Cultural Planning Toolkit

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A PARTNERSHIP BETWE2010 LEGACIES NOW& CREATIVE CITY NETWOF CANADA

CULTURAL PLANNING TOO


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2010 Legacies Now gratefully acknowledges the Province of British Columbiafor its ongoing support of initiatives like the Cultural Planing Toolkit


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Planning is critical to success in every facet ofour lives. Cultural planning offers an opportunity forcommunities to create a roadmap uni ue to theirneeds, aspirations and strengths. By planningstrategically, local governments and arts groups canwork together to integrate arts and culture morefully into their community.

Honourable Stan Hagen, Minister of Tourism, Sport and the Arts

Using this ToolkitThis toolkit is a guide for the process of cultural planning in a community. It includesan adaptable model and practical checklists

for navigating and charting progress.Background material and additional detailsare provided on a companion website.

The toolkit has been developed toencourage community leaders, plannersand local government staff to explore thepotential of cultural planning. In particular,we hope to demonstrate how culturalresources can support the deliveryof a spectrum of community priorities.

The publication is written for everyone,whether directly or tangentiallyinvolved in both cultural and communityplanning, including:

Community leaders and organizationsboth within and outside the culturalsector itself;

Local government staff with responsibilityfor cultural or community services andpolicy development;

Elected council members those witheconomic development and businessportfolios as well as those with culturaland heritage portfolios; and

Those in local government and itsmany partner organizations engagedin education, health, revitalization,environment, planning, communitysafety, transportation and other sectorsto which cultural resources can makeunique contributions.

Cultural Planning Toolkit


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LTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

Using this Toolkit

1 Cultural Planning: An Introduction2 Cultural planning: A new lens to view community issues3 Different Types of Cultural Planning Projects4 Key characteristics of successful cultural planning5 Language

7 Cultural Planning: Before you Start7 Read

7 Ask questions and listen to others in your community8 Build your partnerships and alliances

10 A Community Partnership Checklist11 Learn about the decision-makers in your community11 Research funding possibilities12 Checklist: Is Your Community Ready for Cultural Planning?13 Before You Start...

15 Cultural Planning: An Action Se uence16 Step 1: Preparation (2-3 months)16 Leadership16 What do you hope to achieve by the process?17 Who will be involved?17 Key players17 Community consultation18 Why consult?19 Funding and timeframe20 Work Plan Example

21 Step 2: Information-Gathering and Research (4-6 months)21 Get organized21 Align objectives with community goals22 Information Gathering Workshops23 Develop a knowledge base23 Gather and analyze detailed information on the communitys

cultural resources: Cultural mapping24 Step 3: Assessment and Analysis (2-3 months)24 Review all the information24 Identify opportunities and issues

24 Step 4: Organization and Consultation (ongoing)25 Community Priorities and the Potential Bene ts

of Cultural Resources27 Step 5: Writing the Plan (1-2 months)27 Identify why culture is important27 Draft the text of the plan based on the work so far 27 Test the draft and adjust if required28 Step 6: Public Consultation (2-3 months)28 Step 7: Finalizing and Adoption (1-2 months)29 Step 8: Launch (1 month)29 Step 9: Implementation, Monitoring and Review (Ongoing)30 Tips: Recommendations for Effective Cultural Planning31 Implementation Strategies for Public-Sector Plans

i Resources

v Appendiv Selecting and Hiring a Consultant

Contents


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Cultural Planning: An Introduction

Cultural planning: A new lens to view community issues

Key characteristics of successful cultural planning

Language

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Cultural Planning: An IntroductionCultural planning is a process of inclusivecommunity consultation and decision-making that helps local government identifycultural resources and think strategicallyabout how these resources can help acommunity to achieve its civic goals. It isalso a strategic approach that directly andindirectly integrates the communityscultural resources into a wide range of localgovernment planning activities.

The term cultural planningis relatively new,

emerging out of Europe in the 1960s and1970s as cities and towns faced changingeconomies and demographics. As partof European urban regeneration strategies,cultural planning integrated the arts intoother aspects of local culture and into thetexture and routines of daily life in thecity. Today, communities around the worldare actively engaged in cultural planningand nurturing cultural development.

Cultural planning is a way of looking atall aspects of a communitys culturallife as community assets. Cultural planningconsiders the increased and diversi edbene ts these assets could bring tothe community in the future, if planned for strategically. Understanding culture andcultural activity as resources for human andcommunity development, rather than merelyas cultural products to be subsidizedbecause they are good for us, unlockspossibilities of inestimable value. And when

our understanding of culture is inclusive andbroader than the traditionally Eurocentricvision of high culture, then we haveincreased the assets with which we canaddress civic goals.

Circus of Dreams, 2001 (Vancouver) Public Dreams Society

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Cultural planning:A new lens to view community issuesCultural planning provides a new or differentlens for looking at the community, its issuesand concerns. It provides a fresh perspectivein nding ways to:

Combat social exclusion in the community Combat the geography of nowhere

outlook by providing designopportunities to develop pride of place

Support community empowermentthrough community involvement andownership of local community initiatives

Support democratic cultural policy bybetter understanding what people aredoing and want to do

Support the development of partnerships Commit to policy-making based on a solid

research foundation Improve and develop more programs

and services in response to identi edcommunity needs

Improve communication and cooperationamong arts and other groups

Integrate culture into the larger

community more effectively, increasingawareness of the potential of arts andcultural activity to contribute tocommunity and economic development

Improve visibility of a communitys artists,cultural workers and organizations

Improve access to the arts and developlarger audiences

Improve cultural facilities Sustain or increase levels of public and

private funding for culture

Additional resources can be found at

www.creativcity.ca/toolkits Integrating Community and Cultural Planning Evolving Local Government Planning Perspectives

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Different Types of Cultural Planning Projects

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Comprehensive detailedcultural plan

Framework cultural plan

Cultural plan withpredominantly singlediscipline focus

Community culturalassessment or culturalmapping

Speciali ed arts orcultural assessment

Speci c issue plan

Speci c districtcultural plan

Cultural component ofmunicipal or regionalgeneral plan -vertical

Cultural component ofa municipal or regionalgeneral plan -horizontal

Community-wide plan based on broadly de ned understandingof culture with integrated goals compiled through communityconsultation.

Community-wide plan based on a broadly de ned understandingof culture, compiled through a process of community involvementto produce a framework of long range goals to guide more speci cplanning work in the future

Community-wide plan with a speci c focus, for example on thearts sector alone

A comprehensive identi cation and analysis of a communityscultural resources and needs gathered through a broadly basedconsultative/collaborative process. It is a critical early phase of any cultural planning process.

Assessment with a speci c focus, e.g., economic impact, feasibilitystudy for fundraising campaign or facility development, cultural

tourism potential

Community-wide plan focused on a single issue, e.g., accessand diversity

Plan with integrated goals for only one geographic portion of a community (e.g. inner city or neighbourhood)

Arts and/or heritage and/or culture are integrated vertically asone part of a city or master plan, e.g., a section or chapter of theplan is dedicated to arts, culture, heritage, etc.

Arts and/or heritage and/or culture are integrated horizontallyacross a city or master plan, e.g., each division of local governmentconsiders arts, culture, heritage, etc. as a resource to help achievetheir goals

Adapted from Dreeszen (1997).


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Key characteristics of successful cultural planningCultural planning is wide-ranging, uid andsituational. People may understand it asboth a compact, component strategy and agrand vision. Its features can change as aproject or conversation progresses, growingbroader and more inclusive or narrower andmore speci c. Nonetheless, the mostsuccessful cultural planning initiatives sharekey characteristics and values.

A local de nition of culture that focuseson more than just Eurocentric, arts-basedactivities and heritage

Artistic values and cultural meaningsthat are negotiated between culturalpractitioners and the audience or community, rather than de ned or prescribed by arts producers, institutionsand authorities alone

An understanding of culture and culturaldevelopment as resources for humandevelopment within a broader goal of societal improvement

A focus on cultural resources andhow they can be mobilized to help acommunity achieve civic goals

A focus on building networks,relationships and partnerships rather than facilities

Community development approacheslike consensus building, roundtables andforums from the ground up

A process of broadly-based communityinvolvement and collaborationthat includes a representation of thecommunity and its cultural sectors,neighbourhood citizens, elected of cialsand other community leaders

An emphasis on identity, place-making,

community pride and heritage Inclusion of those living and experiencing

the social issues under consideration,from the outset of the process itself andin the proposed outcomes

Access (physical access and affordability)to the process itself and to theproposed outcomes

Representation of diverse communitieswithin the larger community, as de nedby ethnicity, sexual orientation andsocio-economic status, from the outsetof the process itself and in theproposed outcomes

Links between the various culturalagencies, local government and thecommunity

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LanguageCultural planning is a dynamic and emergentpractice. New concepts are challengingassumptions and long-accepted vocabulary,words can mean very different thingsto different people, and there are an in nitenumber of nuanced perceptions of culture.

Respecting and valuing diverseexperiences and providing the opportunityfor respectful discourse is a key principleof the cultural planning process, beginningwith an understanding of terms such

as culture, arrived at through discussion.The de nitions here are provided as abasis for understanding the informationin this toolkit and as a starting pointfor conversation. They are not meant tobe prescriptive or all-encompassing.

Culture is what counts as culture tothe people involved the shared beliefs,customs, rituals and values of a peoplein a given place and at a given time.The most important aspect ... is the process

you use in order to arrive at a de nition the discussion, the debate, the expression of diverse views of how people perceive culture,and the inevitable controversies that arise.Culture is the sum total of the discussionabout how people understand culture in their own communities.Palmer (2002)

Cultural resources are all theinstitutions, activities and peoplein a community through which we expressour shared beliefs, customs, rituals andvalues: the libraries, historical societies,museums, galleries, symphony orchestras,theatres, public parks, community groups,First Nations and ethnic associations,training institutions, sports organizations,colleges and schools, artists, musicians,performers, writers and more ...

Cultural planning is a process of inclusive community consultationand decision-making that helps localgovernment to identify cultural resourcesand to think strategically about howthese resources can help a communityto achieve its civic goals.

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next page:St. Johns: Mural by youth in downtown St. JohnsPhoto: Montgomery Hall


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GE 6


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Cultural Planning: Before you Start

Read

Ask uestions and listen to others in your communityBuild your partnerships and alliances

Learn about the decision-makers in your community

Research funding possibilities

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Read

Ask questions and listen to othersin your community

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What are the issues that are importantto people in the community? To culturalgroups? To artists? To parents, seniorsand teenagers?

What work has already been done in the

way of cultural, First Nations, arts andheritage development? Who were andare the key players? Talk to them to ndout what they accomplished and howthey did it. Acknowledge the work thesepeople have already done.

Find out what reports and plans havealready been prepared, and their status(have they been acted upon?).

Identify the players: elected of cials,municipal staff, library staff, community

leaders and staff members of volunteer-run organizations such as art galleries,museums, historical societies, dancestudios, and theatre groups to startthe list.

Nanaimo Banner FestivalLianne Moors, ArtistPhoto: Nanaimo Art Gallery

Immerse yourself in articles and other resources about

cultural planning (see Resources). You may also ndit helpful to look at other communities cultural plans. Additional resources can be found at www.creativcity.ca/toolkits Cultural Planning in Canada: Selected City Pro les Bibliography on Cultural Planning


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Build your partnerships and alliancesSuccessful partnerships are built and sustained on a foundation

of trust, mutual respect and collaboration this doesnt happenovernight. Successful partnerships emerge from action, ratherthan rhetoric, and take time to mature.

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A partnership is only fully effective whenthe partners identify a common purposeand act upon it. There needs to be atangible outcome, whether its securingor providing funding, sharing facilitiesor resources, joint planning and deliveryof programs or advocacy on behalf of culture and community well-being.

Identify and encourage individualsand organizations who may be potential

partners.Discuss their interests with them andhow they might be involved what willbe most practical and effective.

Be helpful to others. Demonstrate your organizations commitment to the notionof culture as an integral part of thecommunity. If you help other agenciesand coalitions in their work, theywill likely be there when you need their

support for your planning.

Develop personal contacts with key staff and board or committee members. Besure their names are on your mailing listsand keep them informed.Ensure you have active representationon planning committees.

Establish networks. Keeping in regular contact with your supporters will makethem feel connected to your causeand ready to act on your behalf.Designate cultural sector proponentsas liaisons to key boards, councils,commissions or agencies so you knowwhat issues these bodies are facingas you embark on the cultural planningprocess. Quite often, the solutionto a problem can be negotiated withsometimes unlikely partners, as long asboth parties know each others needs.Know how people will respond before youask them to get involved in your project.

Developing partnerships is an essentialelement of cultural planning. A wide-rangingand strong cultural partnership can:

Support government policy inencouraging a wider communityleadership function for local governments

Help bring together the diverse culturalsector spread across the public, private,not-for-pro t and community sectors

Involve every organization that contributessigni cantly to the communitys qualityof life and cultural well-being

Help bring the private sector into theprocess (increasingly, business providesfacilities or services for the wholecommunity from health care to sportsand leisure centres; it is frequentlythe driver of local economies, and ithas a large employment base withcultural expectations)

Encourage all bodies to broaden their role and function in response to wider community needs and aspirations,working alongside local government

Help offset any loss of in uence or lackof recognition of cultural servicesprovided by a local government alone

Deliver a reinvigorated platform fromwhich to further develop relationshipswith the voluntary and community sectors

Offer a basis for drawing in and involvinglocal government departments andorganizations not engaged in culturalactivities and whose work affects qualityof life and community well-being

Adapted from Creative Cultures (2004)

Victoria Trackside Gallery ConstructionPhoto: Victoria Trackside Gallery Archives


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A Community Partnership Checklist

We have a common vision of whatthe partners are working toward.

There are goals and objectives for working together and we have identi edour desired common or shared outcomes.

We have discussed and establishedprinciples or values for how to behavein the relationship.

We know who else should be involvedas partners or collaborators.

We have gured out the give and get (i.e.what you are prepared to give and whatyou expect to get from working together).

There is a written agreement so thateveryone understands the commitment.

Roles and responsibilities are assignedand everyone knows who is doing what.

We have identi ed and located theresources that are needed.

We know who speaks for the partnershipand who will be the contact person for information about the project.

We have considered the needfor identi cation for the partnerships(e.g. a project name, a logo or some type of recognition) and for

the individual partners. We know how long the partnershipwill last and how it will end.

We have discussed joint evaluation andknow how it will happen, what will beassessed and who will do it.

Source: Badham, Marnie, Frank, Flo, & Hemphill, Sue. (2006). Artist and Community Collaboration: A Toolkit for Community Projects. Regina/Prince Albert,Saskatchewan: Common Weal Community Arts.

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Learn about the decision-makersin your communityFind out which organizations, governmentagencies and departments can set policies,make decisions or take actions that couldaffect cultural development. This couldinclude: your local MLA, mayor and council,the parks and recreation commission,the school board and district staff, the cityplanning department, the chamber of commerce, the economic developmentcommission and other community agencies.

What are the issues at the top of their agendas?

Learn how each governing body works,how policies and decisions are made,and who or what in uences thedecision-makers. Find out about their budget, planning cycles and timelines.

Research funding possibilitiesEvaluate the potential for funding your planning process and the implementationof your plan:

Which local government departmentwould cultural planning fall under? Whatis the budget process and how do youapply for funds?

What are the other sources of potential

funding? What are their criteria? Do theyrequire matching funds? What are the timeframes for applications

to the different funding sources?

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Checklist: Is Your CommunityReady for Cultural Planning?

Can you answer the question Whatdo you want to achieve by doingcultural planning now? in a conciseand persuasive manner?

Do you have the appropriate politicalsupport?

Will planning participants re ect thecommunitys diversity?

Are funds available and allocatedto pay the cost of planning? Whatare the sources?

Will funds also be available andcommitted to implement planningrecommendations? What will bethe sources?

Is there support for the planning processfrom the communitys cultural leaders?

Is there a capable, willing agency,division or department with enough staff time and management capacity to actas administrative and scal agent for theplanning process?

Do you have access to local researchand planning expertise?

Have there been positive communityexperiences with planning?

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BOILERPLATES AND COOKIECUTTERS ARE THE WRONGTOOLS FOR THIS JOB.Some planners opt for a model approach:

all dance companies are supposed todevelop this way; here are the seven stagesof museum development; follow the tenbest practices of community arts councils.Its not that other organizations experiencesarent relevant to your own. Sometimestheyre perfectly germane. But not often.Organizations, with the complexity anddiversity of their individual members,deserve to nd their own paths rather thanbeing pushed through an organizationalassembly line.

WRITING IT UP IN PLAN-SPEAKRATHER THAN PLAIN LANGUAGEUNDOES THE GOOD OFPLANNING.Sometimes organizations have great face-to-face planning experiences: good discussions,moments of profound insight. But feelingsdont last long: they need to be carriedforward into action, guided by a writtenplan. Some planning documents are sovague, abstract and general, theyre uselessto the people who invested so much inconsidering their futures. Put enough eshon the bare bones of your plans to keepthe document alive and kicking, or it will beburied in a drawer before the ink has dried.

Adapted from: Arlene Goldbard. (1999).The Pitfalls of Planning.National Endowment

for the Arts Lessons Learned: A PlanningToolsite. For full text go to: www.nea.gov/resources/Lessons/GOLDBARD.HTML

GE 14

Mural by youth indowntown St. JohnsPhoto: Montgomery Hall


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Cultural Planning:An Action Sequence

Step 1: Preparation (2-3 months)

Step 2: Information-Gathering and Research (4-6 months)Step 3: Assessment and Analysis (2-3 months)

Step 4: Organi ation and Consultation (ongoing)

Step 5: Writing the Plan (1-2 months)

Step 6: Public Consultation (2-3 months)

Step 7: Finali ing and Adoption (1-2 months)

Step 8: Launch (1 month)

Step 9: Implementation, Monitoring and Review (Ongoing)

Tips: Recommendations for Effective Cultural Planning

Implementation Strategies for Public-Sector Plans

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Cultural Planning: An Action SequenceThere are many ways to approach culturalplanning. We have developed a nine-stepprocess with an estimated timeframe thatcan serve as a starting point in developinga work plan. It has been developed fromthe perspective of a community organizationworking in partnership with local govern-ment, and may be adapted to meet theunique needs of your community.

Step Time frame1. Preparation 2 3 months2. Information-gathering and research 4 6 months3. Assessment and analysis 2 3 months4. Organization and consultation Ongoing5. Writing the plan 1 2 months6. Public consultation 2 3 months7. Finalizing and adoption 1 2 months8. Launch 1 month9. Implementation, monitoring and review Ongoing

Production of a plan using this nine-stepprocess should take from 13 to 20 months.A longer time could mean the project riskslosing momentum. A shorter time couldmean the project might suffer in terms of the quality and reliability of the informationit is built upon, as well as the extent of community and local government ownership.

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LEADERSHIPLeadership is the ability to persuade othersto want to work together towards a sharedvision.Kouzes & Pozner (1997) Leadershipcan be situationalor positional, that is,leadership can be found in one person or a group of people responding to a particular need or situation, and they need not bein a traditionally-described positionof leadership. The leadership for culturalplanning often comes from within thecommunity. One organization or a group

of community leaders becomes the catalystto which local government responds.

Good and visionary leaders:

Create a climate conducive to newideas and an environment in whichexperimentation is rewardedand encouraged through example

Take action to establish a common visionthat meets the needs of the community

Provide clarity in de ning standardsor setting expectations, and focus onstrategic and overarching issues

Open doors, drive things forward andinspire others

Speak up for culture within localgovernment and the wider community

Secure resources and persuade others of the effectiveness of an integrated culturalprogram alongside other key prioritieslike education or community safety

Secure buy-in or commitment from

across local government, its partnersand stakeholders

Adapted from Creative Cultures(2004)

Step 1: Preparation (2-3 months )

WHAT DO YOU HOPE TOACHIEVE BY THE PROCESS?

Clarify reasons for planning. Discuss and agree upon a preliminarymeaning of the termculturein your community.

Determine the scope of the plan (decidewhat to include and exclude, methods,external and internal linkages; establishcross sector links with the health sector,education, training and environmentalservices, and social agencies).

Determine the scale of the plan. Planningfor the whole geographic jurisdictionof a municipality (or a region) will usuallyprovide the most suitable framework for linking cultural development with other municipal or regional activities, and for balancing a range of issues and needs.

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WHO WILL BE INVOLVED?Gather cultural and civic leaders to discussplanning concept, methods, costs, bene tsand feasibility. A range of differentindividuals should be involved from thebeginning, including:

Elected councillors to ensure ownershipof the planning process and theresulting plan

At least one senior municipal staff personwith the authority to champion theproject and ensure that the cultural planis given priority as required

Community leaders from both withinand beyond the cultural community to generate a broader understanding of issues and opportunities acrossthe community

Key playersWho will be actively involved in designingand carrying out the planning process?

Identify the lead administrative agency,department or organization that willmanage the planning and evaluate their administrative capacity. Will a consultantbe required or is staff available?

Identify all the partners and stakeholdersinvolved in theimplementationof acultural plan. This would include: thebusiness community, major employersand unions, school boards, communitycolleges and universities, socialservice agencies, libraries, parks and

recreation commissions, as well as arts,heritage and other cultural organizations,agencies, artists and more.

Make contact with the local governmentagency or department and other public or private entities whose work iscommunity assessment or planning (e.g.,district or regional planning department).

Secure endorsement from elected of cialsfor the planning process, and keep theminformed from the beginning and beforeyou go looking for nancial supportor contributions. Ensure they are keptinformed as the process gets underway.

Community consultationCommunity consultation is an essential partof the cultural, as well as local government,planning process. Local government, asthe most accessible and responsive levelof government, is a community effort.From the very start of a planning project,a process for ongoing community validationneeds to be articulated and built into thework. This affords the community a chanceto let the planning body know how well theyhave heard the concerns, issues, dreams andaspirations of the community. It helps build

an understanding of the proposed plan

and increases the likelihood of acceptance.Who should be involved in consultations?In short, everyone and anyone who wantsto be: residents and resident associations,community groups (recreational, sports,arts and cultural, social, political,environmental), youth, seniors, business/economic developers, tourism, the media,multi-cultural groups, First Nations,government organizations, schools, themarginalized and vulnerable, etc.

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Why consult? To ensure the public is aware of and

understands the issues directly affectingthem, speci cally the consequences

of potential environmental, social andeconomic trends.

To obtain advice from the public usingthe skills and wisdom of the communityfor better problem solving and decision-making as information and differentperspectives are considered through acollaborative thought process.

To build consensus and communityacceptance of the directions to be

pursued buy-in. To ensure that information will be shared

with as many people as possible and thatthe material is pertinent to the issuesand re ects the concerns of the public.

To incorporate public input into planningto achieve better implementationstrategies and better use of resources.

Consultation processes need to bebased on a number of principles theprocess should be inclusive, credible,clear and exible. The general approachchosen depends on a range of situationalconsiderations and strategic choices:

A broadly inclusive participatory style may bepreferable when planning partners come fromseveral different sectors and planning goalsare emergent. A more technocratic style isappropriate if goals are mandated and thereare few inter-sectoral partners, for exampleto develop a civic facility management plan.The style used depends on the constraintsthat participants work with and whatthey hope to achieve, as each model is useful for different things.Rivkin-Fish (2002)

There are a variety of ways to solicit publicinput. From the perspective of localgovernment, some of these are statutory

and part of the local governmentgovernance structure, including publichearings required when making certaindecisions (especially around planning andland use) and volunteer advisorycommittees and commissions. In addition,many tools and techniques both wellestablished and state-of-the-art can beused in the planning process:

Vision and strategy sessions Brainstorming, mind-mapping,

daydreaming, visualization, lateral thinking Idea fairs Computer simulations and scale models

of plans Social and environmental impact analysis Kitchen/coffee table discussions Information kits printed and electronic Hotlines Discussion papers

Poster competitions Information gathering workshops Study visits and eld trips Seminars, workshops, forums, open

houses, conferences, focus groups,study circles

Incentives and recognition Training volunteer facilitators Community events and cultural projects Surveys and opinion polls Displays and exhibits Media releases, articles, events, brie ngs,

and interviews Establishing a store-front of ce Formal submissions Citizen committees Stakeholder interviews

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FUNDING AND TIMEFRAMEAs the scope of the planning project takesshape, you will be able to determine thepotential cost. Depending on the scope andscale of the work, the project could costfrom $10,000 to $60,000.

Fundraising isfriend raising.Buildrelationships with potential sources. Theseagencies could be partners in your planninginitiative, or perhaps support some of the implementation projects recommendedthrough the planning process. A fundingplan for the project and for implementation

needs to take into consideration in-kindas well as cash contributions from multiplesources, including your municipality or region and programs such as 2010 LegaciesNows Arts Now program (in BritishColumbia). Other possibilities includecommunity foundations and agenciesconcerned with the economic, health or social sustainability of communities.Identifying and nurturing these prospectswill take diligence and persistence but

innovative sources of matching supportcan be found.

Develop a preliminary budget for

the planning process.Identify sources of funding for theplanning process and make applications.Develop a detailed work plan: What workwill be done, and by whom?Develop a timeframe. When schedulingpublic consultation, work around summer and Christmas holidays whenever possible.

Align the cultural planning processesand timetable to other council strategicplanning activities (particularly themanagement plan and budget) and toother funding application deadlines andfunding cycles.Start thinking about how theimplementation plan will be funded.

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1 5 M O N T H W O R K P L A N

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GE 20

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GET ORGANIzED

Consider the resources that are availableand the expertise that will need to becalled upon. Identify and recruitcommunity leaders to serve on a steeringcommittee. They will guide activitiesthrough the political and planning stage.

Decide whether a consultant is needed

and if so, for which part(s) of the work. If the decision isno, determine anddocument which department, agency or community organization will beresponsible for which elements of thework plan. If the decision is yes, issue a requestfor proposals and negotiate a contractwith a consultant.

See Appendix A: Selecting andHiring a Consultant

ALIGN OBJECTIVES WITHCOMMUNITY GOALSGoals are often stated explicitly in existinglocal government of cial community,regional or other plans. In smaller communities, they may stem from relativelyinformal public involvement processes.

Examine community goals to see

how cultural strategies could help toachieve them.Develop explicit cultural developmentgoals that build on existing communitypriorities.

Alberta Centennial Initiative ,2005 (Calgary), Public Dreams Society

Step 2: Information-Gathering andResearch (4-6 months )

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Information Gathering WorkshopsVarious techniques and processes of information gathering will be used in culturalplanning. There is always the need tobalance time and capacity with the needto hear as many diverse and balanced voicesas possible.

Facilitated information-gathering work-shops are a well-tested method of hearing

rst-hand the views and ideas of a widerange of key stakeholders and the public.

They are an opportunity for all participantsto share information about culturalresources in the region and about thecultural planning process.

To ensure balanced representation at eachworkshop, personalized invitations aresent to representatives of a wide range of interests including, but not limited to:

Visual arts Performing arts Heritage Recreation Music organizations Historical societies Adult training Media arts Media (print, broadcast, online) Literary arts Business and tourism organizations Recreation departments Libraries, schools and school districts Colleges and universities Ethnic, First Nations, neighbourhood

associations Local government (elected of cials,

staff and advisory bodies) Other community groups

Advertisements are placed in local mediainviting interested members of the public toparticipate. Ideally, workshop participationis fewer than 50 per session, enabling smallbreakout groups of 10 to 12 people. Theworkshops can be duplicated in differentgeographic areas or for discipline or sector-speci c groups, as many times as needed.

The format for the workshops consists of a short introductory presentation followed

by discussion in the facilitated breakoutgroups. To provide consistency and toensure key issues are addressed, facilitatorsuse a Discussion Guide in each facilitatedbreakout session. As well, time is providedfor participants to raise anything else.Each group reports out and comments andobservations are recorded on ip charts.

To put together a summary of eachworkshop, the information recorded fromthe breakout groups is combined.As much as possible, the summariesincorporate the actual words of theparticipants as recorded on the ip charts organized under the key topics outlinedin the Discussion Guide and by issue raised,but not edited.

Following this process, participation ata given workshop is balanced and diversein pro le, and every participant, throughtheir small, facilitated breakout group,has had the opportunity to have their opinions recorded. The summaries providea comprehensive record of what was heard.

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DEVELOP A KNOWLEDGE BASE

Undertake a wide-ranging strategic scanof environmental, economic, social,and cultural trends and developments inthe community.

Review existing documents and gather information about the community:

Assemble key information onpopulation, physical assets, culturalassets and activities from sources suchas the Canada Census, school data,recreation or historic preservationstudies, economic development reports,social service studies, other plans,and so forth.

Gather pro les of public facilitiesand cultural businesses, and informationon xed heritage, moveable or materialheritage, First Nations cultures, culturaleducation and training resources,

and cultural and environmental tourism. Compile relevant policy and planningdocuments (local, regional, provincial).Look for strategic links to culture andexamples of where cultural activities havealready helped with improvements tocommunity well-being.

Review the work of other bodies suchas economic development commissionsand tourism agencies.

Consider conducting speci c studiessuch as: Economic impact assessment Economic strategies Comparative analysis with other

communities Audience patterns Volunteerism

GATHER AND ANALYzE DETAILEDINFORMATION ON THECOMMUNITYS CULTURALRESOURCES: CULTURALMAPPINGCultural mapping is an identi cation of a communitys cultural resources and ananalysis of needs gathered through abroadly based consultative/collaborativeprocess. It is an effective tool to be usedin a cultural planning process.

The extent and detail of the mapping willbe determined by the scope of the planningprocess and the resources and timeavailable. It could be a detailed processinvolving any combination of methodssuch as: public information sessions, focusgroups, public forums, invitations tothe public to submit briefs, or a detailedquestionnaire (administered bystaff and volunteers or self-administeredby participants).

Staff, a consultant and/or volunteersworking under direction will be neededfor the compilation of the information.

See the 2010 Legacies Now CulturalMapping Toolkit for detailed informationon cultural mapping

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Step 3: Assessment and Analysis(2-3 months )

REVIEW ALL THE INFORMATION

Quantitative: Analyze numeric data (survey results)with counts, averages

Identify patterns and clusters of data Note most frequent responses Cross-tabulate ndings (e.g., comparemedia habits of non-participants withthose of arts-attendees)Do tests to determine the statisticalsigni cance of results

Identify a few key issues for planning inan interim assessment report

Qualitative:Identify patterns and themes intranscripts, interviews, focus groupsand public meetings, and innarrative responses to open-endedsurvey questions

Synthesize key information and issues

IDENTIFY OPPORTUNITIESAND ISSUESFrom the data collected, it is now possibleto identify themes re ecting the opinionsof the participants and the community.This analysis will lead to identi cation of the key issues and priorities, and thedevelopment of cultural planning goals andobjectives. At the same time, this will helpidentify performance indicators (a seriesof measurable benchmarks indicatingprogress that will eventually be incorporatedinto the implementation plan).

Are the draft cultural planning goalsconsistent with community goals? Arethey realistic, and what are some of thecost and other resource implications?

Step 4: Organization and Consultation(ongoing)

Keep in touch with your community andelected of cials. Once the informationabout the cultural pro le of the communityhas been gathered and draft planninggoals set, nd opportunities for informaldiscussion amongst key stakeholders and

elected of cials. Talk about the bene ts of an expanded approach to cultural planning.Make sure elected of cials have a chanceto consider the potential bene ts and howthey relate to other community priorities.

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Step 5: Writing the Plan(1-2 months )

Royal Bank Opera HouseDoors Open Ontario, Port Hope, May 2004Photo: Andrea Patterson, Tourism Coordinator, Municipality of Port Hope

IDENTIFY WHY CULTURE IS IMPORTANTMaking a strong case for culture is animportant element of a cultural plan.Identify and articulate its importance. Findways to measure the impacts and outcomesof cultural activity so that its contributioncan be recognized and measured. There area number of ways to do this, such as:

Make use of existing data, researchand evidence

Review best practices Include the views of other sectors andthe public

Identify current and potential linksbetween cultural and communitydevelopment which can provide a rmbasis for integration

Produce a summary analysis of howculture is already or could be linked todelivery of community prioritiesFocus on any quality-of-life indicatorsbeing used by your council, and organize

your information to demonstrate what isbeing achieved

Creative Cultures (2004)

Brie y summarize the planning processundertaken to develop the plan.

Compile the key ndings and issuesarticulated through the research andconsultations to date. Organize andsummarize this information to develop clear and concise arguments for supporting andimplementing the cultural plan.

Organize a task force for each key issueto generate and evaluate solutions andoptions. Then, express theserecommendations and intentions as goals,objectives and items for action.Alternatively, the steering committee or

consultants can make recommendations.

Weave together the recommendations of the various task forces or consultant(s).Review this synthesis with the steeringcommittee and revise as required.Develop an implementation plan. Thisshould include: a series of speci c stepsthat will be taken to ensure the plan getsimplemented; the identi cation of thebody that will oversee implementation,monitor progress and provide leadership;timelines and funding.Propose performance indicators(a series of measurable benchmarksthat can indicate progress).

A draft of the full plan should be reviewedby the steering committee prior tocirculating more widely.Next, it should be sent to electedrepresentatives and, where appropriate,partner agencies, opinion leaders and key

stakeholders who will have been includedin the process to date.Collect all comments and adjust the planas appropriate. Consult with the steeringcommittee as needed.

Submit the revised plan to the steering

committee for its endorsement.

DRAFT THE TExT OF THE PLAN BASED ON THE WORK SO FAR

TEST THE DRAFT AND ADJUST IF REqUIRED

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Step 6: Public Consultation(2-3 months )

Make the draft plan public and begina second consultation stage to: Obtain feedback Re ne and improve the plan Remedy any gaps or errors Give the public the opportunity toconsider and understand the potentialbene t of an expanded approach tocultural planning for all members of the community

Help build an understanding of theproposed plan and increase the likelihoodof community acceptance

Make the draft plan available to allorganizations that participated in theinformation-gathering phase, andpublicize widely.Hold meetings with key stakeholders todiscuss the draft and, through thisdialogue, determine if any nal changesare required.

Collate and analyze responses to theconsultation draft and incorporate theminto the plan where appropriate.

Present the nal version to the steeringcommittee and to elected representativesfor adoption.

Prepare and release an executive summary. Prepare a fundraising plan to implementthe cultural plan.

Step 7: Finalizing and Adoption(1-2 months )

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Step 8: Launch (1 month)

Organize a high-pro le launch of the plan(e.g., issue a media release, convenea media conference, and celebrate theplans publication).

Present the plan to all organizationsaffected, and encourage each toformulate speci c action plans to supportits implementation. (Depending on howintegrated the process has been to date,these sub-plans may already have beenincorporated.)

Send a copy of the plan to other stakeholders and agencies with aninterest in its development andimplementation, including senior government culture departmentsand agencies.

Step 9: Implementation, Monitoringand Review(Ongoing)

Identify an agency or local government

department responsible for fundingdevelopment, overseeing implementationand monitoring progress.Target simple, high visibility projectsfor implementation immediately after completion of the plan to help buildmomentum.Maintain a live information base andupdate both qualitative and quantitativeinformation, reviewing for implicationsany changes may have on the plan.

Some communities may later conductspeci c-issue plans (e.g., cultural facilities,cultural tourism, etc.).

Ensure monitoring mechanisms are in

place to keep the strategy on course.A plan that includes a series of measurable benchmarks provides a mapfor the future that can indicate progress How far have we come? What have weaccomplished? And what do we do next?

The steering committee may bereconvened annually to evaluate progressand suggest course corrections.

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TIPS: Recommendations for EffectiveCultural Planning

Consider multiple approaches toplanning, e.g., use cultural assessmentand cultural mapping methodologiesas tools for analyzing local cultural life.

Take time to do the necessarypre-planning.

Recruit participants who arerepresentative of the communitysdiversity be inclusive and engage thecommunity directly in planning and

decision-making. For example, experimentwith community forums for collectiveplanning and decision-making aimed atmobilizing and engaging a wide rangeof stakeholders.

Embrace a broad de nition andunderstanding of the communityscultural resources.

Budget consulting time. Give priority to collecting empirical

evidence that shows the bene ts of cultural development to the community.

Integrate cultural planning into the localgovernment general planning process cut across the silos.

Anticipate increased expectations.

Anticipate and take steps to managecon icts (e.g., around raised expectationsand inadequate implementation funding).

Attend early to funding the culturalplans implementation.

Identify at least short-term prioritiesamong planning goals.

Build/ transform capacity within localgovernment strengthen professionalskills and knowledge in municipal culturalplanning and decision-making.

Reserve time, energy and funds for the critical implementation stage.

Document the planning process in thepublished plan.

Anticipate that cultural planning mayinspire additional planning recognizethat this may be an ongoing process.

Cultural planning should be encouraged

with caution (outline associated risks,e.g., increased expectations andinadequate resources, cultural/politicalcon icts).

Adapted from Dreeszen (1997)

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Implementation Strategiesfor Public-Sector Plans Document the planning process from the

beginning through to implementation andongoing evaluation.

Name multiple, speci c agencies chargedwith implementation of speci coutcomes. (This only works if the namedagencies participate in the planning.)

Identify a single, coordinating entitycharged with overseeing implementation.In some cases, the coordinating agency is

created to implement the plan. Raise funds speci cally dedicated to

implementation of the community plan. Involve respected and representative

community leaders in an inclusive process. Reconvene the planning steering

committee periodically to monitor implementation progress. The expectationof a public accounting for results canbe a powerful incentive to act.

Plan for the municipality or region tocommission a formal evaluation of theplan two to ve years after publication.

Seek authority to plan from electedof cials and submit resulting plans for inclusion in comprehensive plans such asthe local government master plan or of cial community plan.

Widely distribute a well-designed plan.Describe goals in general terms and

actively encourage individual groups andagencies to ful ll the plan as it servestheir interests.

Adapted from Dreezen (1999)

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Resources

R e o u c e


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ResourcesCOMPANION WEBSITE WWW.CREATIVECITY.CA/TOOLKITSA companion website has been developedfor this Cultural Planning Toolkit tooffer additional background information.It includes material on:

Evolving local government planningperspectives

Integrating community and culturalplanning

Cultural planning in Canada: selectedcity pro les

WEBSITESThe following three websites will lead you toa variety of publications and articles:

The Creative City Network of CanadasCentre of Expertise on Culture andCommunities has developed an extensivebibliography on cultural planning:www.creativecity.ca/cecc

National Endowment for the ArtsLessons Learned: A Planning Toolkit:www.nea.gov/resources/Lessons/inde .html

Arts Now, a program of 2010 Legacies Now:www.2010legaciesnow.com

ADDITIONAL REFERENCESThe following articles and reports werevaluable references in the preparationof this toolkit:

Assembly of BC Arts Councils. (2002).Community Arts Toolkit: A Practical Guide for Community Arts and Other Small, Not-for-Pro t Organizations.Parksville, BC: ABCAC.www.assemblybcartscouncils.ca

Badham, Marnie, Frank, Flo, & Hemphill,

Sue. (2006). Artist and Community Collaboration: A Toolkit for Community Projects.Regina/Prince Albert, SK: CommonWeal Community Arts.

Baeker, Greg. (2002). Beyond Garrets andSilos: Concepts, Trends and Developmentsin Cultural Planning.Ottawa: Departmentof Canadian Heritage.www.creativecity.ca/resources/making-the-case/MCPP-concepts-trends-developments.pdf

Baeker, Greg, & Croteau, Marc. (2000,December). Urban Planning and CulturalResources. Presentation at a Departmentof Canadian Heritage capacity buildingworkshop on arts and cultural policydevelopment. Toronto: EUCLID Canada.

Berridge, Joe. (2006). The Creative City.Plan Canada,46(1).

Bianchini, Franco, & Parkinson, Michael.(Eds.). (1993). Cultural Policy andRegeneration: The West European Experience.Manchester,UK: Manchester University Press.


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Bianchini, Franco. (1991). Models of Cultural Policies and Planning in WestEuropean Cities. Presentation at a culturalplanning conference, Victoria, Australia.

Victoria: Engineering Publications.

Born, Paul. (2006, April 21). RecognizingCommunity Assets. Presentation at B.C.Library Association conference. Burnaby,BC.http://tamarackcommunity.ca/downloads/Recogni ing_Community_Assets.pdf

Cardinal, Donna. (1998). ChangingPurposes of Municipal Cultural Policy.Presentation at Cultural Policies andCultural Practices: Exploring Links betweenCulture and Social Change conference,Ottawa. Ottawa: Canadian Cultural ResearchNetwork.www.arts.uwaterloo.ca/ccm/ccrn/documents/collo 98_cardinal.html

City of Port Philip (Australia). (2003).City of Port Philip Arts Plan 2003-2006.www.portphillip.vic.gov.au/attachments/o7832.pdf

Creative Cultures. (2004). Leading theGood Life: Guidance on Integrating Culturaland Community Strategies.Producedfor Department of Culture, Media,and Sport, Local Government Team.Aberdeen, UK: Creative Cultures.www.culturesouthwest.org.uk/downloads/ le.asp?Filename=leading-the-good-life.pdf

Dreeszen, Craig. (1997). Community CulturalPlanning Handbook: A Guide for Community Leaders.Washington, DC: Americans for theArts & the Arts Extension Service, Universityof Massachusetts.

Dreeszen, Craig. (1999). Whos on First?Resolving Problems of Implementation inPublic-Sector Planning.National Endowment

for the Arts Lessons Learned. www.nea.gov/

resources/Lessons/Drees en2.html

Dreeszen, C., & Korza, P. (Eds.). (1994).Fundamentals of Local Arts Management.Amherst, MA: Arts Extension Service,University of Massachusetts.

Duxbury, Nancy. (2003, September).Cultivating Creative Communities: ACultural Era for Canadian Cities.MunicipalWorld.

Fielding, Jeff, & Couture, Gerry. (1994).Re ections on the Profession.PlanCanada, 75th Anniversary Edition.

Garrett-Petts, W.F. (Ed.). (2005). The SmallCities Book.Vancouver: New Star Books.

Gibson, Lisanne. (2004). Port PhillipsCreative Class. Keynote speech at

Recreating Urban Culture conference. PortPhillip City Council, Melbourne, Australia.www.portphillip.vic.gov.au/understanding_gentri cation.html#L2

Goldbard, Arlene. (1999). The Pitfalls of Planning.National Endowment for the Arts Lessons Learned. www.nea.gov/resources/Lessons/GOLDBARD.HTML

Government of Canada. Department of

Infrastructure and Communities. (2005).Integrated Community Sustainability Planning:

A Background Paper.Ottawa.


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Government of Canada. External AdvisoryCommittee on Cities and Communities(chaired by Mike Harcourt). (2006, June).From Restless Communities to Resilient Places:

Building a Stronger Future for All Canadians. Final report of the External AdvisoryCommittee on Cities and Communities.Ottawa: Infrastructure Canada.

Government of New South Wales (Australia).(2006). Cultural Planning Guidelines for LocalGovernment.Sydney/Nowra, New SouthWales, Australia: NSW Ministry for the Artsand Department of Local Government.www.dlg.nsw.gov.au/Files/Information/CPG-

nal.pdf

Hall, Sir Peter. (2001). Cities in Civilization:Culture, Innovation and Urban Order.PlanCanada, 41 (3).

Hawkes, Jon. (2001).The Fourth Pillar of Sustainability: Cultures Essential Role in PublicPlanning.Melbourne, Australia: CulturalDevelopment Network.

Healey, Patsy. (2003). Editorial.PlanningTheory and Practice, 4 (3), 245-247.

Jacobs, Jane. (1961). The Death and Life of Great American Cities.New York & Toronto:Random House.

Jamieson, Walter. (1994). CanadianPersonal Planning: A Personal Potpourri.Plan Canada,75th Anniversary Edition.

Kouzes, J., & Pozner, B. (1997).The LeadershipChallenge.San Francisco: Jossey Bass.

Landry, Greg. (2004). MeasuringCommunity Creativity.Plan Canada, 44 (2).

McNulty, Robert. (1992). Culture and

Communities: The Arts in the Life of AmericanCities.Washington, DC: Partners for LivableCities.www.livable.com

McNulty, Robert, & Tam, Laura. (Eds.).(2005). Mobilizing Arts and CulturalResources for Community Development.Washington, DC: Partners for LivableCommunities.www.livable.com

Mercer, Colin. (2004, December). FromData to Wisdom: Building the KnowledgeBase for Cultural Policy.Insight,No. 3.Amsterdam & Bucharest: Polices for Culture.org. www.policiesforculture.org/insight/insight3_mercer.html

Municipalities of Maple Ridge & PittMeadows, BC. (1996). Ridge Meadows Artsand Culture Policy and Plan.Maple Ridge/PittMeadows, BC: Ridge Meadows Parks and

Leisure & Ridge Meadows Arts Council.

Nicolai, Andrei. (2001). The Twenty-FirstCentury is Here: Is Anybody Home.PlanCanada, 41 (1).

Oberlander, H. Peter. (Ed). (2006a). TheLivable City.Vancouver working groupdiscussion paper. Prepared for World UrbanForum 3. Vancouver: Western EconomicDiversi cation Canada.www.wd.gc.ca/ced/wuf/livable/1a_e.asp

Oberlander, H. Peter. (Ed). (2006b). ThePlanning City.Vancouver working groupdiscussion paper. Prepared for World UrbanForum 3. Vancouver: Western EconomicDiversi cation Canada.www.wd.gc.ca/ced/wuf/planning


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Palmer, Robert. (2002, November). What isa Creative City? Keynote address atCreative City Network inaugural conference,Vancouver, BC.

Rifkin-Fish, Ziggy. (2002). Cultural Policy,Planning Styles and Inter-Sectoral Logics:Community Planning in the U.S.Presentation at the CCRN Colloquium,Cultural Development in Canadas Cities:Linking Research, Planning and Practice,Toronto, ON.

Sacco, Pier Luigi, & Blessi, Giorgio Tavano.(2006). European Culture Capitals andLocal Development Strategies: Comparingthe Genoa 2004 and Lille 2004 Cases.www.creativecity.ca/cecc/downloads/Sacco_TavanoBlessi.pdf

Sandercock, Leonie, & Attili, Giovanni.(2005, April). How Far Can/Should PlannersGo? A Planning Imagination for the 21stCentury. Planning Institute of BritishColumbia keynote address, Vancouver.www.

pibc.bc.ca/05conf/inde .html

Sandercock, Leonie. (1998).TowardsCosmopolis.London, UK: Wiley Publishing.Selwood, Sara. (2002, December 30).Measuring culture.Spiked. www.spiked-online.com/Articles/00000006DBAF.htm

Stevens, Louise K. (1987).Conducting aCommunity Cultural Assessment: A Work Kit. Amherst, MA: The Arts Extension Service,University of Massachusetts.

Stevens, Louise K. (1990).Developing aStrategic Cultural Plan: A Work Kit.Amherst,MA: The Arts Extension Service, Universityof Massachusetts.

Stevenson, Deborah. (2004). Civic GoldRush: Cultural Planning and the Politics of the Third Way.International Journal of Cultural Policy, 10(1).

Stevenson, Deborah. (2005). CulturalPlanning in Australia: Text and Contexts.

Journal of Arts Management, Law, and Society,35 (1), 36-48.

Union of British Columbia Municipalities.(1997). Creative Connections: Arts andCulture in British Columbia Communities.Victoria: UBCM.


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Appendix

p p e d


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Timeline for Selecting ConsultantIndicate deadlines for submission of letters of proposals, and selection of theconsultant.

Proposal SubmissionIndicate name, address and phone number of agency contact.

Offer as much useful information aspossible so prospects can develop relevantproposals and accurate bids. At the sametime, make sure your format wont requirean excessive amount of time and work for the respondent. Remember that consultantsare not paid for developing their proposals.If your RFP entails a huge time commitment,it may deter quali ed but busy prospectswho simply dont have the time to respond.Ideally, create a format that allows your prospects to answer in a two-or three-pageproposal.

Remember that an RFP is not a request for conclusions from the consultant. Rather, the

purpose of the proposal is to specify howthe consultant will approach the problem.

Finding ConsultantsOnce youve developed your RFP, compile amailing list of potential candidates for the job. Ask associates in other nonpro ts andat the municipality for recommendationsand lists of consultants. Ask where youshould post or advertise the RFP.

Screening Potential Candidates First, eliminate proposals that areobviously unsuitable, i.e. those that showa lack of understanding of the problem,

dont provide the necessary informationor tend to ramble.

Then go through them again and look atthe proposed actions. Look for strategiesthat will work in your community, withyour organization.From the remaining RFPs, look atproposals that adequately meet your needs. Make sure the respondentunderstands what is expected. Both you

and the consultant should have a clear picture of what the outcome of their workwill look like.

Check to see if the consultant has givenyou a timeline for the anticipated work.

Check the consultants references. Is heor she capable of delivering as promised?Is the person dependable? Asking for samples of previous work is appropriate.

Cost is an important factor when hiringa consultant, but dont allow price toeliminate a bid too quickly. You mightbe able to negotiate an acceptable feewith the respondent when it comes tothe interview. What you want to avoidis eliminating a good plan, maybe thebest plan, based solely on an estimate of cost. One way to avoid this negotiationprocess is to include budget parametersin the work statement. (Although, if youchoose to state these parameters, expectthe fee for services to equal the amountyou have to spend.)


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Meeting the CandidatesWhen the nal few proposals are chosenand you are ready to conduct interviews,consider that the consultant you choose

will be working with you for a number of months. Youll want to take into accountthe applicants personality as well as theproposal in the interview.

Set the Interview Process with a team of twoor three people:

De ne the process for evaluatingconsultants.

Decide who will initiate the interview byoutlining the situation.Develop a list of questions and decidewho will ask them.

During the Interview Begin by outlining the project, thenask how the consultant would proceed.Review your objectives.

If this is a consulting rm, ask if thepresenters will be the ones doingthe work.Ask the consultant what they expect of you and what you can expect of them.Evaluate the consultants personality andworking style by observing:

How well they listen to what isbeing said

What questions they askHow well they analyze the situationWhat solutions are presented andhow realistic they are

Discuss Fee Estimates andProject TimelinesBe sure you and the consultant agree onthe type of interim materials you will be

expecting. Youll want to get a commitmentto staying on track with the project andproof the work is done well. These termsshould be speci ed in the agreement. Onceyou have conducted all your interviews andmade your choice of consultants, you willwant to write a letter of agreement or acontract. Expect that agreement on pricewill take negotiating.

The ContractA formal contract protects both partiesfrom the common complaints of costoverruns and missed deadlines.This should include:

Work plan: Tasks to be completed,outcomes expected, timetablesFees: Hourly or daily rate. Billing monthly,on completion, or retainer basis. Determinetype of invoice required.

Direct costs: Determine how to bill travel,long-distance phone and fax, subcontractedservices.Workplace: Where will the consultant

work? What administrative support,equipment and supplies are expected?Contract dates: De ne when the contractbegins and ends. Consider how the timelinewill be amended or extended.Termination clause: Under what conditionscan one or both parties walk away from thework before completion. The noti cationrequirement may be 30 days, 60 days or a shorter time period. If disputes arise,arbitration may be needed.

Rights to data: If proprietary informationis collected, determine conditions under which data can be used and who has accessonce work is completed. If con dentiality isinvolved, the consultant must be informed.

Adapted from various Internet resources.

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2010 LEGACIES NOW

2010 Legacies Now is a not-for-pro t society that works in partnership with community organizations,non-government organizations (NGOs), the private sector and all levels of government to develop sustainablelegacies in sport & recreation, arts, literacy, and volunteerism. 2010 Legacies Now actively assists communitiesdiscover and create unique and inclusive social and economic opportunities leading up to and beyond the2010 Olympic and Paralympic Winter Games. For more information, visitwww.2010LegaciesNow.com.

CREATIVE CITY NETWORK OF CANADA

Transforming communities through cultureThe Creative City Network of Canada/Rseau des villes cratives du Canada is a national non-pro torganization that operates as a knowledge-sharing, research, public education, and professional developmentresource in the eld of local cultural policy, planning and practice.Through its work, the Creative City Network helps build the capacity of local cultural planning professionals and by extension local governments to nurture and support cultural development in their communities.By doing so, the Creative City Network aims to improve the operating climate and conditions for artists andarts and cultural organizations across the country, and the quality of life in Canadian communitiesof all sizes.The members of the Creative City Network are local governments across Canada.More information is available at www.creativecity.ca

Anne RussoAnne Russo wrote the 1997 UBCM publicationCreative Connections: Arts and Culture in British ColumbiaCommunities, which describes how municipalities of all sizes are successfully pursuing civic goals through their arts and cultural activities. The book has been a valuable introductory toolkit promoting the possibilitiesof cultural planning. She has collaborated with the Creative City Network on projects such as the MunicipalComparative Framework, documenting municipal support for cultural activity in over thirty Canadianmunicipalities, large and small. She has been involved in cultural planning on a broad scale, as the projectmanager for the 2002 Regional Arts Strategic Plan for the Capital Regional District and on a more intimatescale, leading collaborative planning exercises with community based arts organizations. She loves thediversity of experience to be found in the arts sector.

Diana ButlerDiana has a BA in Urban and Economic Geography from UBC and MSc. in Urban and Regional Planningfrom the University of Toronto. Diana is a member of the Planning Institute of BC and the Canadian Instituteof Planners. Diana served for eleven years on Oak Bay Municipal Council (6 as Mayor) and six years onthe Capital Regional District Board, acquiring a solid and practical understanding and appreciation for the

workings of local government and inter-jurisdictional/inter-governmental relationships. As Chair of the Greater Victoria Intermunicipal Committee, Diana, oversaw the development of the Arts Policy for Greater Victoriathe rst for the region.

Diana has worked at a senior level and a consultant with municipal, provincial and federal governmentsand many community/not-for-pro t societies. She is a partner in Urban Aspects Consulting Group, undertakingmany projects involving social and strategic planning, housing, the arts, (e.g. Arts Policy and Programmingand the Capital Regionand the CRD Regional Arts Strategy),governance, community and regional planning(e.g. several Of cial Community Plans). As a result, Diana has extensive knowledge of the organizational,programming, funding, policy, and strategic challenges facing the arts and arts organizations and their relationship to community planning. Diana has written numerous reports and articles and has been apresenter at UBCM and many other forums. For the past seven years, Diana has been on the Board of the ArtGallery of Greater Victoria, serving as President for two years.


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Documents

Cultural Planning Toolkit