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 compilation document of the presentations and discussions had at the 2012 Performing Arts Touring Workshop held on Wednesday 21st of November, co presented by Theatre Network Victoria, VAPAC, RAV and Auspicious Arts Incubator.
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.”
