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UTSC VPAC15H3S Cultural Policy Winter 2025
Instructor:
Dr. Claudia Sicondolfo (she/her)
Email:
Please allow for 3 workdays for response.
Please do not send me messages on Quercus. Please send me
direct emails.
Lecture:
VPAC15H3: Tuesdays 1-4 (SY110)
Tutorials:
TUT 1 & 3: 9-10 AM (AA205); TUT 2 & 4: 10-11 AM (AA204)
Students will attend on alternating Tuesdays
Office Hours:
Tuesdays, 11:30-12:30, HW 428
or you can book a slot with me here:
Book time with Claudia Sicondolfo
Teaching Assistants: Salvador Alanis and Félix Veilleux
The University’s Statement of Acknowledgement of Traditional Land
We wish to acknowledge this land on which the University of Toronto operates. For
thousands of years it has been the traditional land of the Huron-Wendat, the Seneca,
and most recently, the Mississaugas of the Credit River. Today, this meeting place is
still the home to many Indigenous people from across Turtle Island and we are grateful
to have the opportunity to work on this land.
Official calendar description:
A survey of the principles, structures, and patterns of cultural policy and how these
impact arts and media funding structures, both nationally and internationally. The
course will explore a wide range of cultural policy issues, processes, and theoretical
commitments underpinning the subsidized arts, commercial and public media
industries, and hybrid cultural enterprises, critically exploring the role of advocacy and
the strengths and weaknesses of particular policy approaches.
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Extended course description:
For most students in the Arts Management program, by the time you arrive at the C- level of the program, you’ve had some implicit exposure to cultural theory and policy,
though primarily as these are expressed through generally accepted practices,
organizational visions and values, and basic decision-making processes. In this course,
you will deepen your ability to unpack and articulate what you already know in policy
and theoretical terms, and help you figure out ways to recognize what you might not
know. The course will make legible cultural policy as an overarching infrastructure of
power and as a series of governmental, industry, and organizational apparatuses that
shape present-day contexts. Significantly, these include legacies of colonial settlement,
capitalism, and globalized media and communications systems that mark Canada’s
cultural policy environment. Crucial to this understanding, and appropriate for the C- level courses, is to learn how to recognize, articulate and deploy critical and cultural
theory as a series of analytical and assessment frameworks to unpack policy decisions
and practices on a day-to-day basis. You will also use various cultural theory concepts
and frameworks to critically analyse the many varied sites, contexts, histories, practices,
processes, and outcomes in cultural policymaking, including through examinations of
technology, social innovation, artistic resistance, and public engagement as tools for
cultural policymaking. By bringing theory and policy into conversation for your
individual projects (including conducting some original research) and in groupwork,
you will learn more about how to mobilize research in community-engaged, ethical,
and perhaps even collaborative ways, including discoveries about what underpins your
own underlying worldviews and preconceived ideas about arts, culture and media and
its scholarly and pragmatic discourses and applications in cultural policymaking.
Learning outcomes:
Upon successful completion of this course, students will be able to:
1. Understand and be able to explain the scope of cultural policymaking in Canada,
including important concepts, contexts, histories, and theoretical frameworks.
2. Critically review, analyse and comment on relevant readings, media and related
resources.
3. Compare and contrast diverse approaches to cultural policy development in arts,
media and culture management.
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4. Identify and explain strategies to conduct cultural policy analysis, development
and evaluation in various creative workplaces, including non-profit, social
enterprise, government and for-profit teams, and with various publics.
5. Reflect on and critically assess specific cultural policies, including legislation,
provincial and territorial culture action or sustainability plans, and strategies that
address cultural priorities and objectives in arts, media and culture management
environments.
6. Recognize the active role cultural policy holds as it influences, impacts, and
responds to systemic and inequitable structures and biases that exist within
Canadian arts and media arts communities.
7. Exhibit an increasingly savvy handling and application of cultural theory to ‘real- life’ (actionable) situations, issues and potentials related to cultural policy in the
Canadian arts and media sphere.
8. Better understand the challenges of and rationale for scholarly citation practice,
including recognizing and giving credit to underlying worldviews and theoretical
discourses and practices in their own thinking.
9. Further develop research and writing skills by proposing a research question in an
abstract, identifying relevant scholarly and industry resources to synthesize,
developing interview questions and conducting an original interview or
informational exchange, and comparing what is learned in scholarly readings and
exercises to what is learned by analyzing original research, in a 3,000 word essay.
10. Synthesize knowledge about cultural policy gleaned from guest speakers, case
studies and other examples provided in the course and apply this knowledge to the
design of their own group project at the end of the course, using that knowledge
in turn to constructively respond to their peers’ presentations.
Class Format
The class meets in-person once a week for approximately three hours. Each seminar
includes a lecture component and discussions, with many classes incorporating group
and other in-class activities to reinforce learning objectives and inform assessment of
your learning. Where possible, lecture slides will be uploaded about an hour ahead of
class for ease of following along. There is always independent (asynchronous) work to
be done in preparation for the lectures and assignments. You must complete weekly
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course readings and media viewings prior to the class where these will be discussed,
deliver your written and creative assignments in a timely fashion, and make thoughtful
contributions to group projects and class discussion boards. The class format will be
modified in weeks with guest lectures, participatory activities, and collaborative
opportunities.
Tutorial groupings
Please make sure you sign up for one of the in-person Tuesday tutorial group. Tutorials
will be run by one of course’s TAs. Attendance is required. You are required to attend
tutorial every alternating Tuesday. During tutorials, you will do an in-tutorial exercise,
discuss required readings with your peers and your TA, and can ask questions about
lecture content and assignments. As we reach the middle of the semester tutorial time
will be spent working on your group policy intervention projects.
Required Course Materials and Tools
Course information, course readings, additional material and resources, and
announcements will be handed out in class and/or be made available on the course
Canvas/Quercus Portal. We will be conducting our participation and contribution to
learning for the course over the Canvas/Quercus portal. The required materials are also
listed in the "Library Reading List" section of the course Quercus where possible. You
will also need to be familiar with looking up resources and conducting your own
research on the UTSC Library website. There is no single textbook for this course,
although many hard-copy books containing required readings are also available in the
library course reserves.
Paper and pens are required tools in this course. You will be required to bring these
analog tools to class with you every day. We will be using these tools to practice pen-
on-paper writing every class while we give our electronic devices some rest for a
portion of our day.
Each weekly lecture will use the course Quercus in various ways, including to access
resources, recordings, discussion boards, group projects, and more. We may also
participate in workshops or sessions on other platforms (e.g., Miro, Slack, etc.), which
will be noted in Quercus as much in advance as possible. Please log into your emails
and Quercus every week to familiarize yourself with course content and to make sure
you have access to course updates, including timing, focus, engagement opportunities
and announcements, and new materials.
To access your individualized Quercus site, go to the University of Toronto portal login
page and log in using your UTORid and password. Once you have logged in, look for
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the “My Courses” section, and find the link to this course (as well as to your other
courses). Note: You are responsible for ensuring that you have a valid U of T email
address, and that it is properly entered into the ACORN system.
Class Policies
Readings
Please come to class having read the required readings for the week, unless otherwise
specified. There may be specific weeks, for example, where I will require you to read
the assigned readings following the class. Readings for this course are chosen for their
ability to give context and add to the students’ foundational and overall understanding
of the concepts that are discussed in class.
Work Submission/Lateness Policy
Assignments are due by 11:59 pm on the deadline date (unless otherwise noted on the
assignment outline). Submissions received any time after this are considered late. Late
penalties shall be instituted at a 2% grade reduction each day following due date
submission. The late penalty is in place to deal with the vast majority of situations and
allows students to make both mistakes (with consequences) and strategic choices.
Extensions can (and will!) be granted. Any student seeking an extension (not beyond 5
business days) must submit a request to the professor, which will include a proposal for
a new deadline, 3 business days in advance of the original deadline. Other (truly
exceptional) circumstances may be considered after the fact, at the instructor’s
discretion.
Email Policy
Students are encouraged to contact me with questions and concerns about the class
after they review the syllabus and do not find any answers there. I am happy to discuss
assignments and to brainstorm ideas, though I ask that e-mail be used to set up
appointments for lengthier conversations. I will try to reply to e-mails promptly,
however please allow for a full 72 hours (3 Business days) for a response. This means
last minute assignment needs may not be accommodated.
Cell Phones
Cell phones are to be muted during class. Please use our breaks to catch up on your
messages.
Voice Recorders
Recordings are not permitted to be made of any aspect of this course without explicit
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permission. Recording without permission is a breach of the professor’s copyright.
Should there be a specific need to record a class, please speak with the instructor in
advance.
Use of lecture and course materials including recordings
This course may include other slide decks, notes, or highlight recordings provided by
the professor or guests or by your peers as part of their response to assignments. You
are welcome to listen to, watch, and use these resources during the course, but you are
not allowed to circulate them anywhere else, nor can you keep any of these materials
beyond the end of the course. Please always respect the privacy and intellectual
property of your peers, instructors, and others whose materials are involved in the
course.
Masking and Sick Policy
The University of Toronto’s mask mandate has been paused as of July 1, 2022, and is
subject to change in accordance with public health guidelines. In this class, I will ask
you—and strongly encourage us all—as members of the UTSC community, to mask if
you are able to. We cannot provide an equitable and just atmosphere for learning if we
are not protecting one another by masking. To practice community care, please mask
when you are experiencing minor symptoms of illness to help protect those of us
with compromised immune systems, those of us with family members unable to
mask or get vaccinated, those of us who not wish to transmit illness to others, and
those of us who want to avoid re/infection. If you are quite ill and think you are still
contagious, please take care of yourself and stay home. Please send me an email (if
you can) the day of class (or as soon as you are able to), to let me know you are unable
to attend class due to illness. Please get caught up on class notes and discussions from
your peers and do use my office hours to meet with me to discuss anything you have
missed when you are able to.
Academic Honesty:
The University treats cases of cheating and plagiarism very seriously. The University of
Toronto's Code of Behaviour on Academic Matters
(http://www.governingcouncil.utoronto.ca/policies/behaveac.htm) outlines the
behaviours that constitute academic dishonesty and the processes for addressing
academic offences.
Potential offences in papers and assignments include using someone else's ideas or
words without appropriate acknowledgement, submitting your own work in more than
one course without the permission of the instructor, making up sources or facts,
obtaining or providing unauthorized assistance on any assignment.
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On tests and exams, cheating includes using or possessing unauthorized aids, looking
at someone else's answers during an exam or test, misrepresenting your identity, or
falsifying or altering any documentation required by the University.
**Use of Generative Artificial Intelligence Tools**
Students may (and encouraged to) use artificial intelligence tools, including generative
AI, in this course as learning aids or to help produce assignments. For example, the use
of autocorrect functions in a text editing software is a common use of generative AI
and can be very helpful. The use of software like Spell Check, Grammerly and
Wordtune can also help produce polished texts. However, students are ultimately
accountable for the work they submit.
Students may not use artificial intelligence tools for taking tests, writing research
papers, creating computer code, or completing major course assignments.
However, these tools may be useful when gathering information from across sources
and assimilating it for understanding.
The knowing use of generative artificial intelligence tools, including ChatGPT and other
AI writing and coding assistants, for the completion of, or to support the completion of,
an examination, term test, assignment, or any other form of academic assessment, may
be considered an academic offense in this course.
When you use an AI-based tool when writing an assignment, ask yourself these
questions:
• Are the ideas mine? Did I come up with the structure, concepts, and examples?
• Can I explain these ideas in my own words? Can I define all the words used?
• Do I know where the information is coming from? Can I cite or reference this
information?
• If my instructor or TA asked me to explain the research, readings, thought
process, and writing process that went into producing the work, would my
answer satisfy U of T’s Academic Integrity values?
If the answer to all these questions is yes, keep going. If the answer to one of the
questions is no, review the U of T’s Code of Behaviour on Academic Matters
(http://www.governingcouncil.utoronto.ca/policies/behaveac.htm ).
Don’t hesitate to reach out to me if you have any questions about what is expected of
students for a given assignment.
Plagiarism Detection Tool
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Students will be notified if they will be required to submit their course essays and/or
final exams to the University's plagiarism detection tool for a review of textual similarity
and detection of possible plagiarism. In doing so, students will allow their essays to be
included as source documents in the tool's reference database, where they will be
used solely for the purpose of detecting plagiarism. The terms that apply to the
University's use of this tool are described on the Centre for Teaching Support &
Innovation web site (https://uoft.me/pdt-faq).
Attendance
Attendance is noted but not marked, whether you are attending lectures and tutorials,
or providing input through quercus. Active participation inside and beyond the
classroom is your key to success. Skipping the weekly material or the discussions
underway in the live sessions or on quercus and in your tutorial or small groups may
adversely affect your comprehension or ability to participate effectively. If you must be
absent, you are expected to catch up by using the quercus site asynchronously and to
submit assignments by the assigned due date. If you need to be absent from the
course for a legitimate reason, please inform the instructor in writing in advance or as
soon afterward as is possible.
Last Date to Drop a Course:
Students may add courses or drop courses without academic penalty through ACORN
up to the dates stated in the Academic Dates. The deadlines for adding or dropping
courses are strictly applied. The deadlines for adding or dropping courses are strictly
applied. For more information and a calendar of dates, please see the UTSC Calendar
at: https://www.utsc.utoronto.ca/registrar/fall-2023-winter-2024-academic-dates
Religious Observances
Students at UTSC hold a wide range of religious beliefs. Please see the University’s
policy on accommodating religious observances:
https://www.viceprovoststudents.utoronto.ca/policies-guidelines/accommodation- religious/
Virtual and In-Person Learning Environments
We use a variety of virtual tools for this course as well as coming together in-person.
Whichever way we participate in learning environments, students are reminded of the
expectation that we all aim to demonstrate respect for one another. As outlined in the
Student Code of Conduct, the University of Toronto does not condone discrimination
or harassment against any persons or communities especially when based on grounds
protected under the Ontario Human Rights Code. In accordance with the Ontario
Human Rights Code, no person shall engage in a course of vexatious conduct that is
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directed at one or more specific individuals, and that is based on the race, ancestry,
place of origin, colour, ethnic origin, citizenship, sexual orientation, gender identity,
gender expression, age marital status, family status or disability. This includes: racial
slurs or “jokes”; insults due to racial identity; online posts of cartoons or pictures, in a
workplace or school that degrade persons of a particular racial group; name-calling
due to race, colour, citizenship, place of origin, ancestry, ethnic background or creed;
pseudonyms or handles that are inappropriate about ancestry, colour, citizenship,
ethnicity, place of origin, race, or religion.
Select departmental and university resources
There are a number of resources and policies at UTSC and across U of T that you will
want to know about. These provide support for academic work and matters related to
health and wellness, equity, accessibility, anti-racism, and Indigeneity on the campus.
For example, these include:
AccessAbility: Students with diverse learning styles and needs are welcome in this
course. If you have a disability or health consideration that may require
accommodations, please feel free to approach the instructor and/or the Accessibility
Services Office as soon as possible at (416) 287-7560 or [email protected]
(http://www.accessibility.utoronto.ca/). Enquiries are confidential. The Accessibility
Services staff is available by appointment to assess specific needs, provide referrals and
arrange appropriate accommodations including co-ordinating services and programs
that may help students maximize educational potential. The sooner arrangements are
made, the quicker we can assist you.
ACM information: Check out the ACM website on a regular basis to find out about
events, resources, and who to contact with your questions
(https://www.utsc.utoronto.ca/acm/).
Centre for Teaching and Learning: (https://www.utsc.utoronto.ca/ctl/welcome-centre- teaching-and-learning) The CTL is an important resource for providing writing and
English language development support through appointments, workshops, peer
groups, online resources and more. The Centre also facilitates study groups across
programs and campuses including ours. The CTL staff and volunteers can help
provide feedback on several of the assignments in this course if you plan ahead.
Equity, Diversity and Inclusion Office: (from their website
https://www.utsc.utoronto.ca/edio/)
“The UTSC Equity, Diversity and Inclusion Office (EDIO) is a central resource for all
UTSC community members (students, staff, and faculty), providing training,
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programming, and engagement initiatives related to equity, access, discrimination, and
harassment. The EDIO promotes an equitable and inclusive campus community, free
from discrimination or harassment based on age, disability, race, ancestry, place of
origin, colour, ethnic origin, citizenship, creed, sex, gender expression, gender identity,
sexual orientation, family status, marital status, and/or record of offences. The EDIO
provides advice and assistance with programs relevant to inclusion, cultural diversity
and religious accommodation; responds to concerns, resolves conflicts and manages
complaints of discrimination and harassment; and consults and advises on policy
matters. [You can expect] confidentiality, a safe and supportive environment, a
respectful and non-judgmental approach to your concerns, and a timely response.
[Please contact EDIO when]: you need assistance in resolving an issue that involves
equity, discrimination, or harassment; you want to become involved in making UTSC a
more equitable and inclusive space for everyone; and/or you have questions or
concerns about university policy on equity or diversity issues.” Indigenous Initiatives:
This office is located within the EDIO and includes supports for programming,
outreach, and working with the UTSC Elders and Knowledge Keepers Circle. Please
also see https://www.utsc.utoronto.ca/edio/indigenous-initiatives-events/ for events
and https://indigenous.utoronto.ca/initiatives-protocols/for additional information on U
of T protocols
Health & Wellness Centre (https://www.utsc.utoronto.ca/hwc/utsc-health-wellness- centre): The Centre offers confidential health, counselling and health promotion
services for all registered students at UTSC. It is a safe, accessible and culturally
responsive environment that works to optimize students’ personal, academic and
overall wellbeing. Contact: 416-287-7065 or [email protected] or drop by during
operating hours. Healthy Campus Website
(https://www.utsc.utoronto.ca/healthycampus/):
This is a one-stop hub for staff, faculty,
librarians and students to access mental health and wellness resources, including links
to resources such as campus safety, wellness related events, and trainings. For more
mental health support, please also see https://www.utsc.utoronto.ca/hwc/mental- health-resources-0, including the MySSP app https://mentalhealth.utoronto.ca/my- student-support-program/
Course agreement
By taking this course, I confirm that my conduct adheres to the policies, protocols, and
principles of respect embedded in this course syllabus, including the University of
Toronto Code of Behaviour on Academic Matters. I will not act in such a way that
would constitute cheating, misrepresentation, unfairness, including but not limited to,
using unauthorized aids and assistance, impersonating another person, and committing
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plagiarism. The Code of Behaviour on Academic Matters can be found here:
https://governingcouncil.utoronto.ca/secretariat/policies/code-behaviour-academic- matters-july-1-2019
Assignments and Evaluation
A great deal of the work in the fields of arts and media management relies on
communication and relationship-building. In this program, you can learn how to better
articulate and practice critical thinking, collaboration, and teamwork skills, as well as
self-direction in decision-making. Assignments are designed to help develop these
skills, and to provide a theoretical and practical foundation to better understand the
roles and potential of arts, culture, and media management. You will help determine
your grade for this course based on how well you demonstrate what you have learned
through a combination of individual and group efforts, peer-based, in-class and online
activities, and timely contributions to assignments, completed in a professional
manner. Detailed requirements for all assignments will be discussed in advance of their
deadlines. See course and departmental policies on the course Quercus for details
about late submissions and academic regulations. Please refer to University of Toronto
Assessment and Grading Practices Policy:
http://www.governingcouncil.utoronto.ca/Assets/Governing+Council+Digital+Assets/P olicies/PDF/grading.pdf. To better understand how rubrics are developed, please see
https://sidneysmithcommons.artsci.utoronto.ca/what-do-my-grades-mean/
NOTE: A bonus mark of 2% is available to students who are accepted into the UTSC
AccessAbility note-taker program, per online instructions:
https://clockwork.utsc.utoronto.ca/myAIMS/user/notetakingnotetakers/default.aspx.
Students will email Dr. Sicondolfo their acceptance to confirm their 2% bonus in the
course.
Re-evaluation Policy
There is a firm policy in this course about contesting or inquiring about grades and
evaluations. We require all students to sit with their grades for a total of 48 hours prior
to reaching out to the teaching team with any questions about the grade. If, after 48
hours, there is a question about the grade, you are then required to write to your TA
and to your Professor over Quercus. Your correspondence will require the following
items:
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• What part of the grade you are contesting or have questions about. Be specific:
cite the feedback and instance you think your evaluator has made an error or
oversight on.
• Next, tell us what you think is present already in your work that might have been
missed or what you think requires re-evaluation. Again, be as specific as
possible.
Once your TA reads your correspondence, they will decide on the course of action
(they may consult with your professor to do so). They will communicate the outcome to
you with your professor CC’d in the correspondence. If you still feel the outcome is not
justified after their process, you are invited to email me with the same criteria you have
previously sent your TA as well as an explanation of why you think the outcome
remains unjustified. I will then examine the case myself.
Group Work Guidelines
Teamwork is essential in the field of arts and media management, which is why group
work is required in this course. Please discuss your approach to collaboration, group
work, and conflict resolution early on in your group projects. If there are serious
concerns with a team member’s participation that may affect the final group grade
(which is the same mark for everyone), the group may petition the instructor to help
solve the issue after documenting it in writing to demonstrate that they have made all
reasonable attempts to address the problem with the team member in question, in
person (when possible) and/or in writing, and have given the team member a
reasonable opportunity to adjust his or her behaviour. Grades for group work may
include a peer assessment component to address contribution inequities.
Research/citation guidelines and library resources
Research and citation guides are readily available online at the library (e.g.
https://guides.library.utoronto.ca/arts-management;
https://guides.library.utoronto.ca/c.php?g=251103&p=1673071). The UTSC Library
includes study spaces, course reserves, a Maker Space and many other resources that
you will find helpful. Our liaison is Pauline Rousseau, Acting Coordinator for Collection
Development and Liaison for Arts, Culture & Media. She can be reached at 416-287- 7484 or [email protected] and aims for a 24-hour response time for
questions (M-F). Paulina is also available for one-on-one consultations with students. It
is your responsibility to ensure that you understand and demonstrate in each
assignment how to properly quote, paraphrase, summarize, and cite sources;
students are urged to read and use the information available from the library and
writing centre as well as through information provided on the course Quercus site.
Pay particular attention to the web page “How Not to Plagiarize”:
http://advice.writing.utoronto.ca/using-sources/how-not-to-plagiarize/
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Written Assignment Guidelines: You know by now that good writing requires ongoing
practice, and great writing skills are useful throughout your academic career and in
professional settings. Any written material must be professional in appearance and
presented using scholarly guidelines. This means they will be word-processed or typed,
use double-spacing, 1” (2.54 cm) margins, 12-point font for the body of the work, and
will reflect that every effort has been made to eliminate all errors in spelling or
grammar. Written work will follow APA or Chicago citation guidelines to properly
acknowledge sources, footnotes or endnotes and bibliographies. A cover page is not
required (although it is allowed) unless specified in the assignment. Definitely include
your name and student number on page 1 of all your written assignments and include
your last name in the header/footer beside the page numbers.
In this class, these guidelines apply to: Abstract; Literature Review; Essay; Briefing
Memo; and Group Project documentation
Note that assignments that are too difficult to read due to an abundance of writing,
citation, or technical errors will not be graded. The first time this happens, you will be
notified by the TA or instructor within twelve business days that the assignment is too
difficult to read and why. You may resubmit your assignment within five business days
after notification with a penalty of only 10% for late submission. If the assignment is still
too difficult to read, it will not be graded. After that, if you submit another assignment
that is too difficult to read or has too many errors, it may also be marked with a zero.
Usually, there is a combination of reasons that make assignments too difficult to read.
Common reasons might include: a document might not open properly because of
technical errors in saving or submitting the document; or you might have handed in the
wrong assignment altogether; you might have written incomplete sentences or used
point-form; you might not have included appropriate or sufficient in-text citations to
demonstrate that you are providing credit to people who have previously written on
the subject or are experts articulating their knowledge in their own cultural contexts
and forms; your citations or bibliography are incorrectly formatted; you might not have
properly cited or presented direct quotations; there may be several serious
grammatical or spelling errors; the writing might not flow logically (whether narratively
or argumentatively); you might have used a web translation software if you write in
another language, and not checked it over (or had it checked over) to make sure it is an
accurate translation; and/or you might have written an unclear description or analysis,
etc. It is always a good idea to have someone else proof your paper (do a final copy- editing review) to ensure it is the best that it can be and reflects your thinking
accurately.
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Presentation guidelines: Oral presentations—both prepared and spontaneous—are an
essential part of this course and will give each student an opportunity to practice their
listening and public speaking skills. The instructor will provide guidance and advice and
may schedule a workshop for students if requested or considered necessary. Once
assigned, presentation dates are firm. In some cases, you may find it easier to pre- record an oral presentation; be sure to discuss this with the instructor first.
Reading guidelines: Readings for this course are chosen to provide context and add to
your understanding of the arts and media management concepts that are discussed in
class. Please note, though, that readings cannot take the place of class lectures, or vice
versa. Class lectures, Q&As, discussions and activities help process what you’re
learning from readings and offer a collegial space to surface different perspectives.
Good study habits include making notes, actively considering the readings in the
context of your everyday life as well as in the classroom, and by coming to class
prepared to share constructive questions, ideas, insights, and interpretations that
demonstrate engagement with the course material. It is every student’s responsibility
to ensure that information in the readings or other media is understood in advance of
each class. A great strategy is to set up a study group among your peers or ask the CTL
to set one up for you. You can develop a much more robust understanding of the
issues and concepts with your own additional reading and research on class topics. For
further help and information, please see: “How to Get the Most out of Reading”
(http://advice.writing.utoronto.ca/researching/get-the-most-from-reading/) and
“Critical Reading toward Critical Writing”
(http://advice.writing.utoronto.ca/researching/critical-reading/).
Assignment Value &
Deadline
Description
Contribution
to Learning
10%
Throughout
the
semester
As an upper-year university course, students are expected
to attend class weekly and actively participate in class
discussion. A large part of this contribution grade will be
determined by your ability to contribute meaningfully to
class discussion and within group assignments. This
means the assigned readings for each week should be
completed prior to the start of class, as we will dedicate
class time to discussing them. Your participation grade
can also include engagement in various capacities: on the
course discussion board in Quercus and via your in-class
writing components. You may also be motivated to write
Sicondolfo VPAC15 – Winter 2025
15
to me about certain topics you might note in the news, as
another example, and highlight how certain course
material might have impacted the way you understood the
news event.
Peer Reading
Support
5%
Throughout
the
semester,
we will
assign these
in Lecture 1
You will select ONE required reading from the week’s
reading list (please choose different readings from your
peers) and write a 250-word response on the Quercus
discussion board. Your response could include your
thoughts, questions, areas that were unclear, and any
connections you see to the course, other classes, or
current events. Additionally, you’ll provide TWO
discussion questions for your fellow students to answer
online. Your response and questions must be posted by
11:59 PM on the Monday night before Tuesday’s class.
Briefing
memo
10%
DUE:
January 28
Develop a briefing memo on a topic of your choice (a list
of suggestions will be provided but you can choose
another topic with the professor’s approval)
Abstract &
research
question
10%
DUE:
February 11
150-word abstract including your research question for
your original research project. Plus, a 50-word summary
for each of your three top picks for the policy professional
in the field you would ideally wish to interview, including
publicly available contact information. Total 300 words.
NOTE: We will NOT be interviewing these people in
person. These are hypothetical propositions.
Literature
review
15%
DUE:
February 25
An annotated literature review for your essay, including at
least five scholarly references and as many industry
references as you see fit (approximately 1000 words), plus
bibliography.
Essay
25%
DUE: March
18
3,000-word essay based on synthesizing and rewriting
your literature review in essay-form, incorporating
feedback from your lit review assessment; add new
information you sourced to help make sense of what you
discovered in your online discourse analysis/coding
exercise (including scholarly studies, industry information,
organizational information provided by your subject, etc.).
Make sure to include the proposed interview questions in
your submission and your bibliography.
Group Policy
Intervention
25% Small group (7 ppl) role-playing presentations of cultural
policy interventions
Sicondolfo VPAC15 – Winter 2025
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DUE: March
18 or March
25 or April 1
Presentations will be 15 minute long and will include a 4- minute video for playback in-class or a live presentation
which will be followed by a 10-minute class activity
Summary schedule of anticipated activity
Depending on the experience, interests and needs of students, the weekly topics of
discussion noted below may be adjusted periodically. The order and length of time
spent on each topic may also be influenced by emerging events in the world, or the
availability of guest speakers. Changes (including to reading requirements) will be
announced in class and on Quercus, sometimes on short notice.
Date Focus Assignments & group work
Jan 7
Overview & syllabus review
Key concepts: citizenship, sovereignty,
human rights, value and valuation
Sign up for your peer support
reading
In-Class: StatsCan small group
exercise
Jan 14 Canadian Federalism and Canadian
Cultural policy systems
Key concepts: Federalism, democracy,
legislative framing, regulatory processes,
Cancon
Tutorial 1 & 2
Jan 21 Art and Culture as Public Good(s)
Key concepts: philanthropy, collective
good, socialism & social safety nets, arts
funding crisis
Tutorials 3 & 4
In-class: Read Siu articles and
read through a list of policy
plans and/or frameworks in
preparation for your briefing
memo.
Jan 28 Acts, Art, and Aesthetic Accessibility
Key concepts: culture as a pillar of society,
policy for professional creative workers and
participants (e.g., Status of the Artist, CCA
& other Acts)
Tutorials 1 & 2
Tutorial: Sign up for your
group projects
Briefing memo due
Sicondolfo VPAC15 – Winter 2025
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Feb 4 Aesthetic considerations in a commercial
field
Key concepts: creative economy & cultural
action plans, cultural tourism policy, media
subsidies
Tutorial 3 & 4
In-class: Brainstorm potential
research questions and read
through abstracts to annotate
an article
Tutorial: Sign up for your
group projects
Feb 11 Broadcast: From TV to Online
Key Concepts: Telecommunications,
broadcast regulations, Bill-C11, online
streaming as broadcasting, regulatory
changes
Tutorial 1 & 2
In-class exercise: Research
ethics and Interview workshop
Abstract & research question
assignment due
Feb 18 Reading week: do not come to class!
Feb.
25
Policy as Advocacy: Inclusion &
accessibility in theory & practice
Key concepts: equity & inclusion,
accessibility in the professional
environment, design justice, advocacy,
protest, resistance, manifestos
Tutorial 3 & 4
In-class: Attend Zoom talk with
artist Catherine Dong (TBC)
Tutorial: Group work session
Literature Review due
March
4
Sensemaking in practice
Key concepts: data narratives, policy briefs,
lobbying & government relations
Tutorial 1 & 2
In-class exercise: Guest lecture
by Dr. Jelena Arnautovic
Tutorial: Group work session-
prep for Policy Interventions
March
11
Co-creation and Knowledge Sharing
Key concepts:
Tutorial 3 & 4
Tutorial: Group work session-
prep for Policy Interventions
March
18
Policy interventions: group projects 1-7 Research Essay Due
Sicondolfo VPAC15 – Winter 2025
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In class: 15-minute class
engagement per group
March
25
Policy interventions: group projects 7-13 In class: 15-minute class
engagement per group
April 1 Policy interventions: group projects 14-20
In class: 15-minute class
engagement per group
Weekly Schedule and Reading List (subject to change)
Links to the required readings can generally be found in the “Library Reading List”
section of the course Quercus site. The rest are publicly available or available through
the UTSC library website.
Week 1: Jan. 7 Overview & syllabus review
**THERE WILL BE NO TUTORIAL THIS WEEK**
Key concepts: citizenship, sovereignty, human rights, value and valuation
Goals: Overview of course, discussion of assignments, policies and syllabus;
goalsetting for the course and self; and exercises in understanding what “policy” can
mean, including:
- Economic and cultural values
- Throsby’s concentric circles model (creative work at the heart of cultural policy)
In-class viewing:
• Parliament of Canada. 2020. “Active Citizenship” (3:15 minutes)
https://www.youtube.com/watch?v=bzH166AImAw
• "National Culture Summit: The Future of Arts, Culture and Heritage in Canada
2022": a talk by the Canadian Minister of Canadian
Heritage: https://www.youtube.com/watch?v=vWsz1wk1HRQ and also see:
https://www.canada.ca/en/canadian-heritage/campaigns/national-culture- summit.html for more videos etc.
In-class reading for in-class exercises:
• Harvey, J. & Marsh, J.H. 2015 (2006). Cultural Policy. Canadian Encyclopedia
website. ~4 pp. https://www.thecanadianencyclopedia.ca/article/cultural-policy#
In class small group exercise: pick one item to highlight & report back on:
• Government of Canada. Culture Statistics Portal.
https://www.statcan.gc.ca/en/subjects- start/business_and_consumer_services_and_culture/culture
Sicondolfo VPAC15 – Winter 2025
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Parts of the lecture will derive from:
• Throsby, David (2008). “The concentric circles model of the cultural industries,”
Cultural Trends, 17:3, 147-164.
Week 2: Jan. 14 Canadian Federalism and Canadian Cultural policy systems
Key concepts: Federalism, democracy, legislative framing, regulatory processes,
CanCon
Goals: Analysis of the scope of cultural policy and a critical look at the legal framework
within which it rests for arts, culture and media within Canada
In-class viewing:
• Parliament of Canada. 2022. Levels of Government (3:16 minutes)
https://www.youtube.com/watch?v=uwcMDuSGym4
• Jaff, Rebar. 2015. Multiculturalism as a threat and multiculturalism as an asset.
TEDxErbil. https://www.youtube.com/watch?v=_FSHKircIoA
Required reading and listening (to be read before class):
(1) Bannerman, Sara. Introduction to the Canadian Legal System. In Canadian
Communication Policy & Law, pp. 37-46. Toronto/Vancouver: Canadian
Scholars.
(2) Gattinger, Monica and Diane Saint-Pierre (2021). “Provincial and Territorial
Cultural Policy in Canada: Project Overview and Preliminary Observations.” In
Gattinger, Monica and Diane Saint-Pierre, Eds., Cultural policy: origins,
evolution, and implementation in Canada's provinces and territories, pp. 1-18.
Ottawa: University of Ottawa Press.
(3) Dholandas, Carl and Jonathan Paquette (2022). “Arts Policy, heritage policy and
the construction of a Canadian identity (1840-1949).” In Canadian Cultural Policy
in Transition, pp 3-13. Routledge.
(4) Ayed, Nahlah (Host), Ideas with Nahlah Ayed. “The 2024 Killam Prize Honours
Canada’s University Researchers (Part 1)” https://www.cbc.ca/listen/live-radio/1- 23-ideas/clip/16112558-the-2024-killam-prize-honours-canadas-university- researchers -- Transcript available if you listen on Apple Podcasts or Spotify.
Listen to the first 25 minutes.
Additional resources/Parts of the lecture will also derive from:
• Paquette, Jonathan. (2019). Cultural Policy and Federalism. Springer
International Publishing.
• Government of Canada. Democracy in Canada. Updated 2022-10-11.
https://www.canada.ca/en/democratic-institutions/services/democracy- canada.html
Sicondolfo VPAC15 – Winter 2025
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• Massey Report on the Royal Commission on National Development in the Arts,
Letters and Sciences 1949-1951. (1951). Library and Archives Canada.
https://www.collectionscanada.gc.ca/massey/index-e.html
• List of relevant legislation - https://www.canada.ca/en/canadian- heritage/corporate/legislation.html
• Online Streaming Act - https://www.canada.ca/en/canadian- heritage/services/modernization-broadcasting-act.html
• Online News Act - https://www.canada.ca/en/canadian-heritage/services/online- news.html
• Rabinovitch, V. (2007). Four ‘constants’ in Canadian cultural policy. Canadian
Museum of History website.
https://www.historymuseum.ca/learn/research/resources-for- scholars/essays/four-constants-in-canadian-cultural-policy/
Week 3: Jan. 21 Art and Culture as Public Good(s)
Key concepts: philanthropy, collective good, socialism & social safety nets, arts
funding crisis
Goals: Revisit Throsby’s value and valuation; discussions of how and why arts and
culture can (should? Should not?) be considered public goods; what happens when
public goods are in crisis? A contemporary look at the “State of Arts” in Toronto.
In-class reading and exercise:
• Siu, B. (2014). Public Policy Developers. In Developing Public Policy: A Practical
Guide, pp. 9-33. Toronto: Canadian Scholars’ Press.
• Siu, B. (2014). Formulating Policy Options and Recommendations. In Developing
Public Policy: A Practical Guide, pp. 149-169. Toronto: Canadian Scholars’ Press.
• List of policy plans and/or frameworks in preparation for your briefing memo
supplied by Dr. Sicondolfo
Required Readings (to be read before class):
(1) Throsby, David. 2010. The scope of cultural policy. In The Economics of Cultural
Policy, pp. 14-28. Cambridge, UK: Cambridge University Press.
(2) UNESCO. 2022. Re | shaping policies for creativity: addressing culture as a
global public good. Pp. 17-30.
https://unesdoc.unesco.org/ark:/48223/pf0000380474 (skim through a couple of
goals & be prepared to discuss in-class)
(3) Betz, Meredith. (2018, October 23). Bloomberg launches new support model for
small arts nonprofits. Nonprofit Quarterly (2 pp)
Sicondolfo VPAC15 – Winter 2025
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https://nonprofitquarterly.org/2018/10/23/bloomberg-launches-new-support- model-for-small-arts-nonprofits/
(4) Long, Angela. (2023) “Funding journalism – for the sake of philanthropy and
democracy,” The Philanthropist Journal. (2 pp)
https://thephilanthropist.ca/2023/11/funding-journalism-for-the-sake-of- philanthropy-and-democracy/.
(5) Spacing 68 (2024). Cover section: “State of the Arts in Toronto,” pp 26-41. (I will
provide PDF’s of these chapters over Quercus)
Additional resources/Parts of the lecture will also derive from:
• Imagine Canada Public Policy Portal. https://www.imaginecanada.ca/en/public- policy
• Imagine Canada Research Portal. https://imaginecanada.ca/en/research
• Imagine Canada. 2024. “Navigating New Horizons: The Contributions and
Perspectives of Multicultural Canadians.”
https://imaginecanada.ca/en/research/multicultural-study
• Toronto City Council. Boards and Commissions.
https://www.toronto.ca/community-people/get-involved/public-appointments/
Week 4: Jan. 28 Acts, Art, and Aesthetic Accessibility
Key concepts: culture as a pillar of society, policy for professional creative workers and
participants (e.g., Status of the Artist Acts [Federal & Provincial/Territorial], CCA &
other Acts)
Goals: Understand what is meant by aesthetic enlightenment, the democratization of
culture, and aesthetic accessibility; Make connections between these imperatives and
legislative Canadian cultural policy
Required Readings (to be read before class):
(1) Paquette, Jonathan. & Mulcahey, Kevin V. (2017). Reflections on Public Culture:
An Interview. The Journal of Arts Management, Law & Society, Vol. 47:4, 290- 294. doi: 10.1080/10632921.2017.1366383
(2) Gattinger, Monica. 2017. “The Canada Council’s Origin Story: How Did This
Distinctive Arts Council Model Come to Be? Has It Stood the Test of Time?” In
The Roots of Culture, the Power of Art: The First Sixty Years of the Canada
Council for the Arts, pp. 19-40. Montreal & Kingston: McGill-Queen’s University
Press.
(3) Gattinger, Monica. 2017. “A Seat at the Table: The Canada Council as More
than Arts Grantmaker.” In The Roots of Culture, the Power of Art: The First Sixty
Years of the Canada Council for the Arts, pp. 135-166. Montreal & Kingston:
McGill-Queen’s University Press.
Sicondolfo VPAC15 – Winter 2025
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Additional resources/Parts of the lecture will also derive from:
• Bourcheix-Laporte, Mariane, 2017.
“Creative Canada: A Critical Look at a
“New” Cultural Policy Framework,” CRTC Prize for Excellence in Policy
Research. https://crtc.gc.ca/eng/acrtc/prx/2019laporte.htm
• Department of Canadian Heritage. 2017. Creative Canada Policy Framework. [5- 12; 13-16 and 19-24]
https://www.canada.ca/content/dam/pch/documents/campaigns/creative- canada/CCCadreFramework-EN.pdf Or
https://www.canada.ca/en/canadian- heritage/campaigns/creative-canada/framework.html#
Week 5: Feb 4. Aesthetic considerations in a commercial field
Key concepts: culture and economy, creative economy & cultural action plans, cultural
tourism policy, industry subsidies
Goals: Identify differences between legislative and commercial aesthetics in/as cultural
policy; thinking about impacts and influences upon creative labour; In-class: Brainstorm
potential research questions and read through abstracts to annotate an article
Required Readings (to be read before class):
(1) Culture Connects: An Action Plan for Culture in Toronto 2025 – 2035. Download
the plan here: https://www.toronto.ca/city-government/accountability- operations-customer-service/long-term-vision-plans-and-strategies/action-plan- toronto-culture-sector/
(2) O’Connor, Justin. (2024). “Culture and Economy,” in Culture is not an Industry,
pp. 197-229. UK: Newgun Publishing.
(3) Minni Haanpää, José-Carlos García-Rosell, Seija Tuulentie. (2016). “Co-Creating
Places through Events: The Case of a Tourism Community Event in Finnish
Lapland” in Managing and Developing Communities, Festivals and Events, pp
34-49. Edited by: Allan Jepson and Alan Clarke. UK: Palgrave Macmillan.
Additional resources/Parts of the lecture will also derive from:
• Whitby. Culture Connects Whitby 2021-2031, pp. 8-21. Download the plan at
https://connectwhitby.ca/culture-plan/
Week 6: Feb 11 – Telecoms & Broadcasting: From Radio to TV to Online Streaming
Key concepts: Telecommunications, broadcast regulations, Bill-C11, online streaming
as broadcasting, regulatory changes
Goals: Broadly track the relationships between telecoms and broadcasting systems and
understand how their regulation has been intertwined since the early 1980.
Sicondolfo VPAC15 – Winter 2025
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In-class: Guest Lecture by Mariane Bourcheix-Laporte over Zoom.
Required Readings (to be read before class):
(1) Bannerman, Sara. 2020. Telecommunications regulation. In Canadian
Communication Policy & Law, pp. 159-187. Toronto/Vancouver: Canadian
Scholars.
(2) Bannerman, Sara. 2020. Broadcasting regulation. In Canadian
Communication Policy & Law, pp. 189-225. Toronto/Vancouver: Canadian
Scholars.
(3) Taylor, Kate. 2023. "Bill C-11 is a Victory for the Possible: Audiences can Still
Watch as Much Foreign Content as they Want, but More Canadian Options
should Become Available Too." The Globe and Mail, Apr 29.
https://www.theglobeandmail.com/arts/art-and-architecture/article-bill-c-11- is-a-victory-for-the-possible/
(4) Mariane Bourcheix-Laporte. April 5, 2023. “How the Online Streaming Act
will Support Canadian Content.” The Conversation.
https://theconversation.com/how-the-online-streaming-act-will-support- canadian-content-201862
Additional resources/Parts of the lecture will also derive from:
• Bannerman, Sara. (2020). Internet regulation. In Canadian Communication Policy
& Law, pp. 227-258. Toronto/Vancouver: Canadian Scholars.
Week 7: Feb 25 – Policy Advocacy: Inclusion and accessibility in theory & practice
Key concepts: equity & inclusion, accessibility in the professional environment, design
justice, advocacy, protest, resistance, manifestos
Goals: Make connections between design justice in tech and media and within cultural
policy: how does one impact the other?
In-class: Attend Zoom talk with artist Catherine Dong (TBC)
Required Readings (to be read before class):
(1) Costanza-Chock, Directions for Future Work: From #TechWontBuildIt to
#DesignJustice. In Design Justice: Community-Led Practices to Build the World
We Need, pp. 211-236. Cambridge: The MIT Press.
(2) Ketchum, Alex D. 2022. “‘Access’ for the Audience and the Public,” Chapter 3 in
Engage in Public Scholarship, pp 35-6. Gatineau: Concordia University Press.
(3) Kendi, Ibram K. 2019. How to be an antiracist, pp. 17-20, 129-132. New York:
One World.
Sicondolfo VPAC15 – Winter 2025
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(4) Laing, J. 2015. What does culture look like when #BlackLivesMatter?
Grantmakers in the Arts. GIA Reader, Vol. 26, No.3, n.p.
https://www.giarts.org/article/what-does-culture-look-when-blacklivesmatter
~1.5 pp.
(5) Thomas, Archie, et al. 2020. The Black Lives Matter movement has provoked a
cultural reckoning about how Black stories are told. TheConversation.com
https://theconversation.com/the-black-lives-matter-movement-has-provoked-a- cultural-reckoning-about-how-black-stories-are-told-149544
(6) McBride, Jason. Aug 28, 2024. “Why did Canada’s Top Art Gallery Push out a
Visionary Curator?” The Walrus. https://thewalrus.ca/why-did-canadas-top-art- gallery-push-out-a-visionary-curator/
Additional resources/Parts of the lecture will also derive from:
• Scarborough Arts https://scarborougharts.com/
• Toronto Arts Council (advocacy): https://torontoartscouncil.org/advocate
• Canada Media Fund. Various dates. See reports under https://cmf-fmc.ca/about- us/equity-and-inclusion/
• Coles, A., MacNeill, K., Vincent, J.B., Vincent, C., with Barré, P. 2018. Executive
Summary and Cross-Sectoral Analysis. In The Status of Women in the Canadian
Arts and Cultural Industries: Research Review 2010-2018, pp. 4-5; 13-29.
Toronto: Ontario Arts Council. PDF available here:
http://www.arts.on.ca/research-impact/research-publications/the-status-of- women-in-the-canadian-arts-and-cultural-industries-research-review-2010-2018
Week 8: March 4 – Sensemaking in practice
Key concepts: data narratives, policy briefs, lobbying & government relations
Goals: Understanding how the translation of stats and data evolved into data narratives
and ultimately into cultural policy. We will also compare these processes between
Canadian film/media and ex-Yugoslavia’s film/media which is a former communist
country.
In-class: Second half of the class: guest lecture by Dr. Jelena Arnautovic
Required Readings (to be read before class):
(1) Canadian Arts Coalition. “About”, “History”, and read newest three “News”
items http://www.canadianartscoalition.com/
(2) Mass Culture. “DNA Initiative” https://massculture.ca/dna/ and “Arts Impact”
https://massculture.ca/arts-impact/
(3) Mass Culture. 2022. Federal Budget Analysis 2022. (Arts Chapter).
https://massculture.ca/reports-tools-and-templates/federal-budget-analysis- 2022/
Sicondolfo VPAC15 – Winter 2025
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(4) Department of Canadian Heritage. 2022. National Culture Summit: The Future
of Arts, Culture, and Heritage in Canada, May 2-4, 2022. pp. 11-24. Gatineau:
Government of Canada. https://www.canada.ca/en/canadian- heritage/campaigns/national-culture-summit/final-report.html
(5) Wagman, Ira. 2019. 'Three Canadian Film Policy Frameworks', in Janine
Marchessault, and Will Straw (eds), pp 3-20. The Oxford Handbook of Canadian
Cinema, https://doi.org/10.1093/oxfordhb/9780190229108.013.1.
Additional resources/Parts of the lecture will also derive from:
• Edge, Marc. 2020. Enabling Postmedia: Economists as the “Rock Stars” of
Canadian Competition Law. Canadian Journal of Communication, Vol. 45, No. 2:
287-303.
• Miljan, L. Agenda setting and policy formation. In Public Policy in Canada, 7th
edition, pp. 86-108. Oxford, UK: Oxford University Press.
• Statistics Canada Culture Satellite Account. https://www.canada.ca/en/canadian- heritage/corporate/publications/general-publications/culture-satellite- account.html
• Arnautović, Jelena. 2002. “Networking Zabavna Muzika: Singers, Festivals, and
Estrada” in Made in Yugoslavia, p.15-24. Routledge.
Week 9: March 11 – Co-creation and Knowledge sharing
Key concepts: collective action (democracy revisited?), neighbourhood action (e.g.,
climate change & cultural policy), professional associations & networks, toolkits &
databases (e.g., Artifex, Creative Hubs DB)
Goals:
Required Readings (to be read before class):
(1) Cizek, Katerina and William Uricchio. 2022. “Introduction,” and “Field Guide:
Risks and Lessons of Co-Creation.” In Collective Wisdom, pp 1-17 and 241-292.
Cambridge: MIT Press.
(2) Wu, Hsin-Ching, Kate Keeney & Chris Burgess. 2022. “Emerging Role of Artists
in Co-Creation of Climate Adaptation.” Journal of Cultural Management and
Cultural Policy, 2022(1): 99–121. https://jcmcp.org/articles/the-emerging-role-of- artists-in-co-creation-of-climate-adaptation/?lang=en
(3) Blackstone, M., Hage, S., & McWilliams, I. 2016. Understanding the role of
cultural networks within a creative ecosystem: a Canadian case-study. ENCATC
Journal of Cultural Management & Policy Vol. 6:1, 13-29.
https://www.encatc.org/media/2662-2016encatc_journal_vol6_issue11329.pdf
Sicondolfo VPAC15 – Winter 2025
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Additional resources/Parts of the lecture will also derive from:
• NIMAC “Independent distribution and you”
https://www.nationalimac.org/Independent-Distribution-and-You and analog
‘zine (to be distributed in class)
• Artifex. https://criticaldigitalmethods.ca/artifex/ and Creative Hubs & Networks.
2021. https://criticaldigitalmethods.ca/creative-hubs-and-networks-database/
Week 10: March 18 – Policy interventions presentations (group projects)
In-class will be dedicated to peer presentations. 1 additional reading depending on
what I feel should still be addressed will be assigned to discuss in tutorial.
Week 11: March 25 – Policy interventions presentations (group projects)
In-class will be dedicated to peer presentations. 1 additional reading depending on
what I feel should still be addressed will be assigned to discuss in tutorial.
Week 12: April 1 – Policy interventions presentations (group projects)
In-class will be dedicated to peer presentations. 1 additional reading depending on
what I feel should still be addressed will be assigned to discuss in tutorial.
Some relevant scholarly journals:
American Journal of Arts Management
Artivate: A Journal of Entrepreneurship in the Arts
Canadian Public Policy
Canadian Journal of Communication
ENCATC Journal of Cultural Management and Cultural Policy
International Journal of Arts Management
International Journal of Cultural Policy
International Journal of Museum Management and Curatorship
International Journal of Nonprofit and Voluntary Sector Marketing
International Studies of Management and Organizations
Journal of Arts Management, Law & Society
Journal of Cultural Economics
Music & Entertainment Industry Educators Association Journal
Also see: https://guides.library.utoronto.ca/arts-management
Additional relevant legislation to consult as needed
Provincial and territorial Arts Council and Creative Agencies Acts
Federal, provincial, territorial and municipal museums Acts
Sicondolfo VPAC15 – Winter 2025
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Government of Canada. In process (3rd reading, Senate). An Act to amend the
Broadcasting Act and to make related and consequential amendments to other Acts.
____. 2018. USMCA Agreement. https://international.gc.ca/trade-commerce/trade- agreements-accords-commerciaux/agr-acc/usmca-aeumc/index.aspx?lang=eng
——. 2015. Security of Canada Information Sharing Act, S.C. 2015, C. 20. http://laws- lois.justice.gc.ca/eng/acts/S-6.9/page-1.html
——. 2012. Jobs, Growth and Long-term Prosperity Act (S.C. 2012, c. 19).
——. 2010. An Act to promote the efficiency and adaptability of the Canadian
economy by regulating certain activities that discourage reliance on electronic means
of carrying out commercial activities, and to amend the Canadian Radio-television and
Telecommunications Commission Act, the Competition Act, the Personal Information
Protection and Electronic Documents Act and the Telecommunications Act (S.C. 2010,
c. 23).
——. 2004. Library and Archives of Canada Act. (S.C. 2004, c. 11).
——. 1998. Canada Marine Act. (S.C. 1998, c.10). Current to 2018-10-24, last amended
2018-05-23.
——. 1996. Oceans Act. (S.C.1996, c. 31). Current to 2018-10-24, last amended 2015- 02-26.
——. 1993. Telecommunications Act, S.C. 1993, c. 38. http://laws- lois.justice.gc.ca/eng/acts/t-3.4/
——. 1991. Broadcasting Act. S.C. 1991. c.-11. http://laws- lois.justice.gc.ca/eng/acts/b-9.01/
——. 1985. Canada Council for the Arts Act, R.S.C.,1985, c.C-2. http://laws- lois.justice.gc.ca/eng/acts/c-2/
——. 1985. Copyright Act, R.S.C., 1985, c. C-42. http://laws- lois.justice.gc.ca/eng/acts/c-42/
——. 1985. CRTC Act, R.S.C., 1985, C. C-22. http://laws.justice.gc.ca/eng/acts/C-22/
——. 1985. National Film Act, R.S.C., 1985, c. N-8. http://lois- laws.justice.gc.ca/eng/acts/N-8/page-1.html
——. 1982. Constitution Act.
Yale. J., et al. 2020. Canada’s Communications Future: Time to Act: Broadcasting and
Telecommunications Legislative Review Final Report. ISED and Department of
Canadian Heritage.
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