This is a list of handy resources. Click on the plus sign to drop down.
ITYARN, the International Theatre for Young Audiences Research Network, is the international research network of ASSITEJ International.
Lowdown, Australia’s youth performing arts magazine, was a project of Carclew Youth Arts for over 30 years, making it one of Australia’s oldest continuing performing arts publications.
Live Performance Australia (LPA) has released the Australian Live Performance Industry Code of Practice to Prevent Workplace Discrimination, Harassment, Sexual Harassment and Bullying (Code).
The Code came into effect on 3 September 2018.
ABOUT THE CODE
The code is organised in two parts:
- PART A – A guide for employers including an overview of the relevant legislative framework and obligations, as well as best practice guidance on steps you can take to effectively prevent and respond to discrimination, harassment, sexual harassment and bullying in the workplace. A copy of Part A can be found here.
- PART B – Templates and resources to assist you to develop new policies and procedures
The Know Where the Line Is national awareness raising strategy is a tripartite partnership between the Australian Human Rights Commission, the Australian Council of Trade Unions and the Australian Chamber of Commerce and Industry
The resource aims to assist small, medium and large employers to understand and meet their legal obligations under the Sex Discrimination Act. It also provides practical guidance on how employers can prevent sexual harassment and how to respond effectively when it occurs.
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 The Flying Fruit Fly Circus 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.
The Australian Human Rights Commission is an independent third party which investigates complaints about discrimination and human rights breaches. It does not act as an advocate or legal representative for a party to a complaint. The complaint process is simple, free and flexible.
If you feel you have been discriminated against, sexually harassed, victimised or vilified, you or someone on your behalf can make a complaint to the Commission.
If an incident has happened at work it’s important to make sure that people are safe and there is no immediate danger still present. Once this is done there are several other actions you may need to take depending on the type of incident: Report, Record and Make the claim.
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.
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.
Art for Everyone: Approaches to Inclusive Practice in Arts and Mental Health is a workbook for people and organisations who wish to develop inclusive art programs in a meaningful and respectful way.
Art for Everyone offers ideas and resources to help you design projects that engage artists and people with disability, mental health issues and who are Deaf.
Funded by a UNESCO grant and led by Diversity Arts Australia in partnership with Western Sydney University (WSU) and BYP Group, this is the first research of its kind to put a clear figure on what cultural and linguistic diversity—or lack thereof—looks like in the creative sector at the leadership level.
This report responds to a gap in knowledge measuring cultural and linguistic diversity amongst the leadership of 200 of Australia’s leading arts, cultural and screen organisations, funding agencies and award judges, including the board members and executive staff.
As arts organisations begin to develop new strategic plans, Multicultural Arts Victoria urges cultural organisations to demonstrate their support for diversity and commitment to anti-racism. Your organisation’s strategic planning at grant application time should place diversity as a central consideration.
These guidelines and tools are to assist those working in regional communities achieve a more rewarding level of involvement in cultural activities. They show how to strengthen decisions, build productive partnerships and develop positive outcomes for both local hosts and visitors to rural, regional and remote Australia.
Intimacy Directors International is a not for profit organization that represents like-minded artists. IDI represents Intimacy Directors and Choreographers for theatre as well as Intimacy Coordinators for TV and film.
The “Voice, Agency and Integrity” Report produced by Diversity Arts Australia (DARTS) has highlighted barriers within the arts and cultural sector to broader representation of Australia s cultural diversity that include systemic discrimination, tokenism and misrepresentation.
The report compiles issues, direct experiences and potential solutions to entrenched barriers that were identified in key-note industry addresses and expert forums at a symposium hosted by DARTS last year.
The Creative Convergence project examines the work of six Australian theatre companies and performing arts venues – Arena Theatre Company, Arthur, Bell Shakespeare, Geelong Performing Arts Centre, HotHouse and Melbourne Theatre Company (MTC) – and their interaction and engagement with young people in regional Victoria.
Our other partners include Creative Victoria and Theatre Network Australia, peak arts bodies that have a deep interest in young people’s engagement in and with the arts in regional Victoria.
Independent report, Turning Pointe calls for many recommendations to improve gender equality in Australian Dance. Written and published by: Andrew Westle, Delving into Dance, 2018. Produced in part consultation with Lucy Guerin, Amy Hollingsworth, Stephanie Lake, Carin Mistry, Frances Rings, Michelle Ryan, Meryl Tankard, Maggie Tonkin and Jordan Beth Vincent. Produced with assistance from Kai Bradley, Samuel Harnett-Welk, Claire Ashworth, Tom Halls, Anne-Marie Peard and Bek Berger. Images used with permission.
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.
Report was written by Steven Hopley and released January 2016.
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.
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.”