ARTFUL PLACES: CULTIVATING ARTS, CULTURE AND NATURE IN RURAL DEVELOPMENT BETSY DONALD AND HEATHER HALL This study is part of the Research Partnerships to Revitalize Rural Economies project, a research initiative of The Monieson Centre at Queen’s School of Business funded by the Social Sciences and Humanities Research Council of Canada (SSHRC) Partnership Development Grant program, as well as significant partner‐based funding. Project resources are available online at www.economicrevitalization.ca. ArtfulPlaces:
Cultivatingarts,cultureand
natureinruraldevelopment
BetsyDonaldandHeatherHall
DepartmentofGeography,Queen’sUniversity
February2014
WorkingPaperforTheMoniesonCentre,
SSHRCProjectonRuralEconomicRevitalization
TableofContents
TableofContents......................................................................................................................1
Introduction...............................................................................................................................2
ClarifyingConcepts..................................................................................................................3
Definingcreativity..............................................................................................................................4
Defining“creativeindustries”........................................................................................................4
DefiningCreativeEconomy,CreativeClass...............................................................................6
DefiningArtisticOccupationsandtheArtisticDividend.....................................................8
ArtsandRuralEconomicDevelopment.........................................................................10
ArtsandRuralEconomies............................................................................................................10
Whyartsandruraleconomies?..................................................................................................11
Canadianrevitalizationexamples.............................................................................................11
Whatcanwelearnfromtheseexamples?..............................................................................14
Newconsiderations–“aNatureDividend”?...........................................................................14
TheCaseStudy:FrontenacArtsBiosphere..................................................................15
Methodology......................................................................................................................................17
Results.................................................................................................................................................18
AFAB“NatureDividend?”.............................................................................................................23
ConclusionsandRecommendations:BuildingaRuralArtsandNature
Approach..................................................................................................................................26
Acknowledgements...............................................................................................................28
References................................................................................................................................28
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Introduction
Adrivingquestioninruraleconomicdevelopmentseemstobe:whydosomerural
communitieshaveauniqueartisticculturalidentityandothersdon’t?Inotherwords,
why do some rural regions capture the imagination of residents, businesses and
visitors alike in terms of distinctive cultural, natural and artistic amenities, quaint
small‐town feeling and a vibrant arts and culture scene? How have these places
managed to leverage the arts, culture and nature for both tourist attraction and
sustainedeconomicdevelopment?
Thepurposeofthispaperistoexplorethesequestionswithaparticularinterestin
applying lessons learned to rural Ontario, in general, and Eastern Ontario and the
FrontenacArchBiosphereinparticular.TheFrontenacArchBiosphereisabeautiful,
if yet, undiscovered region in southeastern Ontario that could be described as an
“arts‐ready”place,butithasnotyetcapitalizedonitspotentialstobecomeawell‐
knownartfulplaceinCanada.Manyoftheingredientsarethere:theregionhasagood
mix of artisans and cultural amenities, several quality theatres, art galleries and
museums,quaintheritagepreservedsmalltowns,andoutstandingnaturalfeatures.
Itsnaturallandscapeissucha“placeofgreatbeauty”thatin2002UNESCOdesignated
itasoneofonly16BiosphereReserveslocatedinCanada,andover600worldwide.
TheFrontenacArchBiosphereReserveextendsroughly2,700squarekilometersin
thesoutheasternportionofOntario,makingitthemostbio‐diverseregioninCanada.
Withits“longandrichculturalheritageitservesasthehistoricgatewaythroughthe
St.LawrenceRivertoallofCanada”(UNESCO,2013).Butwhy,withalltheseassets
isitrelativelyunknown?Whydoesn’ttheregionmakethelistofartfultowns1and/or
regions in Canada? Why do towns like Stratford (Ontario), Banff or places like
Saltspring Island, Charlevoix, or Trinity and Fogo Island (Newfoundland and
Labrador)makethegrade?
1Seeforexample,bookslikeJohnVilliani’s“The100BestSmallArtsTownsinAmerica”
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Inthispaper,weseektoanswerthesequestions.Todothis,wefirstdefinewhatwe
mean by arts and culture in the context of economic development, making a clear
distinction between cultural industries, artistic occupations, and often more
ambiguous terms like“creativeclass”and“creativeeconomy”.Next we reviewthe
academicandpolicyliteratureontheroleofartsandcultureinruralrevitalization.
Wepayparticularattentiontonewerapproachestoartsandculture,whichviewarts
and culture as integral to the rural economy. Contrary to popular belief, arts
organizationsandartistsarenotsimplya“frill”consumedbythelocalmarket,butin
factthepresenceofartistsandarts‐relatedorganizationsaddan“artisticdividend”
toacommunitythatotherwisewouldnotexist(MarkusenandSchrock,2006).
Furthermore,artists–especiallyinruralareas–aredeeplyinspiredandconnected
tothenaturallandscapesandhavemuchincommonwithbusinessesthatdrawon
the land for their livelihood, such as artisanal craft makers, food producers, eco‐
touristoperators,andothertouristandretailbusinesses.Wearguethatprotected
naturallandscapesadda“naturedividend”(DonaldandHall,2014)toacommunity
thatotherwisewouldnotexist.Wethenturntoourcasestudyandpresentsomeof
thefindingsfrominterviewsandasurveyconductedwitharts,natureandculture
businesses,artisans,andorganizationsintheFrontenacArchBiosphere.Weconclude
this paper with thoughts and recommendations for recasting rural development
using a multifaceted “arts and nature” approach to help ‘art‐in‐progress’ places
becomebetterknownas“artfulplaces”.
ClarifyingConcepts
Beforewebeginourreview,itisimportanttoclarifysomekeyculturalandcreative
conceptsandexplainhowtheyhavebeenusedineconomicdevelopment2(Donaldet
al.,2013).Termslike“creativity”,“culturaleconomy”,“creativeclass”and“cultural
industries”havebeenallthe“buzz”ineconomicdevelopmentpolicyoverthelastten
2 It is important to emphasize that we are examining the term “creativity” in relation to economic
development,butwerecognize,ofcourse,thatitcanbedefinedinmultiplewaysandfromdifferent
theoreticalandpracticalperspectives.
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years,butoftenthetermsaremisusedormisunderstoodandcancreateconfusion
whenthinkingaboutthearts(broadlydefined)ineconomicdevelopment,especially
intheruralcontext.
Definingcreativity
Atthemostbasiclevel,creativityasusedinthecontextofeconomicdevelopmentis
defined as the invention of a new product, process solution or idea that has some
value.3Morerecently,thetermhasbeenusedtocapturethelonger‐termstructural
changesoccurringinadvancedeconomies,especiallywithrespecttothenatureand
organization of work. Traditional physical inputs in production are still necessary,
buttheideasandcreativeprocessbehindthebestwaytouseandadapttheseinputs
are becoming increasingly important. Scott (2007) has called this the “cognitive
cultural economy” where “intellectual and affective human assets” play out in a
varietyofsectors:hightechnology,healthcare,neo‐artisanalmanufacturing,media
and other cultural‐products industries. Pratt (2008: 107) argues that the cultural
industriesareessentialtostudybecausetheyare“practicalexamplesofthehybrid
andcomplexrelationshipsbetweenproductionandconsumption,thesymbolicand
material”(seealsoDonaldetal.,2013).
Defining“creativeindustries”
Cultural industries are defined most basically as industries that have origin in
individual creativity that have potential for wealth creation through intellectual
properties(DCMS,2001).Theyincludesuchsectorsasadvertising,architecture,arts
and antique markets,crafts,design, designer fashion, film, video and photography,
software, computer games and electronic publishing, music and the visual and
performingarts,publishing,televisionandradio(DCMS,2006).
3Asappreciatorsofthearts,webelieveofcoursethatartprovidesvaluesfaroutsidetheeconomic
realmandthesevaluescannotbeconflatedwithitseconomicdimensions.Thepurposeofthispaper,
however, isto primarilydocumenttheeconomic reasons whyartshould be nurtured in a regional
economyandmakerecommendations(seealsoMarkusenandSchrock,2006).
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Whilethereisstillalotofdebateonwhatindustriestoincludeinculturalindustry
definitions(seeUNCTAD,2008;2010forathoroughreview),themostrecentstudies
recognize the importance of not only commercial cultural industries that generate
intellectualproperty,butalsonot‐for‐profits,informalandpubliclyfundedagencies
as well as for‐profit, formal and private sector activities (such as museums, art
galleries,theatrecompanies,etc.)(PrattandHutton,2013).Thisisbecausethereisa
directrelationshipbetweentheproduction‐relatedactivitiesofthecreativeeconomy
(e.g.,theartproduced)andthevaluechainsrequiredtosustainsuchproducts(the
placestheartisshownandconsumed).SimilartoPrattandHutton(2013),DePropris
(2013) has recently argued that cultural industries are not simply a “frill” to be
consumedduringeconomicallyvibranttimesbutthattheycontributetotheprocess
by which the culture of a society is formed and transmitted through production,
distributionandmarketinginthewidereconomy.
TheUnitedNationsConferenceonTradeandDevelopment(UNCTAD)hasgrouped
theirdefinitionofculturalindustriesintofourmainareas:(1)heritage;(2)arts(3)
mediaand(4)functionalcreations(seeTable1).Thisseemslikeaparticularlyhelpful
way for rural communities to think about where they may fit along the creative
industries geographical value chain. Rural communities are likely strongest in the
firsttwogroupings:heritageandthearts.Ratherthanseeurbanplacesasinherently
“creative”(asmuchofthe“creativeclass”literaturehasdone)andruralplacesasnot,
thisgroupingcapturestherelationalcharacterofcreativity.Inotherwords,artistic
andcreativeactivityinruralplacesfeedsintolargerculturalindustryvaluechains.
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Table1.UNCTADDefinitionofthecreativeindustries
Group
Heritage
Arts
Media
Functional
creations
Definition
Definedastheoriginofallformsofartsandthe
soulofculturalandcreativeindustries.Group
comprisesthetraditionalculturalexpressionsof
arts,crafts,festivalsandcelebrations;aswellas
culturalsites(archaeologicalsites,museums,
librariesetc.).
Groupincludescreativeindustriesbasedonarts
andculture.GroupcomprisestheVisualarts
(painting,sculpture,photographyandantiques)
andPerformingarts(livemusic,theatre,dance,
opera,circus,puppetryetc.).
Comprisesmediathatproducescreativecontent
withpurposeofcommunicatingwithlarge
audiencesandthus:publishingandprintedmedia
(books,pressandotherpublications)and
audiovisualfilms(television,radioandother
broadcasting).
Comprisesmoredemanddrivenandservices
orientatedindustriescreatinggoodsandservices
withfunctionalpurposeswhichincludesdesign
(interior,graphic,fashion,jewelryandtoys)and
newmedia(architectural,advertising,cultural
andrecreational,creativeresearchand
development(R&D),digitalandotherrelated
services)andalsocreativeservices(architectural,
advertising,culturalandrecreational,creative
researchanddevelopment(R&D),digitaland
otherrelatedcreativeservices.
Geography
Originsinruralor
urbanplaces
Originsinruralor
urbanplaces
Someactivityinrural
areas,butmorelikely
tothriveinadensely
populatedurban
milieu
Consumer‐driven
largelyoriginating
fromlargeglobal
citiesandmanyofthe
productionfunctions
requireanurban
agglomeration
economy
Source:UNCTAD(2010);Donaldetal.,(2013)
DefiningCreativeEconomy,CreativeClass
Inadditiontotheculturalindustriesapproach,severalauthorshavefocusedmoreon
theprofessionsoroccupationsthatmakeupthelarger“creativeeconomy”.Inthis
context, the “creative economy” 4 is defined as those aspects of the economy
4Florida(2002:8)definesthecreativeclassas“peopleinscienceandengineering,architectureand
design,education,arts,musicandentertainment,whoseeconomicfunctionistocreatenewideas,new
technologyand/ornewcontent”.Hisdefinitionofthecreativeworkerismuchbroaderthanthosewho
makeupthecoreoccupationsintheculturalindustries.Hearguesthatsomeregionsintheworldare
becomingcentersforthecreativeclassbecauseoftheirattractivenessbasedonhis“3Ts”(technology,
talent, tolerance) economic development model. His research became popular with economic
policymakers because he argued that those cities and regions that could attract the creative class
wouldbeeconomicwinnersrelativetootherplaces.
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(industries, sectors, people) that are engaged in knowledge‐intensive economic
activity.Mostwouldagreethatnotwithstandingsomeimportantearlierwork(e.g.,
Scott, 1997 and Hall, 1989) widespread recognition of the growing importance of
creativeworkwasstimulatedbyRichardFlorida’sargumentsaboutthesignificance
ofcreativityandhiscreativeclassthesis.Hisideasarewellknown,sotheywon’tbe
repeatedhereinanydepth.Verybriefly,however,Floridaarguesthatcreativity(that
is,theinventionofnewideas,newtechnologiesand/ornewcreativecontent)isakey
source of competitiveadvantagein today’s knowledge driven society. Creativity to
Floridahasthepotentialtoexistinvirtuallyeveryindustry,butwhatdistinguishes
hisworkfromothersishisfocusonthecreativeclass(Florida,2002).
Therankingandratingofcitiesandregionsbasedontheir“creativeclass”quotient
becameveryfashionableinthefirstdecadeofthe21stcentury,butthecreative‐city
discourse had the effect of marginalizing smaller cities and regions that couldn’t
possiblycompeteonapolicyapplicationofatheorythatwaslargelypremisedonthe
necessary conditions of an agglomeration economy, including a deep and diverse
labourmarket(seeforexampleHallandDonald,2009;Hall,2011;LewisandDonald,
2010;SandsandReese,2008).
Florida’sworkunleashedawaveofcriticismasscholarsbegantochallengemanyof
theconceptualandempiricalunderpinningsofthetheoryandhowitwasapplied(see
Donaldetal.,2013forareview).OneimportantcritiquecamefromAnneMarkusen,
whoarguedthatthecreativeclassapproachwastoobroadand”fuzzy”andobscured
manyofthedifferenceswithinthecreativeworkforceintermsoforganization,labour
marketandinnovationdynamics.Workersinartisticanddesign‐relatedprofessions,
forexample,havevariegatedanddiversesetsofpracticesandtheircontributionsto
economicdevelopmentareunique(MarkusenandStrock,2006).
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DefiningArtisticOccupationsandtheArtisticDividend
AnnMarkusen(seeforexample2011;2013;MarkusenandSchrock2006;Markusen
and Isserman, 2012; Markusen and Gadwa, 2010a; 2010b; Markusen, Gadwa,
Barbour and Beyers, 2011) is a world‐renowned expert in regional economic
developmentandhasspentalotoftimethinkingabouttheroleofartistsinregional
development as well as the impact of public investment in cultural facilities and
programming.
Markusen and Schrock (2006) define artists to include performing artists (actors,
directors,dancers,choreographers),musicians,writersandvisualartists(painters,
photographers,filmmakers,ceramicists,textileartists,sculptors,andprintmakers).
They argue that artists contribute to the regional economy in many explicit and
implicitways.Traditionalartsimpactsstudiesareimportantbecausetheymakethe
case for public and philanthropic investments in the arts. They also detail the
probable expenditures of local and tourist arts patrons on things like tickets,
restaurant meals, hotels and other local purchases. While there are always
methodological challenges, these studies do show “a not‐insignificant economic
returntonon‐artisticbusinessesandtheregionaleconomyasawhole”(Markusen
andSchrock,2006:1662).Oneofthelimitationsoftheseimpactstudies,however,is
thattheyapproachtheartsasalocal‐servingindustry.Theeconomicbaseanalysis
relies on industry definitions rather than occupations in identifying these base
components. As a result, artists are not generally considered part of the economic
baseoftheregion.Theyareseenasinitiallycreatingforalocalmarket,but“suchan
approach seriously understates the full economic contribution of an artistic
communitytoaregionaleconomy”(1662).
Markusen and Schrock (2006) go on to detail several of the components of the
contributionofanartisticcommunityonregionaldevelopment.Figure1summarizes
thesecontributionsandtakentogetherthesecomponentsmakeupwhattheycallthe
artistic dividend for a regional economy. They define the artistic dividend as “the
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additional economic impact that would not occur without the presence of artists”
(1662).So,fromastrictlyeconomicimpact,
Artists are thus not simply earning income from local activities. They are
contributor’stotheregion’seconomicbase–goodsandservicesexportedout
oftheregionthatenabletheproducerstoearnincomesthatareinturnspent
insupportoflocal‐servingbusinessesaswellasonimportsofyetothergoods
andservices(1662‐1663).
Figure1.TheArtisticDividend
TheArtistic
Dividend
(1) The work that artists do to enhance design features of a region’s
manufacturing or marketing efforts; (2) The success of photographers,
painters,authors,poetsandgraphicdesignersinexportingtheirworkout
oftheregionovertheinternetatartandtradefairs,orotherdirectsales
routes; (3) The revenue and income that comes togroups or artists who
tourwiththeatrical,musicalordanceperformances;(4)Theincomes
earned and human capital created by the many artists who teach
others;(5)Theincomegeneratedforsupportworkers(setbuilders,editing
manuscripts, print books and music, brokers, etc.); (6) The potential of
regionalconsumptionoftheartstobeimportsubstituting.Inotherwords,
consumers may be willing to spend their money on performances and
artworkratherthanshoppingmallsfullofimportedgoods.
Source:AdaptedfromMarkusenandSchrock(2006)
Theartisticdividendisalsopartofapublicgood.Becker(1982)callsthisthe“art
worlds” in which past investments in a place by a variety of arts patrons,
philanthropists,governmentbodiesandindividualscometogetherinhumancapital
andphysicalinfrastructuretocreateavibrantregion.Avibrantartssceneiswhat
Florida (2002) credits for providing further pull to attract new employees from
elsewhereandotherartistsintotheregion.Bythesametoken,MarkusenandSchrock
(2006) note that a vibrant arts scene can also reinforce loyalty and ‘lovability’ for
currentresidentsandbusinesses.
MarkusenandSchrock(2006)goontooperationalizetheirartisticdividendthesis
throughastudyofoccupationsratherthanindustries.Oneofthechallengesforany
researcher studying in this area is that there is no accurate data that assesses the
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valueofartists’directexportsfromtheregion,thevalueoftheirworkoncontractto
non‐artsbusinesses,ortheirroleininducinginnovationinothersuppliersorsectors.
Surveysandinterviewscangetatsomeofthecomponents,butitisverydifficultto
putavalueonmanyofthesecomponents.ForMarkusenandSchrock,theyadoptan
occupational approach. In their study of artistic concentrations for the top 29 US
metrosbyemployment,theyfoundthatoncethelargestcitiesaretakenoutofthe
mix, artists tend to sort themselves out unevenly across space, which is not
necessarilyrelatedtocitysize.
ArtsandRuralEconomicDevelopment
Sowheredoesthisleavethesmallruralregionsandtowns?Thereisnoquestionthat
mostofthe“creative”economyliteraturehasfocusedonthelargercenters,mainly
becausethereismuchmorecomparativedataavailableontheseplacesandbecause
as many scholars have demonstrated, agglomeration economies will drive artists
towards large cities. These trends in some ways seem irreversible, but it does not
meanthatthereisn’taplaceforartsinruralrevitalization.
ArtsandRuralEconomies
Many studies have found a presence of artistic colonies in small towns and rural
regions.Forexample,usingcreativeclassdefinitions,McGranahanandWojan(2007)
discoveredthatcertainoccupationsarepulledtoruralplacesthathaveaparticular
mountainous geography and climate. In Canada, Denis‐Jacob (2011), Olfert and
Patridge(2011)andPetrov(2007)haveallfoundthatcreativepeople(usingvarious
definitions)aredrawntoplacesintheRockyMountainsandonthePacificcoast,but
also to places near major urban centers, especially around Montreal and Toronto.
TherearealsoseveralcasestudiesofsmallerplacesintheUKandAustraliathathave
been successful in developing an artistic cultural base for their regional economy
(WaittandGibson,2009;WoodandTaylor,2004).AccordingtoPolèse(2012:1813),
smallerplaces,giventherightattributes,canattractartistslessanchoredtothecity,
especiallythoseartiststhatdonotrequire“scale‐sensitiveinfrastructure”tothrive.
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Moreover,theInternet,emailandwirelessconnectionsaremakingiteasierthanever
toliveandworkindifferentlocations.
Whyartsandruraleconomies?
Inherstudyofthepotentialofarts‐baseddevelopmentinruraleconomies,Markusen
(2007) argues that for many rural communities, economic survival has been
particularly difficult and spending on industrial recruitment has often been
disappointing. Cultural facilities and programming however can “provide a
particularlyvibrantformoflocallyorientedgrowthpotential”(9).Markusenoffers
four main reasons for this. First, cultural facilities and programming allow local
citizens to divert expenditures that they would have spent on other forms of
consumptionelsewhereintolocalpurchasesthatinturnsupportotherlocalincomes.
Second, these cultural facilities are attractive to footloose artists who would be
encouraged to relocate in a community with these kinds of facilities. These artists
bringtheirownexportsales(orgrant‐gettingabilities)withthemandmaybringnew
ideas and creativity to the region. Third, if these artists are successful in the local
market,theymaybegintoattracttouriststothelocality.Fourth,ifculturalfacilities
arelocatedinhistoricdowntowns,theycanplayaroleinrevitalizingmainstreets
and spur other retail investments and arts‐related visits (Markusen, 2007: 19‐20).
Her work also demonstrates the value of the arts to rural economic development
usingcasestudiesofthreesmalltownsandruralareasinMinnesota.Theseexamples
showhowactionsmadeonthepartoflocalagentsintermsofinvestinginphysical
capital, such as artists’ centers, artists’ live/work buildings and performing arts
centers have increased local spending, attracted artists as residents and drawn in
consumersespeciallyfromthesurroundingareas.
Canadianrevitalizationexamples
InCanada,thereareseveralgoodexamplesofplacesmakinganexplicitinvestment
inarts‐basedinfrastructuretospurlocaleconomicgrowth.Stratford,Ontario,witha
populationof30,000,isaparticularlyinterestingexample.Onceavibrantrailwayand
furniture making town, Stratford’s manufacturing economy declined in the
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immediate post‐war period with the collapse of the rail industry and other
manufacturing industries. In 1953, Tom Patterson, a local journalist and civic
entrepreneur, convinced the City Council and civic leaders that Stratford should
investintheStratfordShakespeareFestivalwiththeaimofmakingStratfordoneof
theworld’spremierdesignationsforShakespeareanlivetheatre(Shaw,2012).Since
then the town’s theatre and arts‐community has gone from strength to strength.
Recently, civic leaders have built upon the areas deeper agricultural roots to link
artistic experiences with epicurean experiences for local residents, businesses and
tourists.Localbusinessesandresidentshavealsoworkedwithurbandesignersand
planners to preserve many of the heritage qualities of the town and build up an
extensive park system. All these features further complements the artful place
attributes of the town. Today, almost 30% of the town’s business comes from the
Chicagoareaandtheaveragetouristspendsover$288dollarsavisitonlocaldining,
shoppingandhotels.AccordingtoPolèse’s(2012:1821)studyofartspresencein135
Canadian cities, Stratford has the highest location quotient for arts‐related
employment of any Canadian city. He attributes much of Stratford’s success to its
festivalinvestmentsandlocationclosetoKitchener‐Waterloo,LondonandToronto.
NoprovinceinCanadacelebratesitsruralhistory,arts,cultureandnaturequitelike
NewfoundlandandLabrador.The“FindYourselfHere”marketingandadvertising
campaign, which launched in 2006, has showcased the province to the world as a
uniquetraveldestination.Thelatestadcampaignwelcomespeopleto“theedgeof
the continent” to “witness the first sunrise in North America”set against beautiful
imageryofNewfoundlandandLabrador’snaturallandscape.Inanother,thedialects
oftheprovincearecelebratedagainstthebackdropofsmallfishingcommunities(NL
Tourism, 2013; Government of Newfoundland and Labrador, 2013). The tourism
strategy is focused on inspiring “travellers through authentic experiences that
embraceournaturalcreativity,environment,anduniquecultureforthesustainable
benefit of our people and our province” (Department of Tourism, Recreation and
Culture,2009).AccordingtoTourismMinister,TerryFrench,out‐of‐provincevisits
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have grown three percent per year and spending by tourists has increased five
percentperyearsincethelaunchofthecampaign(CBCNL,2013).
Intermsofalocalexample,theRisingTideTheatre,createdin1978inthetownof
Trinity,isacreativeandinnovativeleaderoftheartsintheprovince.Oneexampleof
thisistheir‘NewFoundeLandeTrinityPageant’,whichstartedin1993.Patronswalk
through the lanes and roads of the town watching the summer theatre company
performandcelebratethehistoryofTrinityandtheprovince.Theyestimatethatover
190,000visitorshavewalkedthroughthisseasidetownsinceitsfirstperformance
while the theatre receives roughly 20,000 visitors on an annual basis (Rising Tide
Theatre, 2010a; 2010b; 2010c). This is especially impressive given that the
populationofTrinityisonly137people(StatisticsCanada,2012a).Thetownhasa
longhistoryconnectedtothefisheriesandislocatedalongtheBonavistaPeninsula
withstunningviewsoftheAtlanticOcean(TownofTrinity,2012).
Another example that has recently captured plenty of media attention in NL and
acrossCanadaisShorefastlocatedonFogoIslandandChangeIslands.TheseIslands
arelocatedoffthenortheastcoastofNLwithacombinedpopulationofroughly3,000.
According to Shorefast (2013a), these islands represent “endangered rural
communities”, anendemic issueacross thecountry. In responseto the challenges
faced by these Islands, Zita Cobbs created the Shorefast Foundation, a registered
charity, which is focused on the principles of social entrepreneurship (Shorefast,
2013b). Cobbs was born on Fogo Island and eventually moved away from
NewfoundlandforeducationandthenwentontoworkforaCalifornia‐basedfibre
opticcompany.Sheretiredin2001andalmostimmediatelystartedassistingFogo
Islandwithhertime,expertise,globalconnections,andprivatecapital(Howes,2011).
In2006,Shorefastwascreatedandnamedafteralineusedtoconnectatraditional
Newfoundland cod trap to the shore. This name takes into account the strong
historicalconnectiontothecodfisheriesanditalsorepresents“ametaphorforbeing
bound to place and community” (Shorefast, 2013b). Aside from a 5‐star inn
constructedontheisland,oneoftheirmainprojectsisan‘ArtsResidency’orartist‐
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in‐residence program including four studio spaces. The goal is to attract writers,
artists,filmmakersetc.fromaroundtheworldtoimmersethemselvesinislandliving
andbeinspiredbytheirnaturalsurroundings(Shorefast,2013c).TheFoundationis
builtontheprinciplesthata“responsiblefishery,thearts,andacarefullymanaged
geotourism industry, working together, will be a powerful force in finding new
meaningful ways in an old continuity” (Shorefast, 2013d). Their initiatives have
receivedsupportfromthefederalandprovincialgovernmentalongwithinvestment
fromCobbs(Howes,2011).
Whatcanwelearnfromtheseexamples?
TheseCanadiancasestudiesprovideseveralimportantinsightsforarts‐readyplaces.
First,successfulartsplacesinCanadaseemtohaveputpublicinvestmentinphysical
arts‐based infrastructure. Much of this initially came about, however, by a shared
visionrealizedbyrisk‐takersandcivicentrepreneursinthesecommunities.There
alsoappearstobeabusiness,non‐profitandcommunityculturethatenablesthese
visionariestoshinethrough,andapublicsectorthatreallyallowscreativitytothrive.
Proximitytoalargemetropolitanareaalsoseemstohelp.Furthermore,andperhaps
most pertinent for us to consider, is that all of these successful places have an
attractivenaturalsetting,intermsofbeingclosetoeitheraseashore,mountains,or
lakes.Notonlyarethesenaturallandscapesessentialfornurturinganartisticmilieu,
but these naturescapes also provide a “nature dividend” that adds additional
economic impact that would not occur without the presence of such stunning and
preservednaturalsurroundings.
Newconsiderations–“aNatureDividend”?
For many small towns in Canada, nature is an asset from which to build cultural
formation and identity. In addition to traditional arts‐based development, rural
Canada can also leverage natural assets. Traditionally, a “natural dividend” in
ecologicaleconomicsisdefinedastheunearnedincomefromtheharvestofrenewal
resources(DalyandFarley,2004).Butwewouldliketoproposetheideaofa“nature
dividend”thatismorecloselyalignedtothevaluenatureprovidesintermsofcultural
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productionandreproduction.Figure3provideselementsofthecomponentsofthis
dividend(DonaldandHall,2014).
Figure3.TheNatureDividend
(1)Theworkthatnaturedoestoenhancedesignfeaturesofaregion’sartistic,
artisanal productionormarketing efforts; (2) The successof nature‐inspired
photographers, painters, authors, poets and graphic designers in exporting
theirworkoutoftheregionovertheinternetatartandtradefairs,orother
TheNature
directsalesroutes;(3)Therevenueandincomethatcomestogroupswho
Dividend
offernature‐inspiredholidaysandcamps;(4)Theincomesearnedandhuman
capital created by the many natural preservationists/biologists/ who teach
others;(6)Thepotentialofregionalconsumptionof“natureexperiences”tobe
importsubstituting.Inotherwords,consumersmaybewillingtospendtheir
moneyonlocally‐inspirednatureexperiencesratherthanatshoppingmallsfull
ofimportedgoods.
Source:DonaldandHall,2014
Similartotheartisticdividend,thenaturedividendispartofapublicgood.Allthe
investments through the years in sustainable living, nature preservation and
protection of special places comes together in a human capital and physical
infrastructuretocreateabeautifulandinspiringnaturalsetting.AsMcGranahamand
Wojan(2009)show,thisnaturalsettingcanpullnewemployeesfromelsewhere,but
itcanalsoreinforceloyaltyand‘lovability’forcurrentresidentsandbusinesses(see
also Hall and Donald 2009, Greenwood et al. 2011 and Markusen’s point on the
artisticsideabove).Nowlet’sturntoourcasestudytostudytheroleplayedbyart
and nature in the formation of a unique cultural identity for the Frontenac Arch
Biosphereregion.
TheCaseStudy:FrontenacArtsBiosphere
The Frontenac Arch Biosphere (FAB) is roughly 2,700 square kilometres in
southeasternOntariothatincludeslargepartsoftheFrontenacandLeeds‐Grenville
Counties with at least 6 municipalities and portions of 3 others. It is one of only
sixteenBiospheresinCanada,andispartoftheUNESCOWorldBiospheresnetwork,
P a g e |15
protecting globally significant regions of biodiversity through education and
sustainablecommunitydevelopment.TheFrontenacArchisanancientgraniteridge
linking the Adirondack and Appalachian Mountains forests to the Canadian Shield
borealforest.TheSt.LawrenceRiverValleyfloodsacrosstheArch,linkingtheGreat
LakesandcentralNorthAmericatotheAtlanticCoast.Asaresult,theFrontenacArc
provides a unique landscape and North American crossroads for migration and
settlement corridors for forest regions, wildlife and humans (Frontenac Arch
Biosphere,2013a).
TheFrontenacArchBiospherealsohasarichhistory.AccordingtotheFABNetwork,
“people have lived on the FAB landscape for over 9,000 years” (Frontenac Arch
Biosphere, 2013b). Artifacts like fragments of clay pots and tools have been
discovered in many parts of the region. Many present‐day communities in the
biosphereregionwerealsokeylocationsforearlysettlementbytheBritishLoyalists
and would later become important military sites. As a result, communities in the
Biosphereregionofferanumberofuniqueculturalandheritageassets.Theeconomic
historyofmanycommunitiesintheFrontenacArchBiosphereincludesagriculture,
maritime transportation, military, flour mills and saw mills along with factories
producingirongoods,lumber,andfinishedwoodproducts(foradetailedhistorysee
Ross,2001).Infact,theregionishometomanyCanadian‘firsts’“firstglassworks,
first iron works in Upper Canada, oldest railway tunnel, oldest daily newspaper,
oldest stone grist‐mill in Ontario” (Frontenac Arch Biosphere, 2013a). While some
manufacturingandagricultureremains,manycommunitiesrelyonvariousservice
sectorsandtourismasmajorsourcesofeconomicdevelopment(seeTable2).
P a g e |16
Table2:Socio‐economicindicatorsforselectmunicipalitiesintheFAB
Brockville
21,870
Population
Change,
2006‐2011
‐0.4
Westport
Gananoque
628
5,194
‐2.6
‐1.7
54.4
48.1
FrontofYonge
2,680
‐4.4
46.0
South
Frontenac
18,113
‐0.6
44.7
Leedsandthe
Thousand
Islands
9,277
‐1.7
47.7
Municipality
Population,
2011
Median
Age
47.1
MajorIndustries**
Services(inc.business,
healthcareandretail)
andManufacturing
Services
Services(inc.business,
healthcare,retail)and
manufacturing
Services(inc.business,
healthcare,retail)and
manufacturing
Services(inc.business,
healthcare,education,
retail),construction
Services(inc.business,
healthcare,retail)and
manufacturing
*Note:FABalsoincludespartsofAthensTP,Elizabethtown‐KitleyTPandRideauLakesTP
**Basedonchangestothe2011Census,thisinformationisbasedonthe2006Census
Sources:StatisticsCanada,2012b‐2012g;StatisticsCanada,2007a‐f
TheFABNetworkisanot‐for‐profitcorporationinterestedinguidingthebiosphere
towards a more sustainable community. It is governed by a volunteer Board of
DirectorsandanExecutiveDirector.Over80groupsworktogether,includingnatural
andhistoricconservationorganizations,economicandsocialdevelopmentgroups,as
wellastheeducationalandscientificcommunitieslocatedwithintheFrontenacArch
region. This case study offers a fascinating glimpse into the challenges and
opportunitiesofruraleconomicdevelopmentfocusedonarts,cultureandnature.
Methodology
ThisresearchwaspartofalargerSocialSciencesandHumanitiesResearchCouncil
(SSHRC)fundedprojectentitledResearchPartnershipstoRevitalizeRuralEconomies
ledbyTheMoniesonCentre,Queen’sSchoolofBusiness.Thepurposeofthisproject
is to develop and strengthen research partnerships and conduct research that is
P a g e |17
identified as relevant by rural communities. This project is also focused on two
research themes: 1) Rural Entrepreneurs and Businesses, and 2) Innovation and
SustainabilityinRuralCommunities.
OurresearchteampartneredwiththeFrontenacArchBiosphere(FAB)Networkto
identifyprioritiesandcontacts.MembersoftheresearchteamattendedFABnetwork
meetings and events as well as a one‐day intensive field course with faculty and
studentsintheSchoolofEnvironmentalStudiesatQueen’sUniversity.Wealsodid
fieldresearchandspentthedaytouringtheregionandinterviewingentrepreneurs
and arts and culture representatives about the challenges and opportunities for
economic development in the FAB region. An online survey was also created and
distributed to 311 local and regional businesses including small publishers and
serviceprovidersaswellasarts‐relatedbusinessesandorganizationslikeartisans
andartgalleries.SurveyrecipientswereidentifiedfromtheFABnetworkandlocal
chambersofcommercewebsites.Seventy‐twopeoplerespondedtotheonlinesurvey
foraresponserateof23percent–fourpeopleoptedoutofthesurvey,twenty‐two
emailsbouncedbackand239didnotrespond.
Results
In the online survey we asked respondents to indicate their primary
business/practiceandrankinorderofimportanceiftheyfellintomultiplecategories.
Topanswersincludedvisualorperformanceartists(e.g.actor,musician,painteretc.);
artisanalfoodproducers(e.g.brewer,farmer,artisanalsupplier[e.g.,foodsupplier,
craft and artist supply stores, etc.] cheese‐maker, chef, etc.); restaurant, cafe, and
hospitality, artisanal retailer; and non‐food artisanal producer (e.g. woodworker,
blacksmith,jewellerymaking,fibreart,sculpture,etc.).
Whenasked,“whatdoyouthinkofwhenyouthinkoftheFrontenacArchBiosphere”,
65.6%ofthepeoplewhorespondedselected“aUNESCOdesignatedworldheritage
site”,followedby“auniquegeologicalformationthatneedstobepreserved(64.1%).
Otherpopularchoicesincluded:“anon‐profitorganizationswithafocusonnatural
P a g e |18
andhistoricconservation”(57.8%);“atourismregion”(53.1%);and“anetworkof
natural, social, economic and scientific communities in the region” (51.6%). Two
peoplewereunsureandonehadneverheardoftheFrontenacArchBiosphere.
Whatdoyouthinkofwhenyouthinkof
theFrontenacArchBiosphere?
I'veneverheardofit
1.6
I'mnotsure
3.1
Anon‐profitorganizationswithafocuson
naturalandhistoricconservation
57.8
Anetworkofnatural,social,economicand
scientificcommunitiesintheregion
51.6
Auniquegeologicalformationthatneedstobe
preserved
64.1
Atourismregion
53.1
AUNESCOdesignatedworldheritagesite
65.6
0
20
40
60
80
100
We also asked respondents to identify how the “Frontenac Arch Biosphere figures
intothepracticeofyourbusiness/operation.”Ofthe45peoplewhoansweredthis
question, many chose “it does not” (33.3%) and “I’m not sure” (24.4) while others
selected“itisthekeytomybusinessidentity/inspiration(24.4%)and“itiskeyto
sourcingmybusinesssupplies(e.g.freshproduce,rawmaterials,etc.)(22.2%).In
terms of “other responses”, many respondents discussed the Frontenac Arch
Biosphere Network. For example, “we’re listed in local flavor” and “I find their
newslettersinterestingbuthavenothadanyinfluenceonmybusiness”.Whileasmall
numberfocusedontheFrontenacArchBiosphereregionlikeonerespondentwho
indictedthattheyusewoodproductswhileanothertalkedaboutitbeinga“unique
tourismdrawformyB&Bbusiness”.
P a g e |19
HowdoestheFrontenacArchBiosphere
figureintothepracticeofyour
business/operation?
Itiskeytosourcingmybusinesssupplies(e.g.
freshproduce,rawmaterials,etc.)
22.2
I’mnotsure
24.4
Itisthekeytomybusiness
identity/inspiration
24.4
Itdoesnot
33.3
0
20
40
60
80
100
Respondents were also asked “what portion of your business inputs (e.g. fresh
produce, raw materials, etc.) do you source from businesses and suppliers in the
FrontenacArchBiospherearea”.Ofthe65peoplewhoresponded,46.2%indicated
thatlessthan25%whileanother16.9%indicatednoneoftheirbusinessinputsare
fromtheFABarea.Otherresponsestothisquestionincluded:13.8%indicatedthat
51‐75%oftheirbusinessinputsaresourcedfromtheFABarea,9.2%selected76‐
100%, and9.2% chose 25‐50% are from the FAB area. When asked to describe in
more detail why local inputs are important many responses were focused on the
importance of economic benefits staying local as well as knowing where products
come from. For example, one person stated, “good to know where you food comes
from!”whileanotherexplained“supportingthelocaleconomykeepsthemoneyinthe
homes of our neighbours and potential clients. It keeps our community healthy and
stableinordertowelcomevisitorswhointurninvestinourcommunity.”
P a g e |20
Whatportionofyourbusinessinputsdo
yousourcefrombusinessesand
suppliersintheFrontenacArch
Biosphere?
76‐100%
9.2
51‐75%
13.8
25‐50%
9.2
Lessthan25%
46.2
None
16.9
0
20
40
60
80
100
Respondentsofthesurveyandtheinterviewsalsoidentifiedanumberofchallenges
andopportunitiesforworkingintheregion.Manyofthechallengeswerefocusedon
the economic and demographic issues as well as infrastructure constraints. For
example,onerespondentexplained,“peopleareeconomicallychallenged,manyplant
closures, not overly optimistic, fairly cautious” while another stated: “depressed
economically, few jobs to keep young people around”. A number of individuals also
discussedthedifficultiesassociatedwithseasonalitylikeonewhostated:“winteris
a struggle for many, there isn’t enough variety to offer visitors and maintain steady
support to the local economy.” The lack of high speed‐internet was also cited as a
majorchallenge.Forexample,onerespondentexplained:“biggestchallengesislack
of high speed internet access for rural businesses, whereas online avenues are a key
componentofhowweengagewithourcustomerbaseandhowtheyengagewithus”.
In addition, a lack of awareness of the importance of the biosphere and local
businesseswerecitedassignificantchallenges.Forexample,onesurveyrespondent
noted, “preservation of the FAB [region] and education around its past and present
importance”whileotherrespondentsexplained“You'rebetterknownfromawaythan
youarefromhome.TheFrontenacArchhasworlddesignation,andmostpeopleinthis
P a g e |21
regionhavenoidea.Theydon’tknowordon’tcare”and“TheFrontenacArchBiosphere
asadestinationisrelativelyunknownandneedsmorepromotion.”Anotherexplained:
“Itisadesignationwhosepotentialhasnotyetbeenfullyrealized.Whilethepossibilities
are broad in scope, the biosphere has yet to achieve defining status within our
community when compared with other attributes (i.e. the Rideau Canal).” Several
respondentsexplainedtheregionneedsmore“innovativemarketing”andthat“the
regiondesperatelyneedsaprofessionalexperttopromoteandmarkettheworksoflocal
artisans”.Thisissuewasalsoemphasizedbyanotherrespondentwhodetailed,“to
improve would be: enabling a better outlet for area products, an enhanced artisan
profileofareamerchandise.WehavenoVoice.”
Politicalbuy‐inandsupportforlocalbusinessesandthebiospherewerealsocitedas
challenges.Forexample,oneentrepreneurstated:“I’vehadinvestorscomethrough
lookingtohelpmeandtheywerecompletelyunderwhelmedbythemunicipaleconomic
developmentandmunicipalleadership.”Anotherrespondentdetailedthechallenges
associated with convincing community members about the importance of tourism
andthearts:
Infactaretiredfactoryworker‐wewerehavingmeetings‐andhegotupand
toldthecouncilthat"Idon’tmakeanickelfromtourismandI'llnevermakea
nickelfromtourism.AndIdon’twanttowncounciltogiveanothernickelofmy
hardearnedtaxmoneyonthis."Andthemayorsaid“Iunderstandthat,butif
the tourism industry goes away, let's say the holiday inn, if they close, there's
$125,000oftheirmoneythatgoesintothetown.Ifyouwantyourroadsand
servicesareyougoingtopaythat$125,000?Youmaynotearnthemoneybut
they'rereplacingthemoneyyoudon'thavetopay.”
Otherrespondentsalsocitedthelackofprominencetheregionhaswithprovincial
authorities.Forinstance,oneindividualexplainedthereis,“not[a]veryhighprofile
withtheprovincialauthorities(whoseemtofocusmoreonthesouthandnorth)”while
anotherstated:“governmentthinkstheworldendsatScarborough”.
Respondents also identified a number of opportunities associated with the unique
natural landscape and the quality of life and inspiration it provides. For example,
P a g e |22
several respondents noted the importance of the landscape for tourism: “good
tourismdraw”and“beautifulsceneryandhistoricelement.It’saboatingparadise”.
Others discussed the untapped potential to inspire and source products in the
biosphere.Forexample,onerespondentsimplystated,“thelocalareaprovidesalot
ofinspiration”whileothersdetailed:“thenaturalbeauty,quiet,andprivacyhelpme
create beautiful wood sculptures”. Related to this, one local business respondent
discussedhowthey’relinkingtheirproducttotheterroirconcept,whichiscreating
anichemarketfortheirbusiness.Severalrespondentsalsodiscussedtheeconomic
opportunities of being located in the FAB region. For example, one individual
explained:“easytoaccesslocalproductsandsupportingthelocalareaandheritage”,
whileanotherstated,“loweroverhead[costs]andabeautifulplacetolive.”
Many respondents explained the FAB region has a number of opportunities for
expanding tourism and new ideas for economic development. For example, one
individual explained, “this region remains a summer resort destination as well as a
worldheritagesitesoopportunitiesareopen‐ended,invitingnewcreativeideas[and]
programs”,whileanothermentionedthereare“excellentopportunitiesforexpanding
ecotourism”.Onerespondentdescribedinmoredetail:
Becausetheregionislarge,tourscouldbepromotedbyprovidingdaily,weekend
or weekly packages that can include artists studios, theatre, concerts,
accommodations,restaurants,naturewalks,cycling,boatcruises,fishing,wine
tastingandfarmvisits.Perhapsevenincludingtourguidestoo,therebycreating
jobsaswell!
Otherssimplystated:“theFABisunique…andhasgreatpotential”and“Opportunities:
theoutdoors,endlessdevelopmentopportunities”.
AFAB“NatureDividend?”
Earlierweintroducedtheconceptsofthe‘artisticdividend’(MarkusenandSchrock,
2006) andthe ‘naturedividend’ (Donald and Hall, 2014) as a wayto rethink rural
development using a multifaceted “arts and nature” approach. In addition to the
traditionalarts‐baseddevelopment,manyruralcommunitiescanalsoleveragetheir
surroundingnaturalassets.Wearguethatthesenaturallandscapesareessentialfor
P a g e |23
nurturinganartisticmilieu,butthesenaturescapesalsoprovidea“naturedividend”
thataddsadditionaleconomicimpactthatwouldnotoccurwithoutthepresenceof
suchstunningandpreservednaturalsurroundings.
Inmanyways,communitiesandorganizationswithintheFrontenacArchBiosphere
have invested in protecting and preserving this diverse natural setting. More
importantly, they view it as an asset. As we noted earlier, survey respondents
discussedhowtheareaprovidesinspirationandaperfectsettingfortheirwork.One
respondenteloquentlydescribed:whatImakeistheidentityofthebiosphereregion.
The‘artistryofnature’iswhatItrytoexposeinallofmywork.”Thisnotionofthe
‘artistryofnature’reallycapturestheessenceofanartsandnatureapproachtorural
development.Wealsoheardhowonelocalbusinessislinkingtheirproducttothe
terroirconcept,which“referstoanareaorterrain,usuallyrathersmall,whosesoil
andmicroclimateimpartdistinctivequalitiestofoodproducts”(Barham,2003:131).
For this business, the terrain is providing a product but also inspiring a new craft
market.
We also noted earlier how the natural setting or ‘nature dividend’ can pull new
employees from elsewhere as well as reinforce loyalty and ‘lovability’ for current
residentsandbusinesses.IntheFrontenacArchBiosphere,manyrespondentstalked
aboutthebeautyoftheirsurroundings,thequalityiflifeitprovides,andtheirstrong
connectiontotheland.Forexample,onerespondentexplained:
I’velivedhereallmylifeandthefunnythingisthatIjustthought:“heywhynot
stayhere?Iloveit!”It’sfunny,mydaughterandherboyfriendarelookingfora
placenearby[…]–Imeanourfamilywho[if]youlookonthehill,myparentsare
ontheoriginalhomesteadfrom6generationsago.Mysisterlivesuptheroad
onafarm,mybrotherlivesuptheroadonafarm,mynephewisnowlivingwhere
my grandmother’s house was, I live down the road, […] – and our kids are
actuallywantingtoyouknow–Yesthefamilyconnections,butalsoyoulovethe
land.
P a g e |24
Manyresidentsinruralcommunitieshaveastrongattachmenttothesurrounding
naturalamenities(HallandDonald,2009)andrelatedtothisastrong‘commitment
toplace’(Greenwoodetal.,2011).
That being said, we argue that the Frontenac Arch Biosphere is an undiscovered
regioninsoutheasternOntario.Itcouldbestbedescribedasan“arts‐ready”place,
butithasyettocapitalizeonitspotentialtobecomeawell‐knownartful/natureplace
inCanada.Onthepositiveside,theregionhasmadesomeimportantpastinvestments
in preserving and protecting beautiful green spaces, parks and landscapes. The
UNESCOdesignation‐‐andtheleadershipinvolved‐‐wasanimportantmilestonein
the natural and historic preservation of the biosphere region. Additionally, the
region’s relative slow‐growing economy in some ways has been beneficial on the
heritagepreservationfrontbecausemanyofthesmalltownsstillhaveanauthentic
anddistinctEasternOntariofeel.Asoneparticipantmadeclear,“theonlythingthat
destroysheritagefasterthanthelackofmoneyismoney”.Nowtheselandscapesoffer
somethingdistinctiveandauthentictothevisitorandresidentalike.Inrecentyears,
several new retail businesses have moved in and capitalized on this unique and
affordablemainstreetarchitecturearoundtheregion.
Our findings, however, also revealed some key challenges. A common theme
emphasized by a number of respondents is the need for regional collaboration, a
regionalstrategy,andbettermarketingoftheBiosphere.5Asnotedabove,theFAB
region is unique but its significance is poorly understood. More importantly, a
number of respondents discussed the importance of more collaboration between
businesses,communityleaders,andorganizationswithintheFABregion.Aregional
strategyfocusedonasmallnumberofstrategicprioritieswithlocalpoliticalbuy‐in
is also needed. Finally, a marketing campaign celebrating the FAB region and its
uniquehistory,naturalamenities,andopportunitiesisimperative.
5TheFrontenacArchBiosphereNetworkrecentlyredesignedtheirwebpage,whichincludesmoreup‐
to‐dateinformationabouttheBiosphereinauser‐friendlyformat.Theyalsostartedusingsocialmedia
tohelpmarketandspreadknowledgeabouttheBiosphere.
P a g e |25
ConclusionsandRecommendations:BuildingaRuralArtsand
NatureApproach
Inthispaper,westartedbyaskingwhysomeruralregionscapturetheimagination
ofresidents,businessesandvisitorsalikeintermsofdistinctivecultural,naturaland
artisticamenities,quaintsmall‐townfeelingandavibrantartsandculturescene?We
wanted to know how these places leverage the arts, culture and nature for both
touristattractionandsustainedeconomicdevelopment.Wereviewedtheliterature
on creativity and rural economic development, and found the United Nations
ConferenceonTradeandDevelopment(UNCTAD)’sdefinitionofculturalindustries
helpfulinthinkingaboutartfulplacesinruralcommunitydevelopment.Ruralplaces
arelikelystrongestinthefirsttwogroups:heritageandthearts.Heritageisdefined
asthe“originofallformsofartsandthesoulofculturalandcreativeindustries”and
includestraditionalculturalexpressionsof“arts,crafts,festivalsandcelebrations”.
Arts,ontheotherhand,isdefinedascreativeindustriesbasedonartsandculture
includingvisualarts(painting,sculpture,photographyandantiques)andperforming
arts(livemusic,theatre,dance,etc.).
LikeMarkusenandSchrock(2006),wearguethatartistscontributetotheregional
economyinmanyexplicitandimplicitwaysandtakentogetherthecomponentsof
the contributions of an artistic community on regional development constitute an
“artisticdividend”foraregionaleconomy.Thisisthe“additionaleconomicimpact
that would not occur without the presence of artists”. Building on their thesis, we
exploretheideaofa“naturedividend”forregionaldevelopment(DonaldandHall,
2014). We are not speaking here of a traditional understanding of a “natural
dividend” as in the unearned income from the harvest of renewal resources, but
rather our idea is more closely aligned to the value nature provides in terms of
culturalproductionandreproduction.
P a g e |26
Similar to Markusen and Schrock’s (2006) “artistic dividend” thesis our “nature
dividend”thesisispartofthepublicgood:alltheinvestmentsaregionhasmadein
sustainable practices, preservation, protection and restoration come together in a
humanandphysicalinfrastructuretocreateabucolicandupliftingnaturalsetting.As
we show in this paper, previous research has found that a beautiful and inspiring
naturalsettingcanpullnewcreativetalentandbusinessfromelsewhere,butitcan
alsoreinforceloyaltyand‘lovability’ofplaceforcurrentresidentsandbusinesses.
Aswehighlighted,intheCanadiancontextmanyresearchershavefoundthatcreative
peopleandbusinesses(usingvariousdefinitions)aredrawntoplaceswithattractive
arts‐basedandnaturalsurroundings.Butadesirablearts‐basedandnaturalsetting
isn’t enough. Success comes to those regions that have actually made an explicit
investment in their physical arts‐based infrastructure and natural surroundings –
whetheritbepreservingandprotectingnaturalbeauty,orrestoringit.Ourexamples
also highlight the importance of a shared vision realized by risk‐takers and civic
entrepreneurs in these communities. This requires collaboration on a common
strategy and marketing plan. We also noted that proximity to a metropolitan area
matters.
OurcasestudyoftheFrontenacArchBiospherefindsabeautiful,ifyet,undiscovered
region in South Eastern Ontario. The region has made some important past
investments in preserving and protecting beautiful green spaces, parks and
landscapes. The UNESCO designation ‐‐ and the leadership involved ‐‐ was an
important milestone in the natural and historic preservation of the region.
Additionally, the region’s relative slow‐growing economy in some ways has been
beneficialontheheritagepreservationfrontbecausemanyofthesmalltownsstill
haveanauthenticanddistinctEasternOntariofeel.Thisartisticheritageauthenticity
isnowhighlyvaluedasatouristandqualityoflifedrawforresidents,visitorsand
creativebusinessesalike.Findingsfromourempiricalresearchpointtoaregionthat
stilldoesn’tseeitselfasaregion.Itincludesatleast6municipalitiesandportionsof
3 others in two counties. One possible solution is a regional strategy focused on a
P a g e |27
smallnumberofstrategicprioritieswithlocalpoliticalbuy‐in.This,incombination
withamarketingcampaigncelebratingtheFABregionanditsuniquehistory,artistic
andnature‐dividend,isimperativeforturningtheregionfromanarts‐readyplaceto
anstrongandwell‐recognizedartfulplaceinCanada.
Acknowledgements
WewouldliketothankSeanFieldandLiamCurriefortheirresearchassistanceas
well as the Frontenac Arch Biosphere Network, and the SSHRC partnership grant
(file#890‐2010‐0100)throughTheMoniesonCentreforfinancialsupport.Wewould
also like to thank the people who answered our survey and gave us their time in
personalinterviews.
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