Escolar Documentos
Profissional Documentos
Cultura Documentos
A PARTNERSHIP BETWEEN
2010 LEGACIES NOW
& CREATIVE CITY NETWORK
OF CANADA
2010 Legacies Now gratefully acknowledges the Province of British Columbia
for its ongoing support of initiatives like the Cultural Mapping Toolkit
contents
Cover Photo:
Avril Orloff, Creative Facilitation
Contents
Introduction Stage II – Project Design
3 Why Engage in Cultural Mapping? 26 Step 6 – Frame the Fundamental Questions
5 Some Uses of Cultural Mapping 27 Step 7 – The Inventory
6 To Map or not to Map? 27 The Inventory as the Basis of the Map
7 Explore, Make Sense, Tell the Story 27 Data Categories
8 Glossary 30 Technology
9 Stages and Timelines 30 Structuring Your Database
31 Step 8 – Design Survey and Interview Questions
Stage I – Planning 31 Respondents – Core and Supporting
12 Step 1 – Determine Objectives 31 Survey Questions
12 Community Meeting 32 Interview Questions
15 Step 2 – State the Objectives
15 What do we need to know? Stage III – Implementation – Explore
15 Who needs to know? 36 Step 9 – Contacting the Community
16 Maintaining the Map 36 Announcing the Process
18 Step 3 – Set Parameters 36 Collaborations
20 Step 4 – Estimate Readiness 36 Informal Networks
21 Step 5 – Assemble Resources 36 Leaders and Key Individuals
21 Human Resources 39 Step 10 – Tallying and Entering Results
21 Finances and Budgeting
22 Partners and Collaborators
23 Timing
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CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Contents-cont’d
Stage IV – Synthesis – Make Sense Appendix A: Background
42 Step 11 – Roughing Out the Map(s) 70 What Is Cultural Mapping?
42 Matching Data with Objectives 70 Political Dimension
46 More than One Map? 71 Ethical Issues – Intellectual Property
47 Step 12 – Converting an Inventory to a Map 71 Community Participation
47 The Legend
48 Visual Keys and Structural Elements Appendix B: Maps
52 Map Making 73 What Does a Cultural Map Look Like?
52 The Role of Narrative
53 Step 13 – Analysis and Interpretation Appendix C: Tools
53 Things to Look For 75 Objectives and Parameters
57 Consult with the Community 76 Budget
57 Check the Realities 77 Data Categories – Examples
78 Inventory Grid
Stage V – Finalizing the Report 79 Venues – Usage (by discipline)
60 Step 14 – Speaking to Different Audiences 80 Collecting Data – Surveys and Interviews
60 Levels of Detail 83 Sample Questions
62 Subjective Elements 86 Legend
62 Custody and Succession 87 GIS
62 Finalize the Report 88 Report Outline
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introduction
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CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
PAGE
introduction
Getting a Fresh Perspective Looking at data from different points of view: cross-
cultural, public access, concentration, networking.
Gaining Objectivity and Overview Going from intuitive or anecdotal information, from the
“worm’s-eye view” on the ground, to a broader, more
concrete view. Seeing around discipline-based and
siloed viewpoints.
Identifying Networks and Hubs Where do groups obtain their resources, how do
they communicate with one another, and who are the
liaisons?
Evaluating Projects How large is the population served? How does the
community view an initiative? Does a solution respond
adequately to the problem?
Seeing the Present, How many informal community hubs will that new
Looking to the Future expressway disrupt?
What will be the impact of an influx of immigration
from Southeast Asia on the existing community and its
resources?
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introduction
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CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Glossary
Cultural mapping – a process of
collecting, recording, analyzing and
synthesizing information in order to
describe the cultural resources, networks, Text-based map – a written report on
links and patterns of usage of a given a cultural mapping process, giving findings
community or group. and conclusions.
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introduction
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stage I: planning
Stage I:
Planning
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Community Meeting
An open meeting that is structured to solicit • it may bring respondents from sectors
suggestions can help you take the pulse you hadn’t considered
of the community and discover what their • the list of those in attendance can feed
concerns are and what they hope to see in into your list of respondents
terms of results of the mapping exercise.
At the meeting, don’t forget to include
Simply making an open call for a plenary a sign-in list that asks attendees to note
meeting can bring many other benefits: contact information and any affiliation
with an organization. Be sure to have
• it gives the community a sense of
a mechanism to record comments and
ownership and contribution
suggestions from those present. This can be
• it informs them about the nature of the
an invaluable reference later on as you start
process and how it will be carried out
to design the project. If you are leading the
• it gives an indication of the level of meeting yourself, ask someone to act as a
urgency or interest recording secretary.
• participants may raise issues or concerns
of which you weren’t aware
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stage I: planning
Needs stated:
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stage I: planning
The answers to those questions will help you establish your goals and determine how
to communicate your results.
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The overriding objective may be to gain would probably love it if your data and
greater knowledge of the resources present analysis could feed into their collective
in the municipality so as to assess needs, promotional website.
networks and strengths. In that case the
Similarly, a web presentation is the most
inventory should be organized along the
efficient way to communicate results to the
lines of gathering data about who, how
general public, if that is the target audience.
many and their mutual dependence.
Either way, you should have a clear idea of
If the report is internal to your own
what you want to achieve. Knowing your
organization or department, an inventory
objectives will help you determine feasibility
may be enough, although a map would be
and timing, develop a structure for the
helpful. If the results are to be presented to
mapping process, and communicate with
busy people like city councillors, who would
stakeholders in order to gain their support.
prefer a concise report, then a graphic map
might be a suitable vehicle, especially as the Maintaining the Map
councillors are accustomed to dealing with Things change and maps lose their currency,
various kinds of maps of the town or city. sometimes very rapidly. Some thought
A map is useful to the local organizations should be given to whether you and the
involved in the process, since it gives them community wish to maintain the map as a
a sense of their place and role in the big living document or preserve it as a historical
picture. Any form of map can provide snapshot.
them with support for their own advocacy Do you and the community want to update
initiatives. the map periodically? If so, how often and
If the intention is to assist the local tourist who would do it? Can you get support for a
industry and their association by analyzing long-term plan? Do you have the necessary
participation in local events, a graphic map resources?
might not meet their needs. However, they
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stage I: planning
Objectives
What do we need to know?
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stage I: planning
Parameters
Scale – neighbourhood/district/city/region
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Demographic targets
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Readiness
Do you have:
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stage I: planning
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Resources
Human resources Sources of funding Partners and collaborators
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stage I: planning
Timing
You should look down the road and estimate As mentioned previously, surveys and
how much time you have to allocate for each interviews are best done over a short
of the stages and what your end-date might period. If you are collaborating with a
be. A thorough mapping process can take university department, that might be at
up to a year to complete, building in time the beginning of the summer, with data
for planning and design, implementation, entry in late summer. The phase of sorting
analysis and presenting the results. If and synthesizing data is one you will want
you are seeking outside funding, having a to take time with, since you will want to
timeline drawn up will be a considerable explore alternative profiles. You should also
advantage. be generous with the time you allow for the
transfer of your data to a map, as you may
have to go through a few drafts before you
arrive at the best representation.
Timeline
Stage Estimated Time
Planning/assembling resources
Project design
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stage II: project design
Stage II:
Project Design
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Step 6 –
Frame the Fundamental Questions
Before firing up your database software, resources? What makes us unique? What
try repeating your objectives to yourself in would we say or point to if a stranger were
the form of a question. You are not looking to ask us?
for answers at this stage, so put that aside
If you are looking at a particular situation,
for the moment. It would be helpful to
you might ask, Why is XX so successful,
look back at the first question you asked in
while YY is performing poorly? What does
setting your objectives – What do we need
population ZZ need in order to participate
to know?
more fully?
If what you need to know is the nature of
The answers to those questions will start
your cultural identity, then the obvious
you along the road to defining the types of
fundamental question would be, Who are
information you need to look for.
we? What are our principal assets and
Fundamental Questions
1
10
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stage II: project design
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stage II: project design
Elements to Include
Location
Sectors
Scale of activity
Structures
Roles
Disciplines
Functions
Demographics – size
Demographics – age
Rate of usage
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stage II: project design
Step 8 –
Design Survey and Interview Questions
Surveys and interviews can be conducted any strong affiliation to a group. They could
at various points and with different groups be audience members, users of a facility
– members of target groups, organizations or resource, or members of the general
and the general public. A survey can be public. They could be representatives
conducted at the outset to help determine of groups who are clients of a service or
objectives. At a later stage surveys and resource, individual users of a resource
interviews are of course a principal tool for such as an artists’ association, or less active
collecting inventory data. organizations.
You can approach the target population in a Core respondents are usually, but not
variety of ways, by means of written surveys, exclusively, people who have been
telephone interviews, in-person visits, and involved for a long time in the direction
plenary meetings or meetings with key of an organization or institution, or
representatives. Members of the community knowledgeable individuals with a history of
become your respondents. involvement, activism and representation.
Surveys do not necessarily have to be As you go along, you will probably hear
hand-delivered or administered in person. of or discover other respondents who
They can be distributed either actively or should be included in the study. You or
passively through facilities and gathering your researchers may also find, on looking
places. With an electronic mailing list in at interim results, that certain supporting
hand you can send them out, and with the respondents should be moved to the core
collaboration of local media or organizations list and asked for more information.
you can insert them into newsletters and
bulletins. The level of response to a passive Survey Questions
distribution will by itself indicate the buy-in Survey questions for groups and
of the target population. organizations should be different from those
for individuals. For one thing, the needs and
Respondents – concerns of individuals are very different,
Core and Supporting as are their experiences. It is helpful to
Respondents may be on your list because survey a number of local artists or users as
they are users of a resource, representatives individual respondents, to have a sampling
of groups or organizations, or individuals of data regarding their situation.
with many connections and links to different
In order to obtain information about
resources. They can be divided into two
artists in the aggregate, the best source
categories, according to the richness of the
is probably their professional association.
information they can offer: those who will
Canadian Artists’ Representation/Le Front
be surveyed (supporting) and those who
des Artistes Canadiens (CARFAC), provincial
will be interviewed (core).
associations of professional dancers, writers,
Supporting respondents are usually, but or musicians, the Alliance of Canadian
not always, individual participants without Cinema, Television and Radio Artists
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(ACTRA), and the International Alliance of indicate possible responses or give examples;
Theatrical Stage Employees (IATSE) may be these will encourage respondents to think
able to provide you with numbers of their about the questions in ways they might not
members in your target area. otherwise. It is also advisable to give them
the opportunity to express themselves freely,
You might decide not to ask a respondent’s
as with a comments section, so that the
name, but be sure to ask their function,
response will not be pre-determined.
in what sector they operate, and their
relationship to the resources in that sector. It Interview Questions
is amazing how often such fundamental kinds
Interviews, on the other hand, should be
of information are inadvertently lost through
designed to do two things: solicit the
a simple oversight in the survey design. The
specific kinds of information you are seeking
date on which they complete the survey can
and leave room for volunteering other
also be significant.
information or observations.
If you do ask their name, be sure to
The emphasis on volunteering other
include a mechanism for getting back to
information is greater in an interview than
them, via e-mail or snail mail. This will
in a survey. Your interview respondents
aid communications, provide valuable
should be selected for the depth of their
information for the database, and facilitate
knowledge and, because of that, their ability
follow-up. You might also want to build in a
to expand on the basic questions. Build in
formula for permission to use direct quotes
open-ended, leading questions. For example:
from their responses. Obtaining permission
In your opinion, why did a certain project
at this stage will save you time later on.
or program succeed or fail? Where and how
A major consideration in survey design do you find volunteers? What is the nature
is how the responses will be expressed. of your private/public sector support?
Quantitative responses, such as yes or no, or Has your level of public funding changed
using a scale of one to five, are easier to tally significantly over the past five years, and to
and record, but brief, qualitative responses what would you attribute this?
yield much richer information. For example,
Again, be sure to collect the essential,
you could ask respondents how often they
baseline data you need to complete your
use or visit three named resources (the
inventory. In this regard, interviewees are
arena, the library and the riverside park).
on the same footing as survey respondents.
Alternatively, you might ask them to name
You need to know their function, their
the top three facilities or resources they use
specific sector, and how they use or provide
on a monthly basis. The answers will not be
resources. Don’t make assumptions; groups
the same. You could discover in the second
may have connections or functions of which
case that the top three are the library, the
you are not aware.
hilltop, and a bar on Broadway that hosts
local bands, and that the arena ranks eighth.
(See Appendix C: Survey questions should be specific and
Tools – Surveys and tailored to your objectives. In designing the
Interviews) questions themselves, it is usually helpful to
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stage ii: project Design
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stage III: Implementation-Explore
Stage III:
Implementation-
Explore
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stage III: Implementation-Explore
in sensitive cases, interviewers should be alert contacting the leaders of each, although you
to the possibility of political conflicts. For might anticipate contradictory responses.
example, there may be factions within a given
community, and diplomacy would dictate
Community Contacts
Organizations Networks Key Individuals
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stage III: Implementation-Explore
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stage IV: Synthesis-Make Sense
Stage IV:
Synthesis-
Make Sense
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CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
You can begin by reviewing the information • a number of groups performing ethnically
you have collected with those fundamentals diverse forms of music
in mind. It is now possible to align the data • three small groups playing classical music,
in different ways so as to create alternate including a chamber orchestra
profiles and to identify which features will • an annual school band and choir
become the basis of your analysis. competition
Data clusters that serve to answer your • a free after-school music learning program
questions can be called findings. For for low-income families and at-risk youth
example, by sorting street addresses you • a hip-hop program in a number of middle
find that four social service organizations and secondary schools
are housed in the same low-rent building This establishes a certain level of demand.
and share practical resources, such as a
photocopier and a fax line. That building You may also have found that three
and its tenants therefore form a network, neighbourhood churches with wonderful
which is a finding in itself. acoustical properties are looking for alternate
uses and sources of income, such as music
performances, rehearsals and recording.
Both series of information constitute a
finding by adding to your knowledge of the
situation. Your analysis has shown you the
extent and kind of demand and one possible
way to respond to it. You might want to
create two maps, one for demand and one
for supply, or you may wish to provide a
secondary map for music by itself.
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stage IV: Synthesis-Make Sense
Characteristics
Venues
(location, capacity, usage)
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In a second stage you can begin to interpret course of mapping and how they relate to
the data in terms of your objectives, i.e., previously known elements. If you are trying
analyze what answers you have to your to hone in on a particular problem or issue,
questions, and make a summary of findings. you can start sorting the data that relate
to alternate diagnoses and solutions and
If your question is “Who are we?”, a
weighting them for relevance, practicability,
preliminary summary of findings could
or frequency of occurrence.
highlight new resources discovered in the
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stage IV: Synthesis-Make Sense
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More Than One Map? local theatre companies are facing a crisis
Again, remember that you are not limited to regarding their storage space. In such a case
a single analysis or map in presenting your you may want to address each problem area
findings. It might be useful to create subsets or issue by using another, secondary map.
of information having to do with certain You might also realize that you have too
categories of data; for example, the different much information to be conveyed by a
communities or sectors that use particular single interpretation. On the first level of
resources. interpretation you may want to demonstrate
In another situation, you may find while how many resources exist, the different
sorting the data that different axes of types of resources, and their distribution
significance or importance emerge. For city-wide. On a second level, you want to
instance, having conducted a general drill down to show who is using them and
overview, you could discover that there is a why, or home in on a certain neighbourhood
major deficiency in resources in a particular or district for special treatment.
area, such as a shortage of adequate
venues for dance. At the same time, the
The inventory itself is a form of supporting documentation that can be included as part of
your report or website, or as an appendix to your map.
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stage IV: Synthesis-Make Sense
Step 12 –
Converting an Inventory to a Map
A properly designed inventory: in deciding how general resemblances and
particular distinctions are to be conveyed.
• includes all the dimensions you want to
capture Before creating the actual visual and
• is organized so as to deliver answers to structural components of your map, it
your central questions is helpful to think through how many
categories of elements there are, how they
• is complete for the different resources
compare with one another, and the relative
Moving from the data to its representation
size of their footprint in the overall picture.
should proceed logically.
Another major question is the degree of
detail you wish to include.
The Legend
The importance of a legend to interpreting For example, as with roads, you may have
a graphic map is obvious. For instance, if three resources in a given category that are
you’re travelling by car, reading a map’s legend fundamentally different in nature. Think of
allows you to distinguish divided highways green spaces – one by the river, unspoiled
from dirt roads. Similar in importance is the and preserved; one next to City Hall,
sequence of menu items and navigational which houses a public art display; and one
tools that make a website user-friendly or including areas for unorganized sport such
not. It is obvious, from the map analogy, that as bocce ball. All can be flagged as parks,
it makes sense to treat the resources in a and each can be distinguished as to its use.
particular category in an analogous way (lines
The next step is to look at the tools you
for roads). At the same time, you will want to
have at your disposal, such as structural
flag the differences between them (red lines
components, keys, and visual markers (e.g.
are paved roads, grey lines are gravel roads).
symbols, colours). Symbols, for example, can
So conceiving the legend resides largely
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be used to visually illustrate relationships a reader or web user who wants more data
or types of resources; colours can signify can always be referred to the inventory itself.
density or categories. Determine what you
will need to represent, what kinds of visual Visual Keys
tools and guides will be most useful, and how and Structural Elements
many you will need. How many menus on the In a graphic map, the tools at your disposal
home page? How many items for each? How are the map’s scale and coordinates, its
many lines, dots and squares will it take? geographical divisions, and the markers. The
markers, with their colour, size, shape and
As for how much detail, that depends on
design, can carry a freight of data. Their
your fundamental question and how much
design therefore calls for much serious
information is required to answer it. On a
consideration; however, it also gives your
practical level, it depends whether you have
inner child a chance to come out and play.
a sufficient number of keys at your disposal
to convey the information. If you have a lot Here’s an example of tools and markers that
to convey, a subordinate map or menu with might be used for a hypothetical study of
a new set of keys might be the answer. If you performing arts resources:
wish to streamline your presentation,
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stage IV: Synthesis-Make Sense
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stage IV: Synthesis-Make Sense
The Legend
Graphic Map
Website
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stage IV: Synthesis-Make Sense
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motivated by a shared mandate, a funding Group X and Group Y share similar interests
opportunity, or the vision of a particular and needs. Should they be introduced?
individual or group? Anomalous functions Would Group Z have something to offer
sometimes provide clues to collaboration. For them both? Could this collaboration serve
instance, if the food bank is offering literacy as a transferable model for other sectors?
courses, there is likely a partnership at work.
A lot of what you have done serves to cut
The impact of certain individuals or groups across disciplines and sectors. A municipal
of individuals may also come to light, if cultural worker is in a unique position in
the name is heard repeatedly in different this regard. He or she may well interact with
contexts. Madame X sits on three volunteer multiple sectors who do not know each
boards, works part-time with the Open other very well, or at all. Cultural mapping
Door Society, and owns a neighbourhood gives those who are not in a position to
café that offers discount meals to social have an overview the opportunity to gain
assistance recipients. The café is run by her a broader perspective. By this means they
daughter, Ms. X, who is also involved with can see where opportunities exist to build
a community theatre group specializing in on strengths by sharing information, best
collective productions by people on welfare. practices or resources.
In the meantime, a certain Mr. X is president
of the neighbourhood association. Are they Working with Relationships
related? Does that family constitute a little The principal difference between an
engine of activity all by itself? inventory and a map is the identification
and depiction of relationships rather than
Opportunities – Vision the presentation of a list of facts. Your
On the macro level, you should ask what map, with a little imagination in design, can
kinds of trends are exposed or illustrated. indicate factors that are relative, contextual
What are the community’s principal and qualitative. It will animate the inventory,
strengths and weaknesses? What are give it new dimensions, and make it a
the components of its identity? What much more powerful tool for planning and
challenges is it facing? advocacy.
How do the results answer your central
question? Do they indicate a need for
adjustment? Are there sufficient and
appropriate public resources for youth,
new Canadians, an aging population? With
increased rental rates in the downtown
core, where are the creative members
of the community congregating? Where
is development already taking place on
its own, organically? On the micro level,
opportunities might become apparent.
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stage IV: Synthesis-Make Sense
Conclusions
New Findings
(groups, networks, etc.)
Urgent needs
Strengths
Gaps
Challenges met
Overlaps
Interconnections
Opportunities
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stage IV: Synthesis-Make Sense
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stage V: finalizing the report
Stage V:
Finalizing
the Report
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At this point you should have the answers to your questions. With the
help of the participants you have reviewed and mined the data, finalized
the essential map to express your findings, and refined your conclusions
and recommendations. You are almost ready to go public. There are a
number of things to consider before you do, and you might seek the
advice of a communications officer.
Step 14 –
Speaking to Different Audiences
Early on you identified a target audience, have a need to hear the nuances. However,
or a series of them: colleagues, municipal if you are addressing city council or one of
administrators, city council, and other its committees, you will not want to fog the
stakeholders, up to and including the larger landscape with a lot of ancillary information,
community and visitors from outside. The even if it does support your conclusions. It is
information must be delivered in a way better to deal with categories and examples
that is useful and understandable to those than a torrent of specifics.
different groups. Keep in mind they do not
One way to juggle this is to organize your
all have the same requirements and one size
report by headlining principal information
does not necessarily fit all. If the report is
that responds to the largest questions, and
to be presented to different constituencies,
creating secondary maps or subordinate
you should give some thought to its
menu items that either support or
versatility.
supplement the major findings. You can tell
Levels of Detail your readers these pieces exist and invite
them to go into the secondary areas as
The level of detail you present is important.
required.
You may have uncovered a wealth of
fascinating tidbits, but many may not serve In any case, it is helpful from a public
the immediate purposes of your target relations perspective to include some form
audience. What do they need to know? of emblematic visual map to get the concept
What do they want to know? What do you across and set the tone. If you are not
think they should hear, for the benefit of all creating a graphic map as part of the report,
concerned? the emblematic piece could be a map of
the city obtained from urban planning or a
For example, if you are addressing your
compelling visual map created by an artist.
colleagues, you will be able to present the
data in a detailed way, since they are likely to
be familiar with the territory. They may also
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stage V: finalizing the report
Need to Know
Target Audience Necessary Information
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stage vi: going public
Stage VI:
Going Public
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CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Preview Invitations
Target community
Supporters
Collaborators
Interview subjects
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stage vi: going public
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CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Councillors
Funders
Future custodians of
the map
City administration
Media
Target community
Supporters
Collaborators
Interview subjects
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stage vi: going public
Good luck!
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CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
PAGE 68
appendix A: Background
Appendix A:
Background
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appendix A: Background
Background
What Is Cultural Mapping? and synthesizing, and a method of
Cultural mapping is widely used as a describing or depicting resources, networks
planning and development tool by different and patterns of usage. In this context, the
levels of government and non-governmental word resources refers to the various elements
organizations. It has become increasingly that contribute to culture, whether human,
popular with municipal and cultural natural, social, economic or built.
administrators in this country; it is now Cultural mapping allows us to see where
regarded as the first step in formulating a we’ve been and where we are in order to
cultural plan. find our way forward, just as any mapping
Cultural mapping is not a new concept, nor process might. The difference is the objects
is its current application as an instrument of of cultural mapping are not topographical
cultural planning a new one. Historically, it features, but tangibles like assets and
evolved as a means to capture and present resources and intangibles like identity,
the history of indigenous peoples or to relationships and possibilities.
describe their traditional activities within
a given territory. Since then, the mapping Political Dimension
technique has been taken up by agencies As you can see, what we now call a cultural
such as the United Nations Education, map was first used as a political tool. It has
Scientific and Cultural Organization since been used, in less politically charged
(UNESCO) and the Association of situations, as a tool of social and economic
Southeast Asian Nations (ASEAN) to development. It is currently associated with
address other concerns, such as land rights a movement to democratize culture and
stemming from traditional usage (tenure expand its definition to be more general and
mapping) and the preservation of languages. inclusive. Some cultural mapping studies
have as their primary objective broadly
A tidy and concise definition of cultural based social development goals.
mapping, one that is not tangled up in its
immediate context, is hard to find. The Cultural mapping has also come to
definitions tend to rely on examples more connote inclusion of members of the
than on clear-cut terms. This is because entire community and its many constituent
cultural mapping is not an end in itself, but sectors as active participants. This principle
a means to an end. Everyone agrees it is a of inclusiveness stems in part from the
tool that can be applied in many ways. It has expansion of the definition of culture to
been used to describe situations as varied include many more aspects of municipal life
as the potential for cultural tourism and than high art, community art and heritage.
the participation of diverse populations in It also includes social, economic and
community art activities. environmental aspects.
One thing we can conclude from the various It should be kept in mind that cultural
definitions is that cultural mapping is mapping is a tool and a methodology, no
basically a process of recording, analyzing matter what its application. It can be applied
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CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
as easily to questions related to the health were providing narratives or other information
of arts institutions and heritage societies as protected by traditional practices.
to the inclusive promotion of creativity in all
aspects of municipal life. Community Participation
Participatory action research refers to
Ethical Issues – Intellectual the approach and also the benefits of
Property including community members in research
Cultural mapping has been used by various projects of which they are the subject.
agencies and groups to chart cultural What is indisputable is that involvement
activities through space and also through in the process as the principal source of
time. Notably in Australia, where there has information gives community members
been an emphasis on diversity, its intention a sense of ownership and makes them
has been to retrieve or identify artifacts and feel, quite rightly, that they influence the
histories of indigenous and diverse groups, outcome of the project.
bringing them into the mainstream by
Mapping studies place varying degrees
“putting them on the map.”
of emphasis on the necessity of involving
In those situations, information and data the individual community member, i.e. the
about many aspects of culture, including oral person on the street or end user. Some
histories and personal memories, have been researchers contact only individuals or
sought from key informants or respondents groups with a direct relationship to the
within the communities under study. As a resources under examination. In practice,
result the exercise has in some cases involved the selection of groups or individuals for
consideration of ethics and the protection inclusion depends upon the objectives and
of intellectual property. This would be a breadth of your study.
consideration in the Canadian context if
Aboriginal peoples were included and if they
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APpendix B: maps
Appendix B:
Maps
PAGE 72
appendix B: Maps
PAGE 73
appendix c: tools
Appendix C:
Tools
Please note that these are
examples only, to get you started.
PAGE 74
appendix C: Tools
Who needs to know – target audience? Should we include the general public as
respondents? Yes No
......................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Will we be preparing a:
GIS or graphic map?
Who are our collaborators? Website?
Text-based report?
......................................
......................................
Will the mapping activity continue into the
What outcomes are we seeking or expecting? future on a periodic basis? Yes No
......................................
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Budget
Expenses – these may be cash or in-kind expenses
Item Amount
Fees Consultant
Interviewers
Web or map design
Data entry
Interview design
Communications Media releases
Media conference
Advertisements
Meeting Expenses Facilitator
Room bookings and equipment
Refreshments
Final Report Design/Printing
Photocopying
Distribution
Total
Revenues – cash and in-kind (make sure in-kind revenues match in-kind expenses)
Item Amount
Local government
Other governments Provincial
Federal
Foundations
Community partners
Local university/college
Local businesses
Other
Total
PAGE 76
appendix C: Tools
PAGE 77
PAGE 78
Inventory Grid
Record ID Organization_Name Neighbourhood Address PC Mandate Discipline Function A Function B Function C
1 1001 25th Street Theatre CITY CENTRE 600 - 245 - 3rd Avenue S. S7K 1M3 Arts Theatre Presenter
Professional
2 1002 AKA Gallery RIVERSDALE 424 - 20th St. W. S7H 0H5 Visual Presenter Venue
Arts
5 1005 Delta Bessborough Hotel CITY CENTRE 601 Spadina Cr. E. S7K 3G8 Commercial Multiple Facility Venue
Community
7 1007 Boyan Ukrainian Dance Association VARSITY VIEW 1202 11th Street East S7H 3G8 Dance Producer
Arts
Professional
8 1008 Broadway Theatre BROADWAY 715 Broadway Ave. S7N 1B3 Multiple Presenter
Arts
Professional
12 1012 Broadway Theatre Youth Series BROADWAY 715 Broadway Ave. S7N 1B3 Theatre Presenter
Arts
Professional
16 1016 City Hall Temporary Sculpture Placement CITY CENTRE City Hall - 3rd Ave. N. S7K 0J5 Visual Venue
Arts
17 1017 Diefenbaker Canada Centre UNIVERSITY 101 Diefenbaker Place S7N 5B8 Heritage Museum Venue
19 1019 Fast Consulting UNIVERSITY 112 Research Drive S7N 3R3 Research Multiple Admin
20 1020 FLICKS Film Festival CITY CENTRE Delta Bessborough Hotel S7K 3G8 Arts Media Presenter Educator
21 1021 Gabriel Dumont Institute PLEASANT HILL 917- 22nd St. W. S7M 0R9 Aboriginal Multiple Educator
Social
24 202 Global Gathering Place CITY CENTRE 307 - 506 25th St. E. S7K 4A7 Multiple Development
Service
Heritage
26 204 Heritage Festival of Saskatoon Inc. EXHIBITION P.O. Box 384 S7K 3L3 Heritage Presenter
society
34 213 La Troupe du Jour RIVERSDALE 430 - 20th St. W. S7K 3L3 Arts Theatre Producer Educator
Professional
35 207 Leisureland Artist Studios OUTSIDE LIMITS Spadina Cr. S. Visual Facility
Arts
39 401 Meewasin Valley Authority CITY CENTRE 402 3rd Avenue South S7K 3G5 Recreation Visual Admin Venue
41 402 Mendel Art Gallery CITY CENTRE Spadina Cr. N. S7K 3L6 Arts Visual Venue Educator
Northern Sask. International Children’s
42 403 CITY CENTRE Delta Bessborough Hotel S7K 3G8 Arts Multiple Presenter
Festival
45 501 paved Art & New Media RIVERSDALE 424 - 20th St. W. S7H 0H5 Arts Multimedia Facility Presenter Venue
100 112 Refinery Arts & Spirit Centre BROADWAY 609 Dufferin Avenue S7H 1C4 Arts Multiple Venue Facility
CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
55 603 Sage Hill Writing Experience CITY CENTRE Delta Bessborough Hotel S7K 3G8 Arts Literary Educator
58 702 Saskatchewan Native Theatre Company Inc. RIVERSDALE 228-20th St. W. S7M 0W8 Arts Theatre Producer Educator
Saskatoon Community Youth Arts
74 816 CITY CENTRE 253 - 3rd Ave. S. S7K 1M3 Youth Visual Educator Presenter Service
Programming Inc.
Social
78 820 Saskatoon Foundation CITY CENTRE 101 - 308 Fourth Avenue N S7K 2L7 Multiple Funder
Service
BROADWAY, CITY
Heritage
81 901 Saskatoon Heritage Society CENTRE, CASWELL Box 7051 S7K 4J1 Heritage Association
society
HILL, KELSEY/WDLWN
Professional
83 903 Saskatoon Jazz Society CITY CENTRE 506 - 245 3rd Avenue South S7K 1M4 Music Presenter Venue
Arts
120 - 128 - 4th Avenue
84 904 Saskatoon Symphony Society CITY CENTRE S7K 1M8 Arts Music Producer
South
85 905 Saskatoon Tribal Council SUTHERLAND 200 335 Packham Avenue S7N 4S1 Aboriginal Multiple Presenter Educator
Professional
106 119 Thistledown Press Ltd. BROADWAY 633 Main St. S7H 0J8 Literary Presenter
Arts
107 120 Tourism Saskatoon CITY CENTRE 6 - 305 Idylwyld Drive North S7L 0Z1 Tourism Multiple Promoter
Professional
110 123 Vesna Festival Incorporated CASWELL HILL Box 1592 S7K 3R3 Dance Presenter
Arts
120 132 Western Development Museum EXHIBITION 2935 Melrose Avenue S7J 5A6 Heritage Museum Presenter Venue
Venues – Usage (by discipline)
#Shows/ Attend/
Record ID Organization Name Discipline Function A Function B Function C Venue Type Seats Client A Client B Client C
Yr Yr
24 202 Boyan Ukrainian Dance Association Dance Producer Association
34 213 Vesna Festival Incorporated Dance Presenter
Halls,
5 1005 Delta Bessborough Hotel Multiple Facility Venue 30-500 12 1,500 Community Literary Associations
Meetings
Heritage
41 402 Heritage Festival of Saskatoon Inc. Presenter
society
Heritage
42 403 Saskatoon Heritage Society Association
society
47 503 Sage Hill Writing Experience Literary Educator Presenter
52 508 Thistledown Press Ltd. Literary Presenter
Media
55 603 FLICKS Film Festival Presenter
arts
Media Own
57 701 paved Art & New Media Facility Presenter Venue Gallery, Hall 150 10 500 Media events Literary
arts programs
Own film Fringe
1 1001 Broadway Theatre Multiple Presenter Venue Auditorium 350 36 20,000 Music tours
programs theatre
6 1006 Fast Consulting Multiple Admin
7 1007 Gabriel Dumont Institute Multiple Educator
8 1008 Global Gathering Place Multiple Development
Northern Sask. International
12 1012 Multiple Presenter
Children’s Festival
17 1017 Saskatoon Foundation Multiple Funder
19 1019 Saskatoon Tribal Council Multiple Presenter Educator
Theatre, Women’s
20 1020 Refinery Arts & Spirit Centre Multiple Venue Facility 100 25 7,500 Indie theatre Yoga classes
Gallery festival
21 1021 Tourism Saskatoon Multiple Promoter
Touring
39 401 Diefenbaker Canada Centre Museum Venue Gallery 4 6,000 Own exhibits Lectures
shows
Heritage
44 405 Western Development Museum Museum Venue Hall 300 3 15,000 Own exhibits Indie theatre
Festival
Local
70 812 Saskatoon Jazz Society Music Presenter Venue Club 100 35 2,500 Music tours Jazz Fest
musicians
74 816 Saskatoon Symphony Society Music Producer
81 901 25th Street Theatre Theatre Presenter
2 1002 Broadway Theatre Youth Series Theatre Presenter
83 903 La Troupe du Jour Theatre Producer Educator
Saskatchewan Native Theatre Black box, Own
85 905 Theatre Producer Educator Venue 150 8 5,000 Community Launches
Company Inc. Hall programs
Own Touring
92 104 AKA Gallery Visual Presenter Venue Gallery N/A 10 500
programs shows
City Hall Temporary Sculpture Individual
100 112 Visual Venue Street space N/A 12 Public
Placement artists
106 119 Leisureland Artist Studios Visual Facility
90 102 Meewasin Valley Authority Visual Admin Venue Riverside N/A 10 Public Public art
Galleries, Own Touring
107 120 Mendel Art Gallery Visual Venue Educator N/A 12 170,000 Community
Hall programs shows
Saskatoon Community Youth Arts
91 103 Visual Educator Presenter
PAGE 79
Programming Inc.
appendix C: Tools
CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Collecting Data –
Surveys and Interviews
Things to Consider in libraries, cinemas or malls; choose indoor
Designing Materials locations with places to sit down (risk of
What kind of information do you need? low response rate)
Who are your subjects? Do they fall into • planting survey administrators at key
groups or types? locations (guarantee of response)
• distribution and response via e-mail
How much time do you plan to spend
(generally good response)
with each?
• distribution at meetings of user groups
How will you contact or gain access (good response rate)
to them?
• organizing specific meetings, such as
How will you record results? What kind of community meetings (high response rate
technology might you need? from those present)
How will you tally the results? • telephone surveys of key informants (high
response rate)
Who can help you design your materials?
Characteristics of
Characteristics of the Interview
the Survey • in-depth answers
• reaches large numbers of people • scope for comments and explanations
• can be self-administered • time-consuming, but a good investment
• best for short questions and factual • more control over the process
answers
• logistics involve booking appointments
• relies on their generosity with their time and travelling
• can be returned automatically, e.g., • tallying results can be complicated and
via e-mail time-consuming
• questions can be tailored to solicit • response is guaranteed (although not
specific information, e.g., multiple choice predictable)
• tallying results can be very straightforward
Suggested Methods
• logistics involve delivering and collecting of Delivery
materials • make appointments for in-person
Suggested Methods sessions
of Delivery • make telephone appointments
• drop-off and pick-up of self-administered • organize focus groups; synergy can work
surveys at activity locations such as for you
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appendix C: Tools
Subject Groups
Your approach should probably be different
for each. Following is a summary of
suggestions for structuring your approach.
Interview
Subject Group Data Sought Format Info Requested
Length
Organizations
Qualitatitve History, structure,
- director Personal
information from the function, support
- board member interview, 1-2 hours
source about principal systems, networks,
focus group
- front-line resources, networks vision
worker
Individuals
- artists Qualitative and
quantitative Survey, Function, discipline,
- workers information on attending their resources used, needs, 1/2 hour
- users of facilities and resources meeting gaps
services or available, usage, needs
resources
Demographics, reasons
Survey,
for use (needs met),
Information on rate of getting on
User groups rate of usage, means 5-10 mins
usage, access, needs their meeting
of access, support
agenda
systems
Survey – self-
General Public Information on Demographics, reasons
adminstered or
levels of awareness, for use, rate of usage, 5 mins
administered
preferences, usage, preferred means of max.
by a project
questions of access access
member
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CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
PAGE 82
appendix C: Tools
Sample Questions
Interview - organization
Baseline data Qualitative information
Date of the interview Do you rent or own your facilities? Are they
adequate?
Identity of the organization – name,
address, discipline, function How is your organization governed? How
does one become a board member?
Identity of the informant – name, role,
history How do you promote your activities?
Contact information – business card How do you recruit volunteers?
When was your organization founded? How Do you feature local artists or
did it get started? programming? If so, how do you select the
work?
What is your mandate? What kind of
programming do you do? When do you do How far in advance do you set
it? programming?
What is your annual budget? What What role do you think your organization
proportion is from grants, self-generated plays in the community?
revenue, in-kind donations, charitable
What kinds of other services do you offer
donations?
your members or the public?
How many staff do you employ (full time/
What do you consider your greatest
part time/seasonal)? How many volunteers
success? Why did it work?
do you involve and in what capacity?
Has your level of revenue changed? To what
What is your audience base? Do you collect
do you attribute that?
demographic information? Could we have a
copy? Do you partner or share resources with
other organizations? Please explain.
If you are a facility, what are the features
(number of seats, rooms, equipment)? Vision questions
What trends do you perceive are affecting
your activities?
If you could change one thing about your
situation, what would it be?
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CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Vision questions
What needs are not being met?
What trends do you perceive that are
affecting your community?
If you could change one thing about the
situation, what would it be?
Who or what do you consider to be
the prime movers or engines of change
in the community?
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appendix C: Tools
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CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Legend
Optional:
Inventory number of resource Name of resource
Facility examples:
1 Cultural centre
2 Historic theatre
3 Dance studios
Keys
Olive Media
* Note on shapes - Some of these may strike you as childish or obvious, but they are easy
to capture and they communicate!
** Note on usage - Different functions will of course entail different scales of usage. For
example, a facility such as a film co-op will have a smaller scale of usage than an auditorium.
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appendix C: Tools
GIS
A geographical information system (GIS) characteristics and features in an area. It can
is a system for creating, storing, analyzing also be used to display quantities, densities,
and managing spatial data and associated and change over time. Most importantly,
attributes. In the strictest sense, it is a GIS does not have to be technically difficult
computer system capable of integrating, or costly. In fact, a computer is not always
storing, editing, analyzing, sharing, and necessary to implement GIS, although it is
displaying geographically referenced now an increasingly computer-aided tool.
information. In a more generic sense, GIS is (Poole, 2003)
a tool that allows users to create interactive
GIS systems are used in cartography and
queries (i.e. user created searches), analyze
in urban planning. Your city hall, your local
the spatial information, and edit data.
college or the closest university will most
GIS comprises databases of objects that are probably use GIS for some purpose. If so,
geographically referenced, that is, identified ask if there is someone acquainted with
by their geographical location. In the GIS who could help you to draw your map.
case of a municipality, objects are usually Usually they can work with data entered
identified by their street address. If you will into a spreadsheet.
be using GIS to create your map, be sure to
In a report on the 2005 Cultural Planners
have an exact address for your resources.
Forum in Toronto, Greg Baeker, Bill Bulick
GIS is an innovative information-technology and Victoria Stasiuk note “there is often
based tool that enables you to do more excess capacity in GIS in many cities (i.e.
than just draw maps and pictures. GIS allows staff time and technology) to be directed
you to organize and reveal multiple layers toward cultural planning issues. GIS can be
of information, which can help highlight used to map demand as well as supply of
relationships among disparate types of cultural facilities/activities/programming.”
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CULTURAL MAPPING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada
Report Outline
Please note that this is an example only, to get you started.
1. Executive Summary 5. Expression of Findings
• project objectives – background • design of map or website
• scope of the project • description of relationships
• summary of findings and conclusions
• introduce map or website 6. Recommendations
• summary of recommendations • based on conclusions
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appendix D: references
Appendix D:
References
PAGE 89
appendix D: references
PAGE 90
Sue Stewart
Sue Stewart has worked in arts administration and cultural delvelopment for over 20 years. She
grew up bilingual in Québec and studied literature, communications and translation in Canada
and the US. She exercised her language skills in literary publishing and theatre before becoming
a cultural administrator in municipal and federal government. Promoting the interests of minority-
language, diverse and artist-run groups has given her a grounding in local community dynamics,
and working with the Canada Council for the Arts brought a national perspective. As the Arts
Consultant for the City of Saskatoon, she conducted a pilot study on municipal cultural mapping
with the Saskatchewan Arts Board and the Manitoba Arts Council.
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