VPAA12 Midterm Review
UTSC 导师：Jessica
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VPAA12
Developing Audience, Resources, and Community
Agenda:
1. 梳理考试模式，考试拿分点讲解
2. Week 2 知识点讲解
3. Week 3 知识点讲解 _
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VPAA12 Midterm Review
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TEST INFO
基础考试信息：
• 考试时间：2.13 早上 10 点----2.14 早上 10 点
• 考试时长：开窗口后 2 小时内完成
• 考试范围：Week 2～5
• 考试模式：从三个情景题中选一个做出一个完整的资源发展计划
• 字数范围：300-500 字（比较推荐 500 字以上）

考试解析：
1. Read through all 3 scenarios.
a. 通读所有 3 种情况
b. Tips: 通读所有的 scenarios 一定会浪费时间，尽力在 5 分钟内确定自己最擅长的那
个 scenario
2. Choose 1 of the 3 scenarios to write a resource plan for.
a. 从 3 种情况中选择一种，为其编写资源计划
b. Tips: 尽管给予了三种情况，我们只需要写一个
3. Identify which scenarios you are choosing.
a. 确定你选择的是哪种情况
b. Tips: 不要和别的同学交流哪个简单哪个难，选自己最擅长的
4. Identify [at min] 3 funding sources/avenues you will propose to pursue.
a. 确定[至少]3 个资金来源/渠道，你将建议寻求
b. Tips：复习最有用的一步：提前准备好三个个资金来源/渠道，并且非常熟悉他们
的应用性，节约考试找资料的时间
5. Overview and provide RATIONALE for amount you will seek PER anvenue.
a. 概述并提供你将寻求的每项金额的理由
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b. Tips：从题目中摘抄 3 个左右的信息，并且一一对照于 3 个理由
6. Explain WHY you are choosing these sources.
a. 解释你为什么要选择这些来源
b. Tips：了解上面三个渠道的优势和应用范围
7. Clearly identify the IDEAL expected OUTCOMES you will pursue if ALL of your funding plans
are met.
a. 明确指出如果你的所有资金计划得到满足，你将追求的理想的预期结果
b. Tips：三个渠道的可实现好处
8. Present a realistic CONTINGENCY (back-up) plan should one/all of your funding sources not be
realized.
a. 如果你的一个/所有资金来源不能实现，提出一个现实的应急（后备）计划
b. Tips：三个渠道的存在的风险，并写出每个风险的解决方案

考试逻辑：
• 表明你要写的是哪个 Scenario
• 列出你的 3 个 sources
o 格式：
§ Source 1: amount：[because][to help with xx]
§ Source 2: amount：[because][to help with xx]
§ Source 3: amount：[because][to help with xx]
• If we get it all, we’ll be able to do xxx.
o 如果我们做到了，我们就可以做 XXX 了
o 写可实现的理想预期
• If we don’t get it all, we’ll do xxx instead.
o 如果我们不能完成预期，我们就用 xxx 来代替
o 我们给计划准备的 backup/plan b
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VPAA12 Midterm Review
UTSC 导师：Jessica
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WEEK 2

Culture Definition:
• The tastes in art and manners that are favored by a social group
o 一个社会群体所喜爱的艺术和礼仪的品味
• All the knowledge and values shared by a society
o 一个社会所共享的所有知识和价值观
• The attitudes and behavior that are characteristic of a particular social group or organization
（civilization文明）
o 个特定的社会群体或组织所特有的态度和行为
• A particular society at a particular time and place
o 在特定的时间和地点的特定社会

Þ Culture refers to “the arts” within public discourse 文化指的是公共话语中的 "艺术"
Þ Culture is a “systemic process” 文化是一个 "系统的过程"

Who administers and manages “the art” ?
• “A ministry of culture is an administrative agency responsible for public support of these artistic
activities and often the humanities and scholarship as well” - Raymond Williams.
o 文化部是一个行政机构，负责对这些艺术活动提供公共支持，通常也包括对人文和
学术的支持。
• Ministers of culture are an integral component of public policy.
o 文化政策是公共政策的一个组成部分

What is cultural policy as a component of public policy?
• A set of coherent principles, objectives and means to protect and foster its country's cultural
expression.
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o 文化政策是一个政府愿意采取和实施一套连贯的原则、目标和手段来保护和促进其
国家的文化表现形式的表达。
• Culture provides boundless resources in responding and adapting to development challenges by
playing a transversal and effective role in all areas of public policy.
o 文化通过在公共政策的所有领域发挥横向和有效的作用，为应对和适应发展挑战提
供了无限的资源。
• Cultural policy is the government actions, laws and programs that regulate, protect, encourage
and financially (or otherwise) support activities related to the arts and creative sectors
o 文化政策是指规范、保护、鼓励和在财政上（或其他方面）支持与艺术和创意部门
有关的活动的政府行为
• Cultural policies vary from one country to another, but generally they aim to improve the
accessibility of arts and creative activities to citizens and promote the artistic, musical, ethnic,
sociolinguistic, literary and other expressions of all people in a country.
o 文化政策因国家而异，但一般来说，它们的目的是提高公民对艺术和创造性活动的
可及性，并促进一个国家所有人的艺术、音乐、民族、社会语言、文学和其他表现
形式。
Cultural vs. Creative industries

Cultural Industries:
• “A principal aim is to examine policies which are explicitly formulated as cultural (or creative)
industries policies. ”
o 文化政策是一个主要目的是研究那些明确制定为文化（或创意）产业政策的政策。
• “Cultural and creative sectors are important for ensuring the continued development of societies
and are at the heart of the creative economy. Knowledge-intensive and based on individual
creativity and talent, they generate considerable economic wealth.”
o 文化和创意部门对于确保社会的持续发展非常重要，是创意经济的核心。它们是知
识密集型的，以个人的创造力和才能为基础，创造了可观的经济财富
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Creative Industries:
• “Creative industries are those based on individual creativity, skill and talent, or which have the
potential to create wealth and jobs through the development or production of intellectual
property.”
o 创意产业是指那些基于个人创造力、技能和才能，或有可能通过开发或生产知识产
权创造财富和就业机会的产业。

The difference between Cultural Industries and Creative Industries:
• The concept of “cultural industries” is more related to cultural heritage and traditional forms of
creation, while “creative industries” includes the applied arts practices, innovations and generating
profit and creation of jobs by creating intellectual property.
o 文化产业 "的概念更多的是与文化遗产和传统的创造形式有关，而 "创意产业 "则包
括应用艺术实践、创新以及通过创造知识产权而产生利润和创造就业机会。
• Cultural Industries
o 传授下来的一些习俗，惯例，文化遗产
• Creative Industries
o 强调的是一个创新的过程，用新型模式去创造新的产业

Creative Industries Mapping Document (UK Labour government, 1997)
• This document defined the creative industries as:
o “Those industries which have their origin in individual creativity, skill and talent which
have a potential for job and wealth creation through the generation and exploitation of
intellectual property.”
§ 那些起源于个人创造力、技能和才能的产业，通过创造和利用知识产权有
可能创造就业和财富。
o “Instead, we suggest a both/ and framework to include the critical discourses that challenge
not only the afore-mentioned aspects but also the economic frameworks that have tended
to ignore or undervalue the non- commercial sectors of the creative industries.”
（Thompson and Campbell, 6）
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§ 相反，我们提出了一个既包括批评性话语又包括框架的建议，这些话语不
仅对上述方面提出了挑战，而且还对倾向于忽视或低估创意产业非商业部
门的经济框架提出了挑战。
Massey Commission：
• “The Massey Commission was formally known as the Royal Commission on National
Development in the Arts, Letters and Sciences. It was officially appointed by Prime Minister
Louis St-Laurent on 8 April 1949. Its purpose was to investigate the state of arts and culture in
Canada.”
o 梅西委员会 "的正式名称是皇家艺术、文学和科学国家发展委员会。它于 1949年 4
月 8日由总理路易斯-圣洛朗正式任命。其目的是调查加拿大的艺术和文化状况
重要时刻：
• 1960s – 1970s (era of SPENDING, CanCon Regulation, multiculturalism):
o Expo 67
§ The 1967 International and Universal Exposition
o New production institutions: CFMDC (now Telefilm) (1967); NAC (1969)
o Broadcast Act/CRTC (1968); CanCon (1971)
o Royal Commission on Bilingualism and Biculturalism (‘60s-’70s) 语和双文化问题皇家
委员会
o Multiculturalism Policy (1972, Trudeau) 多元文化主义政策
• 1980s – 1990s (era of increased labour force, Status of the Artist, Crown Corporations)
o Cultural policies passed helped to formalize institutionalization of internal and external
creative economy labour force 通过的文化政策有助于内部和外部创意经济劳动力的
正式制度化
o NAFTA (1988, 1994)
§ North American Free Trade Agreement
o Status of the Artist Act (1995) + Changes to the Copyright Act (1988, 1997)
o Canada New Media Fund (1998)
• 2000s (era of digitization, diversity, diversion)
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o Diversity incentives strengthened/diverted/prioritized (changes up and down by
government and global influences) 多样性激励措施得到加强/转移/优先考虑（受政府
和全球影响，上下变化）
o Shifts in Cultural Heritage policy mitigation in the House 众议院在文化遗产政策方面
的缓解变化
o CMF = Digitization (2008-2011)
§ CMF：Canadian Media Fund
o 2014-2015: major spending reductions (post 2008 recession effect)
o Copyright Modernization Act (2012)
o Canada 150 celebrations and spending
o Creative Canada Policy Framework (2017)
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WEEK 3
What is Public Arts Funding?
• “As a non-profit organization, Public Art Fund relies on contributions from individuals,
corporations, and foundations to make extraordinary public art available and accessible to
audiences of all ages and backgrounds”
• 作为一个非营利性组织，公共艺术基金依靠个人、企业和基金会的捐款，向所有年龄和背
景的观众提供非同寻常的公共艺术。
How does Public Arts Funding impact resource development?
• Support the development creative, intellectual and emotional insights into society
• 支持发展对社会的创造性、智力和情感的洞察力
• Support the cultural unification
• 支持文化的统一
• Boost economic growth
• 促进经济增长
• Protect and express a community’s value
• 保护和表达一个社区的价值
• Preserve the community identity and social wellbeing
• 维护社区认同和社会福利
Development of Mixed/Balanced Model
• Eligibility stipulations 资格认证规定
• Early recipients were largely funded 早期的受援者被大量资助
• By 1990s, diversity mandates increased = money spread thin 到 20 世纪 90 年代，多样性任务
增加=资金分散
• Presently, many organizations depend on private funding 目前，许多组织依赖私人资金
• Mixed model = 1/3?
• Continues to be made up by federal, provincial, municipal funds 继续由联邦、省、市资金补足
Comparisons to other models:
AMERICAN MODEL:
• Individual donors and philanthropic foundations 个人捐助者和慈善基金会
• Indirect government impact (i.e.., tax refunds) 政府的间接影响(即退税)
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EUROPEAN MODEL:
• Varies widely across countries 各国的情况大不相同
• Continues to be under pressure 继续面临压力
• Funding matches policy/governmental priorities 资金与政策/政府优先事项相匹配
Canada’s model-Strength and Challenges:

Strengths Challenges
Arts orgs are resilient 艺术机构是有弹性的 Arts orgs are resilient 艺术机构是有弹性的
Arts orgs remain accountable to their communities 艺术机构
体仍然对其社区负责
Access to funding continues to be more competitive 获 得
资金的竞争继续加剧
Despite global uncertainties, stable income can be expected
尽管有全球的不确定性，但可以预期会有稳定的收入
Access to funding continues to be inequitable 获得资 金的
机会仍然是不公平的
Values/programming remains unjeopardized by
private/corporate funding 价值观/方案制定不受私 人/公司
资金的影响
Non-profit model is at risk 非营利性模式面临风险
Allows for risk taking 允许承担风险 Restricts risk taking 限制了风险的承担
Grants are (human + product) resource-heavy 赠款是 (人力
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From Mixed/Balanced To A Balancing Act:
“Keeping an arts organization healthy in Canada is a balancing act between time spent on administrative
and artistic work, generating private and public revenue sources, taking artistic risks, hitting earned
revenue targets, and staying relevant to current audiences while engaging new ones.” – Kelly Willhelm
"在加拿大保持一个艺术组织的健康发展，是在行政和艺术工作上花费的时间、创造私人和公共收
入来源、承担艺术风险、达到收入目标、在吸引新观众的同时保持与现有观众的联系之间的平衡
行为。"
Future challenges :
• How to establish a new balance between public and private support? 如何在公共和私人 支持之
间建立一个新的平衡?
• How to decolonize a granting model built on colonial/settler legacies? 如何使建立在殖 民主义/
定居者遗产上的授予模式非殖民化?
• Foundations vs. Private/Public 基金会与私人/公共机构
• How to talks to arts orgs/artists to imagine future solutions? 如何与艺术团体/艺术家交
• 谈以想象未来的解决方案?
• “Protectionism” has shifting into capital-generating: Who is left out? "保护主义 "已经转变为资
本创造。谁被排除在外?
Difference between value and valuation:
1. “Value meant the worth of a thing, and valuation meant an estimate of its worth”
2. Value 价值
1. The quality (positive or negative) that renders something desirable or valuable 使 某物变
得可取或有价值的品质(正面或负面)
2. A numerical quantity measured or assigned or computed 测量或分配或计算的一 个数
字量
3. The amount (of money or goods or services) that is considered to be a fair equivalent for
something else 被认为是其他东西的公平等价物的(金钱或货物
或服务)的数量
3. Valuation 估价
1. An appraisal of the value of something 对某物价值的评估
2. Assessed price 评估价格
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Economic value
• Reflects market goods and/or utility 反映了市场商品和/或效用
• Expressed in financial terms 以财务术语表示
• Clear-cut definition/understanding 清晰的定义/理解
Cultural value
• Often applies to art and “culture” BUT much more ambiguous to define 通常适用于艺术和 "
文化"，但定义更为模糊。
Who assess?
• Experts! 专家们
• People who“know”and“practice” "了解 "和 "实践 "的人
• Public opinion/polling 公众意见/民意调查
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