(like VIP) are active – arts
organizations hope for more
students from the arts to become
involved so that skills and interests
are a better match for the sector.
They also suggested ways to
improve connections between the
University and community groups,
in particular off-campus events for
community members, and also
improved and simplified access to
campus spaces for arts groups,
which they saw as an opportunity
for the Universi ty to raise
awareness of its programming.
More systematic communications
and bridging between academic
programs and community arts was
seen as a critical need. In keeping
with that, many felt that theremight
be an important leadership role for
the University to function as a
cultural “hub” to connect groups
together, particularly once the
School of Creative Arts moves to
the downtown core.
One significant difference highlighted in this sector was the nature of employment in the arts. Participant noted the
prevalence of temporary and contract work, driven by individual initiative and networks, meaning that graduates
must be prepared for self-employment. Many participants argued that this expectation and the skills required need
to be a core element of how we prepare students in the arts. Thriving in the Windsor arts context requires a
proactive approach, including the development of diverse artistic, technical, technological, and business skills, and
an enterprise in envisioning anddeveloping newprojects in collaborationwith others.
Weneed togiveour
people “permission
tobelieve.”
- Participant
Windsor is arguably
thebest city in
Canada inwhich to
takeabusiness risk.
With low rents,
inexpensivehousing
and labour, and ready
access toAmerican
markets, it’s anatural
fit for entrepreneurial
activity.
- Participant
19
