This is a list of handy resources. Click on the plus sign to drop down.
The new Safety Guidelines for the Live Entertainment and Events Industry are now available.
The new Guidelines replace the Employer Guide to OH&S published in 2004.
The objective of the new Guidelines is to promote best practice in delivering safe events and safe working environments, and raise awareness of the practical and legislative requirements to manage health and safety issues appropriately.
All Members are encouraged to incorporate the new guidance material into your work, health & safety plans, as well as promote the use of the material to non-members and others that may work in our industries.
The Flying Fruit Fly Circus’ Workplace Drug and Alcohol Testing – Consent Form is available for your reference. Youth Circuses who require more information, please contact outgoing Artistic Director, Jodie Farrugia directly.
The Flying Fruit Fly Circus’ Workplace Drug and Alcohol Policy is available for your reference. Youth Circuses who require more information, please contact outgoing Artistic Director, Jodie Farrugia directly.
This flow chart is in line with NSW legislation only. Legislation differs from state to state. The Flying Fruit Fly Circus’ Child Protection Policy is available for your reference. Youth Circuses who require more information, please contact outgoing Artistic Director, Jodie Farrugia directly.
The Flying Fruit Fly Circus’ Child Protection Policy is available for your reference. Youth Circuses who require more information, please contact outgoing Artistic Director, Jodie Farrugia directly.
The Flying Fruit Fly Circus’ Commitment to Safety Policy is available for your reference. Youth Circuses who require more information, please contact outgoing Artistic Director, Jodie Farrugia directly.
The Flying Fruit Fly Circus’ Workplace Health and Safety Policy is available for your reference. Youth Circuses who require more information, please contact outgoing Artistic Director, Jodie Farrugia directly.
LPA has released a draft industry Code of Practice for member and broader industry consultation. The draft Code has been prepared to support the prevention of workplace discrimination, harassment, sexual harassment and bullying in the live performance industry. It affirms our industry’s commitment to providing safe, respectful, inclusive and flexible workplaces.
LPA is seeking industry feedback on the draft Code. Submissions to be made to Kim Tran, Director Policy and Governance, email@example.com by 26 March.
The Code of Conduct for Employees, Volunteers, and Contractors at The Flying Fruit Fly Circus goes in tandem with The Flying Fruit Fly Circus’ Child Protection Policy, which is available for your reference. Youth Circuses who require more information, please contact outgoing Artistic Director, Jodie Farrugia directly.
As the peak employer body for live performance in Australia, LPA strongly supports safe and respectful workplaces for everyone, without exception.
Workplaces should be non-threatening, respectful, safe and free from all forms of harassment. All employees have the right not to be sexually harassed or discriminated against in the workplace. That is the law. No excuses.
TNA endorses CAST’s National Code of Behaviour.
CAST is committed to cultural change for the betterment of our industry. We are introducing a national code of behaviour, and we are committed to a zero-tolerance policy regarding sexual harassment or bullying in the workplace. We are also committed to empowering those working with us to report inappropriate behaviours. By upholding a consistent industry-wide standard, we can work together to eradicate sexual harassment and bullying in the workplace and ensure we move forward as a collective, safe and supportive industry.
TNA endorses the Theatre Network NSW (TNN) Code of Behaviour.
The following code is based on the Royal Court Theatre’s Code of Behaviour from the UK and published in response to our theatre sector’s demand and hope for culture change to prevent sexual harassment and abuses of power. Published by TNN as a living document in which the sector is encouraged to respond to, this code has been developed as an initiative of the NSW Theatre Producers Working Group, which includes members of whyareyouwinkingatme and MEAA’s National Performers’ Committee. As a living Code of Behaviour, sector revision and addition of this code is to be expected.
A response to the significant gender inequity within the technical designs for live performance sector specifically in the areas of Lighting, Sound and Composition, and Video Design and Animation within the subsidised performing arts sector, this list is designed as a resource for theatre companies, collectives, and individuals, to hire more diversely in these areas. This list is also one of many ways to develop a community amongst female, non-binary, and trans designers. Initiated by Emma Valente.
Theatre Network Victoria’s 2011 Remuneration Report analyses results from an online survey with questions about organisation size, salaries, benefits, and professional development budgets of 92 small to medium Australian arts organisations.
This report analyses results from an online survey that collected responses about organisational size, salaries, other benefits, and professional development allowances of the main staff positions of 50 mostly small-to-medium Australian arts organisations. It provides breakdowns according to organisational turnover, and some simple analysis of the results. It includes some preliminary benchmarking against other sectors, but calls for more detailed research in this area.
The main finding of the report is that staff salaries, benefits and professional development budgets of small-to-medium arts organisations are still disappointingly low. Although there has been an increase (above CPI) in salaries compared with the Victorian AD/GM 2006 survey, there is still a long way to go to be in line with remuneration for similar roles in other sectors.
Artist and Director, David Pledger, talks about his essay titled ‘Re-valuing the Artist in the New World Order’ at the launch of Currency House Platform Paper #35, hosted by Theatre Network Victoria at the South Melbourne Town Hall.
Artist, writer and curator, Willoh S. Weiland proposes ways to place artists at the centre of our industry’s marketplace culture. Keynote address from 2016 Victorian Theatre Forum.
Alison Robb (University of Adelaide) discusses the impact of chronic uncertainty on wellbeing and provides tips for cultivating personal resilience. Keynote address from 2016 Victorian Theatre Forum.
This 8 page brochure is designed to promote our purpose and program, sector overview, focus areas and 2016 member listing.
Program for ATF 2015: MAKING IT. Held over four days in January 2015, the ATF was a unique opportunity for diverse Australian theatre makers to gather, engage in inspirational conversations, critically reflect upon the state of play for theatre practice, and examine the histories, legacies and policy innovations that led us here.
During 2015, TNV lobbied for a performing arts representative and an Arts Industry Council representative to be included in the Expert Reference Group. We wrote a TNA Creative Industries Strategy Submission for the small to medium and independent sectors, and pursued this throughout the year
Members of ArtsPeak (the confederation of peak national arts organisations) responds to the call for submissions by the Senate Standing Committees Inquiry into the ABC’s reduction of the number of ABC-produced programs.
AUSTRALIA. “The Working Party believes that the Sector is characterized by great diversity, a focus on new creative endeavor, a slim administrative structure, a large volunteer workforce and a commitment to artistic production. While the Sector as a whole is in surplus its financial stability is finely balanced and in some areas shows evidence of decline.”
The Deakin University Arts and Cultural Management (ACM) Graduate Employability Research aimed to examine future skills required in the arts and cultural sector, and perceived skills gaps of recent graduates entering the employment market. Research was conducted between September – December 2016 and involved the telephone survey of 16 peak association at a state and national level, and online survey contributions from 29 arts organisations.
The Australian Society for Performing Arts Healthcare aims to promote high-quality, holistic lifespan healthcare for all performing artists. ASPAH’s members include performing artists, as well as those who work with them in various capacities, or who wish to support their health needs. All members have a common goal of optimising performing artists’ access to excellent healthcare. ASPAH was mentioned in the ‘Making It Healthy’ session at ATF 2015.
This report, written by BOP consulting, aims to provide arts and cultural organisations with clear guidance about undertaking or commissioning studies into the economic benefits of their work.
The guidance will help organisations choose appropriate and robust methodologies and uses case studies to illustrate the benefits and limitations of different approaches to measuring economic contribution.
Prepared for the New York State Council on the Arts Theatre Program by Susan Jonas and Suzanne Bennett (January 2002).
What Will it Take to Achieve Equality for Women in the Theatre? From the November 2009 American Theatre magazin
This discussion paper is intended to provide a departure point for discussion and conversation around the establishment of the Australian Theatre for Young Audiences International Showcase (ATYAIS).
Also below is “Discussion Paper: Australian International Touring Syndicates Program” (an initiative of Insite Arts supported by Arts Queensland and Australia Council for the Arts). AITS is a hosting program for presenters from specifically targeted geographic regions with shared aesthetic market interests or priorities.
Australian Women Directors Alliance ‘Creating Change’ Forum.
The ‘Creating Change’ Forum was held at the Victorian Arts Centre over the two days of 10th and 11th September, 2010. It was convened by Melanie Beddie, Lucy Freeman, Petra Kalive and Jane Woollard and was supported by The Office of Women’s Policy and the Arts Centre.
The AWDA ‘Creating Change’ Forum presented a model for thinking about social change in a dynamic and energetic way. Women directors claimed their legacy, their role as leaders in the theatre profession, and their commitment to supporting one another as we work towards greater diversity in our profession.
The LPA Guide to Employment on Tour is an excellent source of information primarily regarding employees on tour that are engaged under the Live Performance Award 2010. www.liveperformance.com.au
This document has been created to help producers and presenters understand and effectively operate in the national performing arts touring landscape. For the purposes of this document, a tour can be intrastate or interstate/national (consisting of more than two states) and will include several performances over two or more performing arts centres. A tour can include any combination of capital city, metropolitan, regional or remote centres. In regard to these definitions various government agencies and departments may have different definitions of a tour and it is advisable to identify these in the event of making an application for investment.
A handy guide [powerpoint presentation] to touring as presented by Matthew Schroeders [Chair of the Tech Manager’s Network and Riverlinks Technical Manager] at the 2012 Performing Arts Touring Workshop.
A great resource for profit share productions, including some key points to remember when setting up a profit share production and a template agreement that can be adapted to suit your company’s needs.
Literature on the wellbeing of performing artists is limited, focusing on small pockets of research with musicians and dancers. Actors are under-represented, with a few small studies suggesting actors may be over-exposed to criticism, have higher levels of unresolved trauma, experience both satisfaction and uncertainty and may be subject to multiple sources of stress. Narrative evidence suggests actors may be resilient but vulnerable to depression, may misuse substances, feel extreme pressure to perform and be unlikely to seek help.