MAPPING CULTURE

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SGS Economics & Planning (2015/2016) and artists -To seek understanding of the complexities of Western Sydney arts and cultural landscape International Canada A Map of Toronto’s Cultural Facilities A Cultural Facilities Analysis Division of Economic Development, Culture and Tourism (ERA et al 2003) -Considers the City of Toronto’s role in supporting cultural facilities -Documents all existing cultural facilities -Provides an approach for assessing Toronto’s cultural health. (p.1) Canada From the ground up: growing Toronto’s cultural sectors -Economic analyses of Toronto’s cultural sector -Cultural Location index -Economic importance of cultural scenes (p 5) City of Toronto (Martin Prosperity Institute et al, 2011) Canada Making Space for Culture: Community Consultation Summaries To help ensure a supply of affordable,sustainable cultural space across the City of Toronto. (p.1) City of Toronto (2014) Table 4. Overview of cultural resource mapping initiatives From this brief overview of cultural resource mapping examples, it is evident that such initiatives are seeking to address current knowledge and information gaps spanning city, community, regional and global perspectives. For instance, the global map of cultural and creative industries ‘Cultural Times’ (CISAC, 2015) highlights how, ‘the economic weight of cultural and creative industries (CCI) in mature and emerging economies is partially described, misunderstood and undervalued’ (p.11). In addition, it is evident that Canada - specifically Toronto - is leading the way in its exploration and reporting of cultural activities. Within Australia, the most significant cultural resource mapping to date has been the Cultural Asset Mapping for Regional Australia (CAMRA) project. The features of these initiatives reflect some of the complex drivers highlighted in Table 3 (above) with regard to pressures (sector growth), possibilities (positive impacts) and mobilities (trends). 37
2.5 City of Sydney cultural infrastructure: where to next? It is recognised that cultural infrastructure development models are diverse, responding to the social, economic, cultural, and environmental ca pacities and to changes within our communities’ (CCNC, 2008), such as agents and partnerships, cultural-creative enterprise trends and funding frameworks. How are such emerging innovations currently reflected and recognised in the City of Sydney? The creative sector is vital to Sydney’s future. The NSW Government’s 2013 Creative Industries Economic Pro 秜ᇘ le found New South Wales is home to 40 per cent of the nation’s creative industries workforce, contributing $1.4 billion to the state economy. The bulk of this is concentrated in the City of Sydney area. Small art galleries, performance spaces and music venues, as well as co-working spaces, startups, and social enterprises, are incubators for Sydney’s creative life. They diversify the night-time economy, attract tourists, and provide places for people to produce and engage with local culture. (City of Sydney, 2016b, p.4) A review of industry (SFF, 2015) and City of Sydney reports (2014a; 2014b) highlights a range of current gaps and critical success factors in relation to cultural infrastructure. Our classification framework, mapping and analysis can provide a foundation for beginning to understand and explore these issues: ● Mapping music venues : ‘local live music and performance scene has declined – venues have closed, there are fewer opportunities for live music and performance’ (City of Sydney, 2014b, p.4) ● Identifying unique performance spaces : ‘ We need to think outside the box, we need to encourage artists and companies to rede 秜ᇘ ne the traditional performance space and use available, a 齰〗 ordable spaces. This doesn't just make cultural sense, it makes economic sense.’ (SFF, 2015, p.4) ● Exploring the interrelationship between building stock, property costs and zoning : ‘The limited number of existing small performance spaces indicates the barriers to establishing new spaces, as distinct from a lack of market demand. Limited suitable building stock, high property costs and the increased volume of residential zoning has decreased the amount of readily available space for performance venues.’ (City of Sydney, 2016b, p.31) ● Creative villages : ‘opportunities are lost when the cultural assets of neighbourhoods are under-recognised, insufficiently supported, or poorly incorporated into the existing cultural policy’ (City of Sydney, 2014a, p.38) ● Cultural precincts : ‘the city aims to recognise and encourage organic cultural activity throughout the city and support the emergence of creative clusters’ (City of Sydney, 2014a, p.39) ● Festivals : ‘The City aims to better measure and articulate their social, economic and of cultural contribution to Sydney, and the City’s expectations 38
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 12 and 13: ● A detailed case study of the Re
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 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
Page 64 and 65: Hills (Crown and Baptist Street Vil
Page 66 and 67: Figure 13. Heat map of all cultural
Page 68 and 69: venues engage in ‘production’ (
Page 70 and 71: creation (22.3%). This finding can
Page 72 and 73: 5.4.2 Chinatown and CBD South Villa
Page 74 and 75: Figure 15. Spatial categories for C
Page 76 and 77: Cultural space category Count Count
Page 78 and 79: 5.4.4 A brief comparison of the thr
Page 80 and 81: 6.2 Cultural venues by spatial type
Page 82 and 83: With regard to ‘practice, educati
Page 84 and 85: There are also 7 drama and dance th
Page 86 and 87: 6.3 Cultural venues by value chain
Page 88 and 89:
Table 29 shows the distribution of
Page 90 and 91:
Figure 19. Space for ‘creation’
Page 92 and 93:
Figure 21. Space for ‘disseminati
Page 94 and 95:
Figure 23. Space for ‘education
Page 96 and 97:
iii) Commercially-led developments
Page 98 and 99:
7. MAPPING OF CULTURAL VENUES BY SE
Page 100 and 101:
Figure 24. Venues in the music sect
Page 102 and 103:
7.1.1 Mapping of the contemporary m
Page 104 and 105:
7.2 Mapping of the visual art secto
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Table 35 shows the breakdown of the
Page 108 and 109:
7.3 Mapping of the architecture and
Page 110 and 111:
Figure 29. Distribution of the arch
Page 112 and 113:
8. EVALUATION OF METHODOLOGY 8.1 Ra
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‘system’ or ‘ecology’ of mu
Page 116 and 117:
its extensive coverage of all busin
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noticed that some participants foun
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● Developing further understandin
Page 122 and 123:
of models, spanning, ‘collectives
Page 124 and 125:
5) Sharing knowledge This priority
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● Identifying and examining ‘un
Page 128 and 129:
promising areas for deepening and w
Page 130 and 131:
City of Sydney (2012a) Creative Ind
Page 132 and 133:
Cunningham, S. and Higgs, P. (2008)
Page 134 and 135:
Mateos-Garcia, J. and Bakhshi, H. (
Page 136 and 137:
Taylor, A. (13 March 2016) Carriage
Page 138 and 139:
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
Page 154 and 155:
10. Where Creative Professionals Li
Page 156 and 157:
Appendix 2 The full list of ANZSIC
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Music retailing Audio cassette reta
Page 160 and 161:
Motion picture and video production
Page 162 and 163:
Cable and broadcasting Cable and br
Page 164 and 165:
Professional photographic services
Page 166 and 167:
Museum of applied art and science M
Page 168 and 169:
Religious organisation Bible societ
Page 170 and 171:
Consent Do you agree to participate
Page 172 and 173:
Have you ever been involved in cult
Page 174 and 175:
❏ Commercial ❏ Performance or e
Page 176 and 177:
Among the six domains of cultural a
Page 178 and 179:
Below we ask you to specify the exa
Page 180 and 181:
Please indicate the category of thi
Page 182 and 183:
When in the day? (you can choose mo
Page 184 and 185:
❏ Not- for- profit (independent)
Page 186 and 187:
Can you tell us more about this pla
Page 188 and 189:
World cities cultural report_3 addi
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Biennale of Sydney Website 29 Augus
Page 192 and 193:
Architecture Include architecture d
Page 194 and 195:
Colleges All public or private coll
Page 196:
CHINATOWN RESEARCH REPORT WESTERNSY
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MAPPING CULTURE

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