplacedwithanewvisionforCanada;onethatfullyembraces Aboriginal peoples’ right to self-determination within, and in partnership with, aviableCanadiansovereignty.12Asdiscussedabove,heritageplaysan integralrole inthisasamediumthroughwhichacollectivelyheldunderstandingoftrustcanbeestablished.

9CityofVictoria,OfficialCommunityPlan,2012,pp6410,CityofVictoriaArtsandCultureMasterPlan,ProjectPlan,January21,2016.11TheTruthandReconciliationCommission(TRC)wasacomponentoftheIndianResidentialSchoolsSettlementAgreement.TheTRCmandatewastoinformallCanadiansaboutwhathappenedinIndianResidentialSchools.ThefindingsoftheTRCinvestigationsinclude94recommendationsforactionbyalllevelsofgovernment,includingthosethattheTRCarewithinthejurisdictionoflocalgovernments.BuildingonaDecember10,2015reporttoCouncil,whichresultedinamotionrequestingstafftobringbackaTermsofReferenceforaworkinggroupfortheTRCCallstoAction.ThedraftTermsofReferencecompilesideasofreconciliationandpartnershipwithFirstNationsandwithAboriginalresidentsofVictoria.From:http://www.victoria.ca/assets/City~Hall/Documents/Q2%202016%20Highlights.pdf12TruthandReconciliationCommissionofCanada,Canada’sResidentialSchools:Reconciliation:TheFinalReport,Volume6(McGill-Queen’sPress-MQUP:January1,2016).pp21



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CallstoAction79-83oftheTruthandReconciliationFinalReportaddresstheroleheritage,artsandculturehaveplayedshapingourcollectiveunderstandingofplaceandinvite a new, trust-based, dialogueon how they can be harnessed as tools for reconciliationgoingforward.ThefiveCallstoAction,undertheheadofCommemoration,invitethe“federalgovernmentincollaborationwithSurvivors,Aboriginalorganizations,andtheartscommunity,todevelopareconciliationframeworkforCanadianheritageandcommemoration.Thiswouldinclude,butnotbelimitedto:

• Amending the Historic Sites and Monuments Act to include First Nations, Inuit, andMétis representation on the Historic Sites and Monuments Board of Canada and itsSecretariat.

• Revising the policies, criteria, and practices of the National Program of HistoricalCommemorationtointegrateIndigenoushistory,heritagevalues,andmemorypracticesintoCanada’snationalheritageandhistory.

• Developingandimplementinganationalheritageplanandstrategyforcommemoratingresidential school sites, the history and legacy of residential schools, and thecontributionsofAboriginalpeoplestoCanada’shistory.

KeyConsiderations:

• As part of the 2010 Victoria Arts Scan Report, participants in the First Nationscommunity dialogue session expressed a desire for more “opportunities andcollaborationswitheducational institutionsandcommunityassociations toshare theirtraditionsandculture.Theartist inresidenceprograminthecommunityisvaluedandmoreFirstNationsparticipationcouldbeencouraged.”13

• Lackofrepresentationisanoften-citedissuewithmarginalizedpopulationsandthis istruewiththeFirstNationscommunitiesinVictoriaaswell.ThroughtheArtsScanReportitwasnoted that thereare fewFirstNations representativesonartsassociationsandboards.

• HeritageCultural Landscapes:Anoutcome identified in theOCPwas to“developandmaintain a policy to identify and conserve heritage cultural landscapes on public andprivatelands,thatseekstodeterminetheheritagevalue,characterandspecialfeaturesofculturallandscapes;andprovidesguidanceforalternations,whileconservingheritagevalue,characterandspecialfeatures”(Section8.62,OCP,pp73). ThedevelopmentofthispolicyprovidesasignificantopportunitytotheCityofVictoriatocontinueleadingbyexample inworkingwiththeEsquimaltandSongheesFirstNationscommunities todevelopan inclusiveheritagepolicytorecord, reflectandcommunicatetheirhistorieswiththewideraudienceofcitizensandvisitors.

13VictoriaArtsScan,MappingProjectFinalReport,2010,p10



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F.RegionalPerspectives:CapitalRegionalDistrictArtsDevelopmentServiceThe City of Victoria is located in the Capital Regional District (CRD), a governance body thatprovidesregionalsupportonissuesthattranscendmunicipalboundaries.TheCRDservesmorethan377,000citizens,13municipalitiesandthreeelectoralareasonsouthernVancouverIslandandthenearbyGulfIslands.ThecurrentroleofCapitalRegionalDistrict’sArtsDevelopmentServiceistoadministergrantsto arts organizations on behalf of eight of the thirteen contributing municipalities in theregion,14includingtheCityofVictoria.15TheCRDArtsServicebylawwascreatedin2001andwasrecentlyamendedtoreflectitselfasaCommission.Itaimstoincreaseavailableartsfundingsignificantlythroughcommittedfinancialsupportbyparticipatingmunicipalities.Victoriaparticipatesatthehighestlevelofcontributionsasa‘Group1’supportingmemberintheCRDArtsService.The Arts Service has twomain funding programs:Operating Grants, which provides annualassistance to established arts organizations for ongoing programming and administrativeexpenses; Project Grants, supports emerging or established arts organizations for new,recurring or developmental initiatives. The IDEA Grants (Innovate, Develop, Experiment,Access),supportsnon-artsmandatedorganizationsforartsrelatedprogramminginitiatives.InSummer2016, theCRD launchedapublic consultationandengagement process to encourage and facilitate regionalcommunityparticipationinidentifyingprioritiesandactionsfortheCRDArtsStrategy.TitledBuildingour#ArtsFutureTogether,the process clearly identified the communities’ priority is fortheArtsDevelopmentServiceto“helpartsorganizationsgrowanddevelopsustainably.”16

Victoria’sOfficial Community Plan acknowledges the valueof using a regional context in theplanning process, that both integrates a regional perspective and contributes to regionalsolutions. As such, Victoria is the second largest contributor in the region to the CapitalRegionalDistrictArtsDevelopmentartsprograms.In2012theCitycontributed$796,000totheCapitalFundandcurrentlyfundsorganizationsthroughCRDoperatingandprojectgrants.

14Victoria,Saanich,OakBay,Esquimalt,ViewRoyal,Metchosin,HighlandsandSidney.15Pre-2001annualCRDregionalfundingrangedfrom$365,000to$595,000.By2006fundingofGroup1municipalitiesraiseditto$1,760,000.In2016thebudgetwas~$2,300,000.16CRDArtsStrategy,BuildingOurArtsFutureTogether,2016



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KeyFindingsfromtheCRD’sArtsStrategy:

• OneofthemainoutcomesoftheCRD’sArtsStrategyprocesswastheidentificationofthechallengessurroundingartistretentionintheregion.

• Anotheroutcome identified through thepublic consultationprocess is thepriority for‘sustainablegrowth’withintheartsandculturesector.Tosupportthisdrivinggoal,thefollowing directions have been proposed: Capacity Building, Multi-year funding, andpublic/stakeholdercommunicationstorelaytheimpactofCRDfunding.17

• The public engagement process also also indicated a strong desire to make the artsmoreaccessibleand includeorganizations that representmarginalizedgroups suchasFirstNations,low-incomecitizens,disabledpeopleandyouthaswellasimmigrantsandrefugees. There is a particular emphasis on an intention to develop Indigenous artcollaborationsinthespiritoftheTruthandReconciliationReport’sCallstoAction.

• The Arts Strategy identified the following barriers to participation in the arts: lack ofaccesstoaffordablefacilitiesandlowwagesintheartssectorwhichmakeitdifficultforartists to remain in the region. These sameobservationsweremade in the2010ArtsVictoriaArtsScanMappingProject.

KeyConsiderations:• AkeyconsiderationfortheCityofVictoriaishowtosupportartsserviceorganizations

and artist in building lasting relationships with the City. Victoria’s new Artist inResidenceprogram,successfullylaunchedthispastFall,isagreatexampleofhowartistscan be supported in an ever increasing housing market and how their valuedperspectivecansupportcommunityplanninganddevelopment.

• TheArtsStrategyprocessproduceddetailedresearchandextensiveconsultationwork.To avoid duplication or engagement fatigue in the community, the engagement andconsultationprocess forCreateVictoriawasdesigned in turn tobe targetedwith keyaudiences; tobegin internallypost-CRDconsultationand thenbeoutmorebroadly inthecommunityinthespring.AfocuswasplacedontheeconomicimpactassessmentintheCreateVictoriasurvey.

• Uncertainty in the jurisdictional roles of the City of Victoria and the CRD ArtsDevelopment Service, in regards to funding and investment, has been cited by thecommunity.

• TheCRDArtssurveydataandotherthrough-pointssuchasresourceinformationfromArtsVictoria isbeingsharedandengagementeffortswillbecoordinatedbetweenthetwo levels of government. The resulting implementation framework for the CRD ArtsStrategywillprovideausefulcontextuallensfortheCity’sArtsandCultureMasterPlan.

• Asoutlined in theOCP, inVictoria thearts and cultural industries currently representfourtosixpercentofVictoria’seconomy,andareexpectedtohavemodestgrowthto

17PriorityDirection:Capacitybuilding–Trainingtoartsorganizationsinsustainablebestpracticesintermsofmanagementandfunding.PriorityDirection:DirectFundingintheformofmultiyearfundingand“incubatorfunding”forupto3yearsfornewprojectsandorganizations.PriorityDirection:Communicateimpactstopublicandstakeholdersinallmunicipalities.



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2031. Like many municipalities in the province, Victoria’s arts and culturesectorcontinuestofacethechallengeof insufficientpublicandprivatefunding.WhileVictoriaremainstheregionalcentreforartsandculturefacilities,eventsandactivities,theartscommunityfacesrelativelyhighcostsforrentalspace,andlimitedavailabilityofsuitablevenues.

G.TheCityofVictoriaContext

G.1Introduction

TheCityofVictoriahasanestablishedhistoryofworkingwiththeartsandculturalcommunityinvariouscapacities.AsthecapitalandheartoftheCapitalRegionalDistrict,theCitysetsthetonefortheartsandcultureintheregionandassuchitisimportantthatVictoriacontinuestoleadbyexamplethroughinnovationandcollaboration.

TheCityofVictoria is a local government thathasabroadmandate servinga central role incultural policy and program development, incentives, planning and has ownership and part-ownershipinculturalfacilities,aswellasmanagingpublicspacesforartandculturalactivationandevents.ForadetailedsummaryofeachoftheCity’spoliciesthatrelatetoartsandculture,pleaseseetheResearchMatrixandthefollowingsectionsbelow.

Through policies and programs, the City of Victoria recognizes the importance of arts andculture as building blocks in creating healthy, inclusive, vibrant neighbourhoods andcommunities for all; from a celebrated public art program to an award winning record ofheritagepreservation.

In2015,theCityinvested$8.5millionintotalinvestmentforarts,culture,heritageandlibraryservicedeliverytothecommunity.Victoriaprovidesbothin-kindandfinancialsupporttoartsorganizationsandartistsandprovidesthesefacilitieswithanannual100%taxexemption.Basedonan initial jurisdictional scan fromacrossCanada, theCityofVictoriahasoneof themost integrated cultural portfolios. For thepast 45 years, arts and culturehavebeenwovenintothefabricoftheCityandarewellrepresentedacrosstheoverarchingplanningdocumentsthatareguidingtheCitytoday.G.2CulturalScorecard---InternalAssessment

ThePlanningContextdidnotoverlookinternalstakeholdersoftheorganizationaskeysourcesofinputandinsight,inkeepingwiththeCity'sStrategicPlanofencouragingcross-departmentalparticipation.

The Scorecardprocesswasdesigned in collaborationwith theArts, Culture andEvents teamandassistedinprovidingacriticalself-assessmentoftheartsandcultureservicedelivery.This



21

reviewandassessmenttoolhelpedtoguidestaffplanningsessions;generatedirectionsforconsiderationregardingtheArts,CultureandEventsstaffteam'sportfolioandisresultinginaseriesofstrategicdirectionstoguidetheculturalplan.TheoutputsoftheCulturalScoreCardprocessincludingtheContextMapandInternalandExternalAssessmentSummaryweretestedatacross-departmentalworkshop,withtheAdvisoryCommitteeandoutwiththepublic through the various engagement sessions. A summary of the Scorecard process andoutputscanbefoundinEngagementSummaryreportatvictoria.ca/create.

CUSTOMERNEEDS• “OneStopShop”

• “RedCarpetvsRedTape”

• Animateddowntown

• Knowledge-Sharing

• EfficientService

• Problem-Solving

• CRDArtsDevelopmentServiceFundingModel

• FacilityandSpaceNeeds

•  JurisdicIonalCreep

• Resources

UNCERTAINTIESTECHNOLOG

Y

FACTORS

• AccessibilityandAffordability

• Diversity

• GeneraIonalconsideraIons

• Belonging/Inclusion/Welcome

• AuthenIcPlaceBranding

• DigitalStrategies• Dataforbespokedcontent

• PrivacyandBigData

• VirtualandAugmentedReality

• PendingEconomicDownturn

• Affordability

• Housing

• NeedforCapitalBudget

• BestuseofTaxPayer$

• NewFederal$$$

• ProvincialElecIon

• AmalgamaIon

• Canada150vsT&RCallstoAcIon

• Capitallens

POLITICALFACTORS ECONOMIC

CLIMATE

CONTEXTMAPTREND

S

• NewOper

aIngModels

(at

oddswithd

atedfundin

g

models)

• NewAudie

nces

• NewAppr

oachestoA

rt-

Making.Oldv

sNewArt

Forms

• CreaIveEntrepreneurship

• RetainingEmergingLeaders

• Arts-basedintervenIons

• Cross-sectorpollinaIonand

collaboraIon

• Lifecycleo

fArtsOrgs--

-shi^

Growing$5

3.4BCultur

al

Industry

TRENDS

PreparedforCityofVictoriabyPatriciaHuntsmanCulture+CommunicaIon

ContextMap(fromInternalScorecardConsultationProcess)



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G.3PolicyReview

(NotetoStaff:RefertoPlanningContextMatrixforadditionaldetail)OfficialCommunityPlanTheCityofVictoria’sOfficialCommunityPlanwasdevelopedin2012tomapthenext30yearoftheCity’sgrowthandchange inthecommunity,whilebuilding inannual reviewprocessestotrackprogressandimplementation.TheOCPidentifiesaneedforavisionandactionplanforarts and culture and to enhance support for local nonprofits groups, seek opportunities forpartnershipandsettargetsforfutureculturalspaces.ThePlanisverythoroughandintegratesarts, culture and heritage well into each aspect to ensure that culture is used as a tool toexecutethecommunity’svisionandgoals.CorporateStrategicPlanThekeyStrategicObjectivethatrelatestoartsandcultureis(10)NurtureOurArts,CultureandLearningCapital;however,someoftheother12objectivesareintegralinthedevelopmentofahealthy cultural ecosystem, including (1) Innovate and Lead; (2) Engage and Empower theCommunity; (5) Create Prosperity Through Economic Development; (7) Facilitate SocialInclusionandCommunityWellness(8)EnhanceandStewardPublicSpaces,GreenSpacesandFoodSystems;(13)DemonstrateRegionalLeadership.

BOLDMOVES:GOALSANDSTRATEGIES

ORGANIZATION CHALLENGES

VALUES/GUIDINGPRINCIPLES

Vision:OurCrea?veCity

•ExpandingRole/Needforrole

defini4onw/inCity(-)

•  Council+SeniorLeadership

support(+)

•  Domorewithless/Reac4ve(-)

•  Communica4onsand

Marke4ngneed(-)

• “Onestopshop”(+/-)

• Experiencedteam(+)

•  Inter-deptcoopera4on(+/-)

• Jurisdic4onalcreep/roles

• Economicdownturnlooming

•  Limitedtaxbase/$model

• Inclusive

• Engaging

•  Flexible/Open

• Transparentand

Fair

•  T&RCallstoAc4on

• Authen4c

• Forward-Thinking

• Crea4ve

•  Collabora4on

•  Futuris4candInnova4ve

•  Fosters/NurturesIndividualCrea4vity

•  “PunkAndPolite”• Quality/High-Calibre

•  Knowledgeable+EngagedPublic

•  BestService

•  “Do.Rad.“Stuff”---PushtheBoundaries

•  Crea4veCitybenchmark/Leader

•  Grassroots/organic/DIY--Island

•  Vibrant

•  Eclec4canddiverse

•  RedcarpetinsteadofRedTape

•  OrganizedANDEntrepreneurial

• Newaudiencesand

models/howcultureis

consumed

•  Increaseddemand

•  Affordabilityandaccess

•  Facili4es

•  Organiza4onLifecycles

FOUNDATION/HISTORY•1999-CRDArtsDevelopmentService

• CommunityDevelopmentModel

• Funding+Policies+TeamCompetencies

• 2005–CulturalCapitalofCanada$$$

• PublicArt/Animator

Future-Ready+Innova?ve

Celebra?on+Promo?on

Preserva?on+Conserva?on

Collabora?on+Facilita?on

Accessible+Affordable

+Diverse

PreparedforCityofVictoriabyPatriciaHuntsmanCulture+Communica4on

InternalandExternalAssessment(From:InternalScorecardConsultationProcess)



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Arts, culture and heritage not only act as vehicles for achieving theseobjectivesbutarealsokeytothedevelopmentofaleadingedgecitythatembracesthefutureandbuildsonthepastwherethe“communityfeelsvalued,heardandunderstood.”18SustainabilityFrameworkThe Victoria Sustainability Framework was developed in 2010 to serve as a 100 yearoverarching framework to guide the City’s Official Community Plan and Corporate StrategicPlan. Developed in partnership with the community, the Framework sets the tone forsustainability intheCityandwillcontinueto informthedevelopmentand implementationofoperations,policiesandinitiativesandplans.SustainabilityCommitment:

“Victoria,asa communityandmunicipal corporation, isanurbansustainability leaderinspiring innovation,prideandprogress towardsgreaterecological integrity, livability,economicvitality,andcommunityresiliencyasweconfrontthechallengesfacingsocietyandtheplanettodayandforgenerationstocome.”19KeyConsiderations:TheSustainabilityFrameworkisthoroughandinclusivewithregardto arts, culture, heritage and the integration of First Nations within these importantdialogues. There is a notable componentmissingwithin the Sustainability FrameworkandthatisattentiontoIntangibleCulturalAssets.AlthoughtheseAssetscanbehardtoquantify, theyarenonetheless important to thecreation andmaintenance of cultural diversity. The 2003UNESCOConvention for theSafeguardingof the IntangibleCulturalHeritageacknowledgedthe“importanceof theintangible cultural heritage as a mainspring of cultural diversity and a guarantee ofsustainabledevelopment.”Further, “the knowledge and practices accumulated through time have been used tomakesustainableuseofnaturalresourcesandminimizetheimpactofclimatechange.Intangibleculturalheritagemaythushelptoprotectbiodiversityandcancontributetoenvironmentalsustainability.”20VictoriahastheopportunitytoleadbyexampleinaddressingthevalueoftheseAssetswithin their Sustainability Framework. This can act as a tool of communityempowerment for marginalized or underrepresented populations, First Nationscommunities and others. Further, the incorporation of a goal addressing IntangibleCultural Assets will bolster other Goals, notably Goals (5) Sense of Community,subsection,(a)through(e);aswellashavingimplicationstoGoal(7-b)Governance,bywayofempoweringcitizensandcommunitiesandGoal(1-g)ResearchandTraining.

18CityofVictoria,StrategicPlan2015–2018,AmendedFebruary2016,pp119CityofVictoria,VictoriaSustainabilityFramework,201020UNESCO,IntangibleCulturalHeritageandSustainableDevelopment,2003



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ParksMasterPlanSummary:TheParksMasterPlanningprocessbeganintheSpringof2016andisexpectedtobecompletedbyearly2017.The intentof theprocess is todevelopa25-yearplantosupportarangeofhealthy,activeopportunitiesforallmembersofthecommunityintheCity’sparks.Sixmaindraftgoalshavebeenestablishedtoguidethedevelopment:(1)ProtecttheEnvironment;(2)CreateParksforPeople;(3)BeActive;(4)BeInclusiveandAccessible;(5)BeMultifunctional;(6)CelebrateVictoria;and(7)BuildPartnerships.

KeyConsideration:TheactionproposedintheParksPlan,6.2.2to“updateandimprovetheexisting“CommunityEventPlan” thatoutlines theprocess forhostinganevent inthe parks, as well as providing checklists and guidelines to help ensure successfulevents,” would help streamline the process for community events and should beprioritizedthroughtheArtsandCultureMasterPlan.

NeighbourhoodPlansThe City of Victoria has panned to develop 10 new neighbourhood plans over the next fouryearsunderthenewco-planningmodelwherebycitizens,communitygroups,neighbourhoodassociations and businesses are encouraged to collaborate and shape their neighbourhoods.NewplansforFairfield,Gonzales,andVictoriaWestweresettobeginin2016.Worktoupdateplans forFernwood, Jubilee,NorthPark,RocklandandFortStreetCorridorwilloccur in2017andJamesBay,HillsideQuadra,Oaklandsplanswillbeupdatedin2018.Thegoaloftheseplansis to focus on neighbourhood village centres, the identification of community priories,whileguiding“newcommercialandresidentialdevelopmentandcapital investmentsuchascyclingandwalkingpaths,prioritiesforparksimprovementsandupgrades,publicart,andplacemakingopportunities.21”BurnsideGorgeNeighbourhoodPlanIn2015through2016,theCityofVictoriaengagedwiththecommunityandlocalstakeholdersto create a guiding neighbourhood plan for the BurnsideGorge area. In relation to arts andculture,itwassummarizedthattheneighbourhoodis“uniquelypositionedtobeaprimehubofcreativeproductionanddistributionforartsandcreativeenterprisesbasedontheindustrialzoning,availablespacesandclusteringofcreativebusinessesalreadylocatedinthisarea.”Itwas found that the theneighbourhoodhas thecapacity toprovidespace for local creativeentrepreneursandthatthiswillinturnsupportthelocalmakereconomiesthataredevelopingin Victoria. While these creative businesses are important to local economic development,“further resource sharing, education and business skill development is needed for creativebusinessestogrowandsustaintheirbusinesses.”“Opportunities for creative placemaking including temporary and permanent public artopportunitiesalongthewaterfrontandtrailsystems,greenspacesandurbanvillages,andthecreation of outdoor performance areas. This can further enhance linkages between the

21CityofVictoria,2015HighlightsofOperationalPlan,FourthQuarter,PresentedtoCommitteeoftheWholeMeetingonMarch24,2015



25

industrial and creative sectors, residents and visitors.”22 The Placemakinginitiatives,asproposed,wouldworkwelltoweavetogetherthedifferentnarrativesandvalueswithin the neighbourhood. In particular, there is an opportunity to involve the First NationscommunityincreatingtheproposedmuraltoreflectonthehistoryforRockBay.

KeyConsiderations:IntheOverallPlacemakingPoliciesforRockBaysectionofthePlan,ithasbeenproposedthata“cheapandcheerful”streetscapedesignapproachbeusedforthe Bridge Street Industrial Arts village. The rationale being that this treatment wouldreflecttheworkingcharacterofthearea,whileaddinggreeneryandasenseofplace.Thismaybeapointwherefurthercommunityengagementworkcouldassistwithrefiningthedesign.Further,astheareaishometomanydifferentindustrialartsenterprisesperhapsthe local community could be involved in crafting the approach andmove it beyond atemporary “cheap and cheerful,” to something that can be championed by thecommunityoveralongerterm.

FairfleldNeighbourhoodPlanThis plan is currently under development. The notable Draft Goals that pertain to arts andculture include: (25) Create great public spaceswhere people can gather; (26); Preserve thecharacterofolder,historicneighbourhoodareas;(27)RecognizeandcelebrateFairfield’sFirstNations history; (28)Celebrate Fairfield through public art and community events;and (29)Encouragecommunity-ledplacemaking.GonzalesNeighbourhoodPlanThisplaniscurrentlyunderdevelopment.DraftGoalsthatrelatetoarts,culture,heritageandplacemakinginclude:

(22)Encourageblockparties,festivalsandothereventstobringneighbourstogether;(23)EncouragecommunityartsinitiativesthatcelebrateGonzalesidentity;(24)Protectthehistoriccharacterofstreets,buildingsandotherimportantsites;and(25)IdentifyandpromoteGonzales’suniqueidentity.KeyConsiderations:AsthecolonialhistoryoftheareaissoprominentandimportanttothedevelopmentoftheCity,specialattentionandconsiderationtoalternatenarrativesof the landshouldbegiven.GonzalesPointwasasiteofFirstNationssettlementandartefactsdatingback3000yearshavebeen found in thearea.Assuch itwouldbeanimportantopportunitytoengagewiththeSongheesNationtorecognizeandcelebratetheirhistoryofuseinthisarea.ForfurtherresearchontheSongheesinthisareapleasesee:ClaireHeffernanandAlbertHead,“Songheeslegacy,”TimesColonist:September4,1994.

City-OwnedCulturalFacilities/McPhersonandRoyalTheatresAsidentifiedinthe2010ArtsScan,theCitypartlyownsandmanages7artsandculturevenues.Notably,theCityowns,butdoesnotmanage2professionaltheatres,theMcPhersonandRoyal

22CityofVictoria,Burnside-GorgeNeighbourhoodPlan,2015,p43



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Theatres (partial owner). The City contributes $937,800 in operating andcapitalexpendituresfortheRoyalandMcPhersonTheatres.FestivalInvestmentGrant,2016The City supports festivals and public celebrations through this granting program andshowcases and supports the events and other community-based arts and culture outdoorevents, outdoor markets and summer festivals through their CITYVibe Guide to OutdoorFestivals and Events. As part of the 2016 Parks Master Plan engagement process, it wasreportedthatmostresidentsareinfavourofincreasingorganizedeventsandfestivalsinparks(PhoneSurvey–71%).

KeyConsideration: Aspartof the2012Official CommunityPlan theGoal 6.17 requestedthattheuseofdesignandtrafficcalmingtechniquesinTownCentresandUrbanVillagesbeconsideredtoreducevehicletravelspeed,providesafeaccessandpassageforotherroadusers, and permit the temporary closure of streets for community activities or specialevents.

SpecialEventGuidelinesProvidesrequirementstopermittingofspecialeventsandtheregulatoryguidelinesforpeopleinvolvedinorganizingandpromotingspecialeventsaswellastomanageandfacilitatetheuseoflimitedpublicspaceandresources.ArtinPublicPlacesPolicy,2011The updated policy increased funding for art in public spaces and provided expandedopportunitiesforartistsandmembersofthepublictoparticipateinthepublicartprocess.Thepolicy created a new funding formula for public art to ensure ongoing resources for fundingthroughtheArtinPublicPlacesReserveFund.Baseduponajurisdictionalreview,theArtinPublicPlacesPolicyreflectscurrentNationalbestpracticesandcreatescomprehensiveopportunitiesforcitizenparticipation.CommunityArtsGrantsProvides$30,000annually toArtist inResidenceprogramoraCommunityPublicArtproject.AdministeredthroughtheParks,RecreationandCultureDivision.TheArtistinResidenceProgramAlegacyoftheCulturalCapitalprojectswhichplacesprofessionalartistinacommunityforanextendedperiodoftime.CommunityPublicArtProgramDesignedforneighbourhoodswishingtoundertakeapublicartprojectsuchasmurals,mosaicsandbanners.



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CityofVictoria,HeritageContextThe City of Victoria has since the 1970s acted as a leader in heritage planning. The City’sheritage programs have, as such, been very successful in preserving the historic builtenvironmentandcapturingtheculturalandhistoricnarrativesthathaveshapedtheCityasweknowittoday.Withtherecent2015shifttoa“values-basedapproach,”theCityisinlinewithinternational best practices. This approach recognizes the embedded cultural and historicalvalueswithintheframeworkofheritage.TheCityisalsomakingprogressinworkingwithFirstNationstoensurethattheirnarrativesofplacearerepresented(SeeFirstNationsContextforfurtherdiscussion).AttheoutsetoftheArtsandCultureMasterPlanningprocessstaffexpressedthedesireforthevariousheritageplanningdocumentsbeintegratedtogether. IntheattachedResearchMatrixan inventory and summary of these multiple planning and guiding documents is included.Belowisabriefdiscussionofthecurrentheritageprogramandrecommendationsonthenextsteps.PlanningContextTheCityofVictoria’sheritageprogramiscelebratedforitssuccessandwidespreadcommunitysupport.TheCityhasapproximately1,000registeredheritageresources,includinghundredsoflegally protected buildings and 13 Heritage Conservation Areas.Partof thesuccessof thisprogram lieswith the incentiveprograms thathavesupported theretentionoftheseplaces.Whileothermunicipalitiesstruggletobuildacultureofsupportforheritagethrougheducationandoutreach,Victoriahasalonghistoryofcelebratingitsheritageandthisisseenthroughthemanydifferentnon-profitorganizations,festivalsandeventsthatsupportthisintegralcomponentoftheCity’sculturalfabric.The City’s heritage program has developed over several decades and has yielded significantresults. Victoria has consistently led the province in their heritage planning regulations andincentives.

- In1973aHeritageAdvisoryCommitteewasestablished.- In1974abylawwaspassed toallow the firstheritagedesignationsandnewheritage

zoning categories were created for Downtown and Old Town to support theconservationofthearea.

- In1977“ThisOldTown:CentralAreaHeritageConservationReport”waspublishedbythePlanningDepartment.

- In1980theHeritageRegistrywasestablishedandundertheHistoricalRestorationActtherestorationofChinatownwasstarted.TheHeritageRegisterhasbeenexpandedtoincluderesourcesoutsidethedowntowncoreandwasmostrecentlyupdated in2015byDonaldLuxton&Associates.



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- In1983theVictoriaHeritageFoundationwasestablishedandin1989the Victoria Civic Heritage Trust began. These organizations continue to administergrantprogramsandeducationalengagementtopromoteheritage.

- In1998,theCitybecamethefirstmunicipalitytoexpandtheirpowersundertheLocalGovernmentActtocreateaPropertyTaxIncentiveProgramtoassistintheconversionofvacantand/orunderutilizedbuildingstoresidentialuse.

Withanestablishedlegacyofsupportingheritage,theCitywasalsoaleaderinembracingnewprogramssuchasthe2001federalHistoricPlacesInitiative.TheCityadoptedtheStandardsandGuidelines for the Conservation of Historic Places in Canadaon January 3, 2005 to promoteresponsible conservation practices that help protect historic places. Most recently, westernCanada’s foremostheritageconsultantDonaldLuxtonandAssociates,wascontracted to leadthe2015HeritageRegisterUpdate.ThisUpdatewasthoroughandinlinewithinternationalbestpracticestandardsandincludedthedevelopmentofacity-wideHistoricalContextStatement,aThematicFrameworkthatcapturestheintangibleculturalassets,NeighbourhoodStatementsofSignificance, Documentation of Historic Places, and Community Heritage Planning PolicyFramework.

KeyConsiderations:• Lookintoadoptingaheritagedensitytransferprogram.• Integrateavalues-basedconservationapproachintotheOCPateverylevelsothat

heritageandsustainabilityareintegrated.• Toaddressthelong-termsustainabilityofVictoria’sheritageassets,developingand

implementing policies for emergency preparedness, response, recovery would beuseful.

• Consider extending theHeritage Tax Incentive Program from10 years to a longerterm.23

• In the2012OfficialCommunityPlan,Goal6.16highlightedthedesire toachieveauniquecharacterandsenseofplaceinthedesignofeachcentreandvillagethroughahighqualityofarchitecture,landscapeandurbandesign.ItwasrequestedthattheCity consider expanding or establishing Development Permit Areas and HeritageConservationAreasinandaroundTownCentresandUrbanVillagestoachievethis.

FirstNationsandHeritage:The Heritage Register Update reminds us that heritage preservation is “tangible andirreplaceable, expression of Victoria’s identity and [is] a reflection of the diversity of thecommunity experience that has unfolded over time” (Donald Luxton & Associates, City ofVictoriaHeritageRegisterUpdate,2015,pp2).Thisischallengingassomenarratives,peoples,and histories do not have a physical representation within the built environment and theprogressionofaheritageprogramshouldbetomakespacefortheseintangibleculturalassets.23TheserecommendationswerefirstmadebymadebyformerCityofVictoriaSeniorHeritagePlanner,HelenCain,in2011andfoundwithinapresentationmadetotheHeritagePlannersandProfessionalsin2010.



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Onewaytocreatespaceforthese intangibleculturalassetsandnarrativeswouldbetoworkwith First Nations communities to identify places, names and stories that are culturally andhistoricallysignificanttotheircommunitiesandseehowtheycouldbebroughtforwardtothelargercommunityandrepresentedthroughheritageand/orculturalprograms.ThefirststeptothiswouldbetoconveneacommitteeofSongheesandEsquimaltFirstNations,academicsandculturalprofessionalstoworkshophowthesenarrativescanberepresented.Itisimportantforthe City to lead by example and,with the support of the community, give the First Nationscommunities the agency to drive the representation of their cultural and historic narrativesthemselves.AnimportanttopicthatisabsentfromtheHeritagediscussionsisthevalueanduseoflanguageandplacenames.WhileVictoria’spost-contacthistory iswell celebratedand reflected in thenames of places and the built environment there are few indigenous place names. This is arelativelyeasywaytobringforwardintangibleculturalnarratives.Withinheritagedocuments suchas the2015HeritageRegisterUpdate, itwouldbeuseful toestablish a protocol of terms tobeused todiscuss pre-contact FirstNations communities topost-contactrelationships.Forinstance,termssuchas“prehistoric”canhaveapoliticalweightthat is unintended and if they are used within Heritage Context Statements then they arefurthering a narrative that marginalizes the history of First Nations. This would be a usefulexerciseforacommitteetodiscuss.



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GlossaryofTerms24Arts:abroadsubdivisionofculture,composedofmanyexpressiveandcreativedisciplines.Thetermencompasses:visualmedia(e.g.painting,print-making,drawing,sculpture,crafts,potteryand ceramics, photography, film and video), theatre,music, song, spokenword, literary artsanddance.

Creative Ecology: “ecology” is a term borrowed from biology that is increasingly used fordescribing the environment in which the creative sector operates and the relationshipsbetweenitsorganismsormembers.Themodelofacreativeecology(orecosystem)isappliedto the creative sector and/or cultural industry to examinehow its resources and assets, andnetworksinteractandsupporteachotherandwhatinterdependenciesexistbetweenthem.

CreativePlacemaking isanevolvingfieldofpracticethatintentionallyleveragesthepowerofthearts,cultureandcreativitytoserveacommunity'sinterestwhiledrivingabroaderagendaforchange,growthandtransformationinawaythatalsobuildscharacterandqualityofplace.

CulturalAssetsandResources:anythingthatcontributestothecultureofaparticularplaceorpeople(tangibleorintangible)---theactivities,institutions,andpeoplethatexpressoursharedbeliefs, customs and values. The Cultural Resource Framework used by the North AmericanIndustryClassificationSystemandStatisticsCanadadefinesthefollowingasculturalresourcesandassets:NaturalHeritage;CulturalHeritage;FestivalsandEvents;CreativeIndustry;FacilitiesandSpaces;andCommunityCulturalOrganizations.

CulturalIndustry:anumbrellatermforareasofcreativeworkandculturalproduction,suchas:advertising, architecture and interior design, art and antiquemarkets or fairs, artisan crafts,fashion design, industrial design, performing arts, print media and publishing, radio andtelevisionandvisualmedia.

CulturalPlanning:afieldofstudyandprofessionalpracticedefinedasstrategicandintegratedplanningbytheapplicationofculturalresourcesinthedevelopmentofthecityandsociety.

HeritageCharacter:Overalleffectproducedbytraitsorfeatureswhichgiveheritagepropertyoranareaadistinctiveappearanceorquality.

Heritage Conservation: Includes, in relation to heritage, any activity undertaken to protect,preserve or enhance the heritage value or heritage character (including but not limited tocharacter-definingelements)ofheritagepropertyoranarea.

HeritageDesignation:Bylawtoprotectaheritageproperty that is formally recognized for itsheritage value from exterior alterations, removal or demolitionwithout the approval of CityCouncil.HeritageProperty:Astructure,building,groupofbuildings,district, landscape,archaeological

24AlldefinitionsaretakenfromtheCityofVictoria’s,2015Burnside-GorgeNeighbourhoodPlan.



31

site or other place in Canada that has been formally recognized for itsheritagevalue.

HeritageRegister:Alistofpropertythatisformallyrecognizedbythelocalgovernmenttohaveheritagevalueorheritagecharacter.

HeritageValue:Thehistoric,cultural,aesthetic,scientificoreducationalworthorusefulnessof(heritage) property or an area. The heritage value of a heritage resource is embodied in itsheritagecharacter.

Official Community Plan: An Official Community Plan (OCP) can be developed by bothmunicipalities and regional districts. The OCP provides the longer term vision for thecommunity.UndertheLocalGovernmentActsection875,anOCPisastatementofobjectivesandpoliciestoguidedecisionsonplanningandlandusemanagement,withintheareacoveredbytheplan,respectingthepurposesoflocalgovernment.

OpenSpace:Landthatprovidesoutdoorspaceforunstructuredorstructuredleisureactivities,recreation,ecologicalhabitat,culturaleventsoraestheticenjoymentthatisgenerallypublicly-accessible,andthatisnotadesignatedCityofVictoriapark.Openspaceincludesprivatelands,publiclandsandCity-heldproperty.

Park: Landmanaged by the City of Victoria that provides outdoor space for unstructured orstructured leisure activities, recreation, ecological habitat, cultural events, or aestheticenjoyment,notincludingplantedareaswithinstreetrightsofway.

Placemaking:Aholisticandcommunity-basedapproachtothedevelopmentandrevitalizationof cities and neighbourhoods, that creates unique places of lasting value that are compact,mixed-use,andpedestrianandtransitorientedwithastrongciviccharacter.

Public art:Works of art in anymedia that has been planned and executedwith the specificintentionofbeingsitedorstagedinthephysicalpublicdomain,usuallyoutsideandaccessibletoall.

SmallUrbanVillage:consistsofamixofcommercialandcommunityservicesprimarilyservingthesurroundingresidentialarea,inlow-rise,ground-orientedmulti-unitresidentialandmixed-usebuildingsgenerallyuptofourstoreysinheightalongarterialandsecondaryarterialroadsandthreestoreysinheightinotherlocations,servingasalocaltransitservicehub.

Streetscape:Alltheelementsthatmakeupthephysicalenvironmentofastreetanddefineitscharacter. This includes paving, trees, lighting, building type, style, setbacks, pedestrianamenities,streetfurniture,etc.

Town Centre: consists ofmixed-use,mid-rise building types that accommodate ground-levelcommercial, offices, community services, visitor accommodation, and multi-unit residentialapartments,withawell-definedpublicrealmcharacterizedbywidesidewalks,regularlyspacedstreet treeplanting andbuildings set close to the street frontage, anchoredby a full servicegrocerystoreorequivalentcombinationoffoodretailusesanddestinationretail,servingeither



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asafrequentorrapidtransitservicehub.

TraditionalResidential:consistsprimarilyofresidentialandaccessoryusesinawiderangeofprimarily ground-oriented building forms including single, duplexes, townhouses and row-houses, house conversions, and low-risemulti-unit residential andmixed-use buildings up tothreestoreysinheightlocatedalongarterialandsecondaryarterialroads.

UrbanDesign:Urbandesignisconcernedwiththehuman-madeenvironment.Itisadisciplinethat is dedicated to the relationships among the fields of urban planning, architecture andlandscape architecture. The concerns of urban design range from a broad level, such as thelayout of entire cities, to particular aspects of designed environments such as architecturaldetailing,landscapingandstreetfurniture.

UrbanResidential:consistsprimarilyofmulti-unitresidentialinawiderangeofdetachedandattachedbuildingforms,includingtownhousesandrow-houses, lowandmid-riseapartments,with a residential character public realm featuring landscaping and street tree planting, andmixed-uses locatedalong arterial and secondary arterial roads. Urban Residential areas aregenerallylocatedwithin400metresoftheUrbanCore,aLargeUrbanVillage,TownCentre,orfrequenttransitroute,orwithin800metresofarapidtransitstation.

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