MAPPING CULTURE

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● A detailed case study of the Redfern Street Village, in which the distribution of value chain roles (creation (16.4%), production (25.0%), dissemination (24.8%), use (20.8%) and education (13.0%)) is mapped and analysed in relation to spatial types to reveal its venue-based, value chain and activity clusters. ● ● A series of recommendations and suggestions for future cultural mapping and other research, addressed directly in terms of the City of Sydney’s Cultural Policy and Action Plan (2014), concerned with precinct distinctiveness and creativity in the public domain; new avenues for creative participation; sector sustainability: surviving and thriving; improving access, creating markets; sharing knowledge and global engagement. A major information set consisting of references, cultural mapping website examples, coding information, the crowdsourcing survey, and data sources enables additional avenues of inquiry to be pursued. The research has made a start in the development of an approach to cultural mapping appropriate for the City of Sydney. It demonstrates that type and intensity of cultural activities, venues and infrastructure vary considerably across its villages. It also provides a glimpse of transient, informal cultural practices that are not easily captured. Its data maps and analysis will assist the City in making informed decisions related to cultural policy and planning over the coming decades. 11
1. INTRODUCTION 1.1 Project overview and objectives This project, entitled ‘Mapping cultural venues and infrastructure in the City of Sydney local government area (LGA)’, is a key action under the City of Sydney’s Strategic Plan Sustainable Sydney 2030 , an ongoing commitment to achieve the vision of a green, global and connected city. It is particularly relevant to Strategic Direction 7 of the plan to develop a cultural and creative city. This project has the following objectives: ● Develop a classification system of cultural venues and infrastructure as a framework for mapping existing, new and emerging cultural venues and infrastructure in the city; ● Collect and analyse relevant data of cultural venues and infrastructure in 10 village areas within the City of Sydney; ● Create maps for the City to disseminate information concerning cultural venues and infrastructure to the benefit of the cultural sector and general public; ● Submit a full final report (detailed methodology and results of venue and infrastructure mapping) and draw out recommendations on cultural cluster and other policy and planning implications. Western Sydney University’s Institute for Culture and Society project team has been working with the City of Sydney to map cultural venues and infrastructure in the city, with an aim to develop a ‘Cultural Venues and Infrastructure Database’ to improve the volume, visibility and analysis of related spatial data. This project supports the identified need to ‘deal more broadly with arts, creative enterprise, and community facilities to increase understanding of the relationship between specific sectors’ as outlined in the Request for Quotation document (no: 1916) (City of Sydney, 2016a, p.4). Mapping and visualising the City of Sydney’s cultural infrastructure provides a strong foundation for identifying these interrelationships. It is also important to the tasks of maximising current assets, identifying hidden or under-utilised spaces, and supporting new cultural and creative activities. This project enables layering of further data - such as planning and regulatory frameworks, rental and property prices - which can produce new knowledge and insights for a range of interested and involved parties to inform future funding, research and planning activities. We view the impact of the design and development of this database as being twofold: first, informing the proposed Cultural Infrastructure Plan; and, second, as a foundation for future cultural resource data to be added (e.g., digital events) to expand and enrich the database and the City of Sydney’s work in the cultural sector. 12
Page 2 and 3: MAPPING CULTURE venues and infrastr
Page 4 and 5: TABLE OF CONTENTS Acknowledgements
Page 6 and 7: L ist of Tables Table 1 Layers and
Page 8 and 9: List of Figures Figure 1 The concen
Page 10 and 11: NAICS NAVA NCVO SFF SHFA SIC SOC UN
Page 14 and 15: 1.2 Project phases This project ali
Page 16 and 17: Cultural mapping has advanced signi
Page 18 and 19: 2.1 The concept of culture 2.1.1 De
Page 20 and 21: industries fails to recognise the d
Page 22 and 23: Figure 1 The concentric circles mod
Page 24 and 25: Hesmondhalgh also incorporates anot
Page 26 and 27: Cultural mapping enables us to unde
Page 28 and 29: To address the breadth question, th
Page 30 and 31: Figure 4. Culture cycle (UNESCO, 20
Page 32 and 33: Figure 5. Six functions of the valu
Page 34 and 35: 2.4.3 Example 3 2 CANADIAN FRAMEWOR
Page 36 and 37: The framework is based on the conce
Page 38 and 39: SGS Economics & Planning (2015/2016
Page 40 and 41: in relation to those of other gover
Page 42 and 43: Figure 8. Cultural Venues and Infra
Page 44 and 45: Performing Art Venues ● Concert h
Page 46 and 47: iii) Community and Participatory Sp
Page 48 and 49: intended) use afterwards. The durat
Page 50 and 51: 3.3 Incorporation of the value chai
Page 52 and 53: 3.4 Application to this study (rele
Page 54 and 55: single piece of information. The ge
Page 56 and 57: The research team has acknowledged
Page 58 and 59: Data Source # of venues Approach Cu
Page 60 and 61: Data Source # of venues Approach Cu
Page 62 and 63:
Cultural industry types Count Count
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Hills (Crown and Baptist Street Vil
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Figure 13. Heat map of all cultural
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venues engage in ‘production’ (
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creation (22.3%). This finding can
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5.4.2 Chinatown and CBD South Villa
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Figure 15. Spatial categories for C
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Cultural space category Count Count
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5.4.4 A brief comparison of the thr
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6.2 Cultural venues by spatial type
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With regard to ‘practice, educati
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There are also 7 drama and dance th
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6.3 Cultural venues by value chain
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Table 29 shows the distribution of
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Figure 19. Space for ‘creation’
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Figure 21. Space for ‘disseminati
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Figure 23. Space for ‘education
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iii) Commercially-led developments
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7. MAPPING OF CULTURAL VENUES BY SE
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Figure 24. Venues in the music sect
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7.1.1 Mapping of the contemporary m
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7.2 Mapping of the visual art secto
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Table 35 shows the breakdown of the
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7.3 Mapping of the architecture and
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Figure 29. Distribution of the arch
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8. EVALUATION OF METHODOLOGY 8.1 Ra
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‘system’ or ‘ecology’ of mu
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its extensive coverage of all busin
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noticed that some participants foun
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● Developing further understandin
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of models, spanning, ‘collectives
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5) Sharing knowledge This priority
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● Identifying and examining ‘un
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promising areas for deepening and w
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City of Sydney (2012a) Creative Ind
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Cunningham, S. and Higgs, P. (2008)
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Mateos-Garcia, J. and Bakhshi, H. (
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Taylor, A. (13 March 2016) Carriage
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12. THE PROJECT TEAM Lead consultan
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neighbourhood of Milan. On the desi
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141
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3. Seattle Cultural Space Inventory
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4. Culture Map Malta Name of the ma
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None, it is a simple excel file upl
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Technology Google Maps Crowdsourcin
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151
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10. Where Creative Professionals Li
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Appendix 2 The full list of ANZSIC
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Music retailing Audio cassette reta
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Motion picture and video production
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Cable and broadcasting Cable and br
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Professional photographic services
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Museum of applied art and science M
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Religious organisation Bible societ
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Consent Do you agree to participate
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Have you ever been involved in cult
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❏ Commercial ❏ Performance or e
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Among the six domains of cultural a
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Below we ask you to specify the exa
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Please indicate the category of thi
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When in the day? (you can choose mo
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❏ Not- for- profit (independent)
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Can you tell us more about this pla
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World cities cultural report_3 addi
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Biennale of Sydney Website 29 Augus
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Architecture Include architecture d
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Colleges All public or private coll
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CHINATOWN RESEARCH REPORT WESTERNSY
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MAPPING CULTURE

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