Review of The Arts in Canberra

Report
Review of the Arts in Canberra
Prepared by:
Peter Loxton and Tim othy Loxton,
Peter Loxton & Associates Pty Ltd
Greenwich, Sydney.
June 2010!
Contents
1. BACKGROUND ...................................................................................................5
2. EXECUTIVE SUMMARY......................................................................................6
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3. CONTEXT...........................................................................................................13
3.1 Canberra: Brief History, Location and Population .................................................... 13
3.2 ACT Government - Territory and Local Responsibilities .......................................... 13
4. CURRENT ARTS LANDSCAPE ........................................................................14
4.1 Arts Activities............................................................................................................ 14
4.2 Arts Organisations.................................................................................................... 16
4.3 Arts Facilities............................................................................................................ 17
4.4 Funding .................................................................................................................... 19
5. CONSULTATIONS SUMMARY .........................................................................20
6. ISSUES, POLICY DIRECTIONS AND DELIVERY ............................................25
6.1 Government ............................................................................................................. 25
6.1.1 Arts, Culture and Heritage – What Role for Government?................................ 25
6.1.2 Australian Government, Other Jurisdictions and Policy Alignment ................... 28
6.1.3 Chief Minister, Minister for the Arts and Heritage ............................................. 31
6.1.4 Chief Minister’s Department (CMD), Other ACT Agencies

and Whole-of-Government......................................................................................... 33
6.2 ACT Government Arts Policy Review ...................................................................... 36
6.3 artsACT .................................................................................................................... 43
6.4 Major ACT Arts Bodies............................................................................................. 47
6.4.1 Cultural Council (CC) ........................................................................................ 47
6.4.2 Cultural Facilities Corporation (CFC) ................................................................ 49
6.4.3 Heritage and Proposed Historic Properties Trust (HPT) .................................. 54
6.5 Arts Organisations.................................................................................................... 57
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6.6 Professional Artists .................................................................................................. 63
6.6.1 Established Artists............................................................................................. 67
6.6.2 Emerging Artists ................................................................................................ 69
6.6.3 Artists in Residence .......................................................................................... 73
6.7 Community Participation in the Arts ......................................................................... 76
6.8 Public Art ................................................................................................................. 80
6.9 Venues and Facilities .............................................................................................. 83
6.10 Cultural Facilities Planning..................................................................................... 88
6.11 Governance............................................................................................................ 91
6.12 Data and Research ................................................................................................ 94
6.13 Communication, Marketing and Promotion ............................................................ 96
6.14 Universities............................................................................................................. 98
6.14.1 Australian National University (ANU) .............................................................. 98
6.14.2 University of Canberra (UC) .......................................................................... 101
6.15 National Cultural Institutions ............................................................................... 103
6.16 Diversity .............................................................................................................. 105
6.17 Indigenous Arts .................................................................................................... 108
6.18 Accessibility.......................................................................................................... 113
6.19 Arts and Education .............................................................................................. 115
6.20 Arts, Health and Social Development .................................................................. 118
6.21 Arts Innovation and Economic Development ...................................................... 120
6.22 Arts and Environmental Sustainability.................................................................. 123
6.23 The Public ........................................................................................................... 125
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7. FUNDING .........................................................................................................127
7.1 Arts Budget Reflecting Policy Priorities.................................................................. 128
7.2 Funding Categories, Processes and Decisions ..................................................... 134
7.3 Future Funding Priorities........................................................................................ 140
7.4 Funding Sources – Partnerships, Sponsorship and Philanthropy.......................... 147
8. RECOMMENDATIONS ....................................................................................151
9. APPENDICIES .................................................................................................170
9.1 Public Submissions Summary................................................................................ 170
9.2 Public Consultations Summary .............................................................................. 175
9.3 Online Public Survey Summary ............................................................................. 181
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1. Background
The Chief Minister recognised the need to review the overall operations, interactions,
issues and needs of the arts in the ACT. As a result, the ACT Government issued a
request for proposal and quotation for a consultancy to review the previous arts policy,
consult widely, and report back to the ACT Government with feedback, analysis and
recommendations on a proposed ‘way forward’.
Peter Loxton and Associates were appointed as the consultants to conduct an
independent review of the arts in Canberra. The review was created in part in
response to the need for a new ACT Government action statement for the arts after the
current statement expired at the end of 2008. This report will be used to assist the ACT
Government to develop new approaches to supporting a dynamic, accessible and
sustainable arts sector for the ACT community.
The review was both practical and strategic in nature and included consideration of the
effectiveness of public sector support for the arts in the ACT. The creation of a new
arts policy and strategy has been viewed as being of great importance to keep up with
changing needs and priorities in the arts sector in Canberra. In order to achieve this,
the ACT Government has recognised the need to adopt best-practice arts policies
based on feedback and recommendations from the ACT and other jurisdictions.
Peter Loxton and Associates have worked with the ACT Chief Minister’s Department to
develop the methodology for this review of the arts in Canberra. This report on the
review has been built on a combination of research into the ACT arts community’s
views of the effectiveness of the current policy, as well as best practice arts policy from
around Australia.
The review of the arts in Canberra involved a thorough consultation process which
engaged key stakeholders. Peter Loxton and Associates have worked with
stakeholders to understand their experiences and views about priorities, opportunities,
issues, program delivery, and funding methods. Particular emphasis during the
consultations was given to receiving honest, informed and quite often confidential
feedback from many stakeholders with regard to areas such as strengths,
opportunities and challenges in the ACT arts sector; current advisory mechanisms; key
arts priorities; issues in relation to policy; strategic directions; and strengths and
weaknesses of funding methods.
A number of different consultation mechanisms have provided an important foundation
of information for the report, including interviews, field visits, focus and discussion
groups, online and hardcopy surveys, open forums and include face-to-face, phone,
email, post and media. The review has included different modes and approaches to
consultations to ensure the widest spread of views across the arts sector and the
broader community.
It is expected that the findings and recommendations from this review will be used to
inform the ACT Government in an ongoing commitment to and investment in the arts in
Canberra through new policies, strategies and actions to strengthen the arts.
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2. Executive Summary
Background
The ACT Government recognised that the arts in the ACT faced a range of challenges
that needed to be addressed through a wide-ranging, practical and strategic review.
The scope of the review required consideration of the effectiveness of policies,
strategies and public sector support for the arts in the ACT.
A major motivation for commissioning a review at this time was the need for a new
ACT Government policy for the arts after the policy statement, Arts Canberra – Action
Statement for the Arts, expired at the end of 2008. The creation of a new arts policy
and strategy was recognised as being of great importance to identify changing needs
and opportunities in the arts sector in Canberra and to guide future funding and other
Government priorities.
A request for proposal and quotation was issued for a consultancy to review arts
policy, consult widely, and report back to the ACT Government with feedback, analysis
and recommendations on proposed future policies, strategies and actions. In
September 2009, the Chief Minister and Minister for the Arts and Heritage, Mr Jon
Stanhope, announced the appointment of Peter Loxton and Associates Pty Ltd to
undertake a detailed independent review of the arts in Canberra over approximately
nine months, including the overall operations, interactions, issues and future needs of
the arts in the ACT.
The review involved research into best-practice arts policy from around Australia and
extensive consultations with the ACT arts community, the public and other
jurisdictions. Consultations included three public forums, online and hardcopy public
surveys, artist and other arts workshops, face-to-face interviews and email and written
submissions. These consultations provided an important foundation of information,
ideas and feedback for this report.
Issues and Learnings
There were a number of strong impressions, most of which became evident quite
early, and were reinforced over the duration of the review through consultations and
inputs from hundreds of stakeholders in the ACT. What was learned from the ACT arts
sector and public formed the foundations of many of the issues to be addressed
through this review. These included:
• There is a high level of interest in and passion for the arts in the ACT
• There is very active community involvement in the arts
• It is difficult to survive as a full-time professional artist in Canberra, especially as
a young or emerging artist
• Some areas of the arts appear to be better funded than others
• Arts facilities and venues are in high demand and are valued
• The balance and blending of funding needs to change, with more for
professional artists, especially emerging artists
• Communication and information about the arts needs attention
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• There is no clear delineation between the needs of professional and community
arts
• There is rigour in Government processes, but they are also often complex, slow,
inflexible and unresponsive to the needs of the arts
• There should be a greater awareness and connection of the arts to education,
community, social, and economic development
• Arts budgets and resources are too tight, and there is an urgent need for new
priorities and change
Future Policy Directions
The ACT Government was widely seen through the review as supportive of the arts.
However, it became clear that because of significant strains on current funding, there
will have to be changes to the future role of Government in relation to the arts. These
changes should be consistent with new policy priorities, which should be aligned as
closely as possible with principles, developments and priorities in the Australian
Government and other jurisdictions. It is suggested that the Government’s future key
goals for the arts should be:
1. Increasing participation in the arts

2. Attracting and developing artists and quality art
These goals, combined with a range of more specific policies, should guide
Government funding and resourcing priorities. It is proposed that Government funding
for the arts should in future be more targeted to ensure there is real impact in priority
areas, rather than trying to support all areas of the arts, which would inevitably fall
short of expectations.
It will be essential for transparency and effectiveness that Government ensures future
funding decisions are based only on new goals and priorities. This will require some
difficult decisions, including reviewing all existing funding and setting clear timeframes
for new funding priorities and arrangements, as well as for new performance
expectations. There will also need to be significant changes to streamline and improve
Government communication and processes so that decisions guided by new policies
are made and advised as promptly as possible.
Summary of Key Issues, Analysis and Recommendations
Government
There is genuine reason for concern about the heavy and apparently growing
dependence from the arts sector on ACT Government funding. The level of
dependence on the ACT Government seems to be higher in the ACT than in other
jurisdictions, and the level of Australian Government funding is lower.
This will require strategies to maximise the focus and impact of Government funding
around new, clear policy priorities and to minimise the costs of administration and
duplication.
There will also be a requirement for concerted action to increase the diversity of
revenue sources for the arts, including through new partnerships and greater
involvement of business through sponsorship, as well as by encouraging philanthropy.
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The Chief Minister and ACT Government will have an important leadership role to play
in driving these changes.
The most obvious role for Government is that of direct funding for the arts. However,
there is also a leadership role for Government to play in developing a vision for the arts
in Canberra. It should also promote the value of the arts for individuals and
communities, as well as significant contributions to other areas of Government priority
including education, health, social and economic development.
There is also an important facilitation role for ACT Government to help the arts
community to connect with different areas and levels of Government, business, the
public, and with other artists and arts organisations nationally and internationally.
There are excellent opportunities for the arts to create stronger relationships and
partnerships with other areas of Government and business in a range of areas
including tourism, events and festivals. It is reasonable for Government to expect that
one aspect of its return on investment in the arts is the economic benefits that the arts
deliver to the ACT economy.
artsACT
Management and staff at artsACT demonstrate a strong commitment to the arts and to
providing professional public administration. However, this review found that there was
criticism that artsACT appeared to be overly process-driven, bureaucratic and
unresponsive. Staff are currently required to provide a range of services and
administrative support that are no longer appropriate. With new funding and grants
administration arrangements, artsACT would be able to streamline all processes.
With clear Government goals and policies, artsACT would be given the opportunity to
refocus its efforts on policy advice, data collection, research and communication. It
should be well placed to become more proactive, better connected and informed and
be the focal point for responsive, timely, informed policy advice to the Chief Minister
and to agencies across Government.
artsACT would also need to develop more effective, open and trusted communication
with the arts sector, and to provide more active specialist leadership in the coordination
and promotion of the arts, including working with Government agencies. An upgraded
website would be required to enable one aspect of improved communication,
engagement and feedback.
artsACT should be encouraged to broaden its policy scope to build capacity,

knowledge and expertise in the areas of economic development, innovation and
creative industries.
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Cultural Council
Currently the majority of the Cultural Council’s time is spent on funding matters. It is
suggested that Cultural Council should relinquish current funding responsibilities and
refocus its attention on becoming an effective, responsive policy advisory body.
The Cultural Council should develop into a Ministerial Arts Advisory Council which
would principally provide advice directly to the Minister for the Arts on both specific
issues raised by the Minister as well as their own ideas and initiatives, based on a
closer connection with the ACT arts sector. At present the Council’s funding
responsibilities inhibit this connection to some extent because of concerns about
probity.
Cultural Facilities Corporation
The Cultural Facilities Corporation (CFC) demonstrates effective administration with

high standards of corporate governance but its range of responsibilities is unusual and
based on decisions taken at an earlier time, rather than on natural synergies. While the
CFC was seen to add real value in some areas, such as the management of historic
properties, in other areas it did not appear to add significant benefit when taking
account of the administrative costs.
It is proposed that the CFC would relinquish its responsibilities other than for historic
properties. The CFC would build on its strengths and develop into a new Historic
Places Trust (HPT) to take responsibility for all heritage properties and assets, as well
as historic and significant places. The new HPT would take on a more focused, active
and entrepreneurial role modeled on the NSW Historic Houses Trust.
The Canberra Theatre Centre appears to perform well in its own right, and it is
suggested that this would operate most effectively and efficiently in future as a
separate, fully ACT Government owned entity operating under a Board reporting to the
Chief Minister.
The Canberra Museum and Gallery (CMAG) is an important facility but it seems to
struggle with its identity and with attracting audiences. As soon as possible, artsACT
should be responsible for significant changes to the structure and operations of CMAG.
The Museum and Gallery aspects of CMAG would separate with the opportunity to
have different management and partnership arrangements for each function. There
would be a new Canberra Gallery in the current location of the CMAG, which would
focus on the full range of ACT visual arts, including an ACT Indigenous component.
There would also be innovative elements and partnerships to provide a new and
interesting museum presence for Canberra.
Arts Organisations
Government should in future only fund organisations that can demonstrate strategies
for the delivery of outcomes that support Government policy priorities of increased
participation and quality art.
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There is currently an unsustainable number of Key Arts Organisations (KAOs) and a
lack of clarity about what constitutes a KAO. Government should in future fund a
smaller number of organisations or clusters of organisations and should also
discontinue use of the term ‘Key Arts Organisations’. Collaboration and partnerships
between arts organisations and art forms will need to be strongly encouraged, as this
will be the future focus of all funding for arts organisations. Government’s aim would be
for about eight ‘arts hubs’ to emerge based on art form and/or precinct, and these
would be funded for a maximum of three years. There would also be an emphasis on
identifying and supporting ‘centres of excellence’, with a focus on art forms and
organisations where the ACT has competitive advantage on the national and global
stage.
Professional Artists
Professional artists are clearly central to a healthy, dynamic arts sector and a new ACT
Government arts policy must fully recognise their vital contribution. It has been
observed around Australia that funding for individual artists is reducing in proportion to
funding for major institutions and arts organisations, and this is certainly the case in the
ACT. There is a need to focus on providing greater support for more practising
professional artists, particularly young and emerging artists, as well as for new and
emerging art forms. This support should include mentoring and professional
development, access to appropriate arts facilities, facilitation of artist forums and
increased funding.
There is strong evidence to support a Government funded Artists in Residence

program, which will promote quality art, education and Canberra as an arts hub.
Government should also create an Emerging Artists category in the Arts Fund and
ensure that grants application and commissioning processes for artists are as simple,
quick and flexible as possible while properly meeting essential probity and risk
management requirements.
Community Participation in the Arts
The ACT Government’s primary goal in support for community arts should be to
increase participation in the arts, rather than to achieve artistic quality or excellence.
Funding for community arts should generally be allocated at the regional level and the
main focus of Government funding for community arts should be the provision of
appropriate, multi-purpose, accessible facilities.
Public Art
The ACT Government has made a significant investment in public art in recent years.
This initiative showed vision in recognising that public art could be an integral part of
public spaces and has resulted in many outstanding works becoming a part of
Canberra’s cultural and physical landscape. However, the initiative has also received a
considerable amount of critical public comment and negative media coverage directed
mainly at an apparent lack of transparency in the process of buying or commissioning
the sculptures and planning for their location.
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A policy framework for public art would assist greatly in setting clear directions and
processes. These policies would stem mainly from an ACT Cultural Facilities Plan that
would indicate future placement of Public Art in the ACT, and the associated
consultation and decision-making processes. artsACT would have a continuing policy
role only, including ensuring ongoing curatorial oversight. In future, the new ACT Arts
Fund Panel should make recommendations, after seeking appropriate specialist Public
Art advice. Art beyond sculpture should be included as part of the scope of Public Art.
Despite some criticisms, most of which can be addressed through new policies, there
was overwhelming support during the review for the vision behind Public Art, and for
the determination that a Public Art program should continue. These views are strongly
supported by the reviewers.
Facilities and Planning
Facilities are a vital element of infrastructure to support the arts in the ACT. A Cultural
Facilities Plan is required to create clarity and structure around planning for core
cultural facilities, venues, heritage buildings, regional and multiple use facilities, future
arts precincts, and any major new developments of cultural facilities for Canberra. The
Plan should be developed in an open and collaborative process with input from all key
stakeholders.
artsACT should retain ownership and control of its non-heritage arts facilities, but
responsibility for repairs and maintenance should be transferred or outsourced with a
realistic budget from the small, dedicated team to external specialists in this area.
Access and rental arrangements need to be reviewed to ensure clarity and

consistency, reflecting Government arts goals and priorities.
Communication, Marketing and Promotion
There was very strong feedback that communication, marketing and promotion of the
arts in the ACT are currently fractured and ineffective. A cost-effective, centralised and
coordinated communication and information unit, overseen by arts organisations and
artsACT, should be established outside Government for artists, arts organisations and
the public.
Universities
The ACT Government should fully acknowledge the vital contribution of the major
universities, and particularly the ANU, to the arts and the professional development of
artists in the ACT. This should be seen as a basis to further develop trusted
relationships, new partnerships and opportunities for closer collaboration, innovation
and cost-sharing with both ANU and UC.
The ACT Government provides substantial arts funding to the ANU which is one of its
largest recipients of funding. There must continue to be clear and agreed performance
expectations in terms of benefits to the ACT, including participation goals for
community outreach programs and increased access to Llewellyn Hall.
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National Cultural Institutions
The National Cultural Institutions (NCIs) play a vital role in the ACT arts environment.
artsACT should facilitate establishing and developing strong bilateral and multilateral
relationships and partnerships between the NCIs, ACT artists and arts organisations,
and ACT Government agencies.
Diversity, Indigenous Arts and Accessibility
Diversity is a very important issue that needs to become a broader shared

responsibility of ACT Government and all arts organisations receiving funding. A
condition of future artsACT funding should be a requirement to demonstrate and report
on social inclusion and diversity initiatives.
The ACT Community Arts Office should be outposted to provide significant local
support to community arts, with two positions allocated to Tuggeranong and two to
Belconnen Arts Centres, to cover the entire ACT. Current staff should be given the
opportunity to take up these new roles, which would set out to increase participation in
the arts, including all diversity target groups.
There should be an Indigenous specific funding category in the ACT Arts Fund.
artsACT should work closely and collaboratively with Indigenous people to ensure that
all decisions about an Indigenous category are informed and that implementation is
successful. Capacity building initiatives, including assistance with applications and
reporting are strongly encouraged.
There needs to be clarification of policy on all aspects of access and accessibility.

Many of these, such as parking, transport and disability access, should be included in
the development of a Cultural Facilities Plan.
Funding
Peer assessment should be retained for significant funding decisions, as this ensures
informed, independent, merit-based decision-making about funding. However, in order
to streamline funding decisions, a single ACT Arts Fund Panel with a strong mix of
skills should be established to operate across art forms and the arts sector, with
access to specialist art form advice as required. This change would streamline
decision-making processes, enabling funding announcements months earlier.
This would be combined with direct decision-making for lower level, responsive
decisions such as Quick Response Grants, which would be decided by artsACT.
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3. Context
3.1 Canberra: Brief History, Location and Population
Canberra is a thriving modern city of 353,600 people. In 1908 the Commonwealth

Parliament chose the site for the capital of Australia. In 1911, the Australian Capital
Territory was established, at that time called the Federal Capital Territory.
The Australian capital was given the name ‘Canberra’ by Lady Denman on 13 March
1913 and the Centenary of Canberra will be celebrated throughout 2013.
3.2 ACT Government - Territory and Local Responsibilities
Until 1989 the ACT was managed by the Federal Minister for Territories, but the
growth of Canberra, particularly from the 1960s, led to the Australian Government
decision that the ACT should be granted self-government.
In 1988, the Australian Parliament passed four Bills setting up self-government for the
Australian Capital Territory.
The Legislative Assembly is made up of 17 Members of the Legislative Assembly

(MLAs) .
The current Chief Minister of the ACT is Mr Jon Stanhope MLA. Chief Minister
Stanhope is also the Minister for Territory and Municipal Services, Minister for
Transport, Minister for Business and Economic Development, Minister for Land and
Property Services, Minister for Aboriginal and Torres Strait Islander Affairs and Minster
for the Arts and Heritage.
Administrative Arrangements established the Chief Minister’s Department, the

Department of Treasury, Department of Territory and Municipal Services, Department
of Justice and Community Safety, Department of Health, Department of Disability,
Housing and Community Services, Department of Land and Property Services and
Department of the Environment, Climate Change, Energy and Water.
The ACT Government effectively has a combination of Territory, and the equivalent of
local government and City Council responsibilities. As a result of also being the
location of the national capital, the ACT Government has interests and involvement at
national, Territory-wide and community levels.
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4. CURRENT ARTS LANDSCAPE
4.1 Arts Activities
artsACT
The ACT Government arts administration, artsACT, is part of Chief Minister’s

Department (CMD) and currently employs 20 staff. The roles for artsACT are to:
• Develop and implement Government policies on the arts

• Manage and deliver the ACT Arts Fund
• Oversee Government investment in the ACT’s 20 Key Arts Organisations,
including the Canberra Glassworks and Belconnen Arts Centre
• Support the Community Outreach Program, which is delivered by the Australian
National University (ANU)
• Support the ACT Cultural Council - the ACT Government’s advisory body on the
arts – and its Peer Assessment Panels and working groups
• Oversee the ACT Government’s arts facilities including repairs and
maintenance
• Manage and deliver the public art program and support the Public Art Panel
• Advocate for the ACT arts sector through forums such as the Cultural Ministers
Council and the Australia Council for the Arts
• Administer the Cultural Facilities Corporation Act 1997
• Deliver a wide range of other arts initiatives and projects such as the Regional
Arts Fund and the Artists in Schools initiative
The Arts in the ACT
The arts are an integral part of life for the majority of Canberrans, with the ACT
recording the highest attendance at cultural venues and events in Australia. The
recently released 2005-06 Australian Bureau of Statistics (ABS) Survey of Attendance
at Cultural Venues and Events found that Canberra is the most cultured city in the
nation, with 90% of Canberra residents aged 15 years and over visiting at least one
cultural venue or event. This was the highest rate of all of the States and Territories
and was 5% higher than the average Australian attendance rate (85%). It should be
noted that the following figures are sourced from the ABS and are aggregated across
cultural activities of the ACT which include the National Cultural Institutions (NCIs) and
those of the ACT Government.
ACT Strengths in the Arts

• ACT attendance and participation to at least one cultural venue or event in the
12 months prior to survey was above the national average
• Attendance at art galleries and museums was strong and attendance at
performing arts activities in the ACT was also greater than the national average
• Of people aged 15 to 34 years in the ACT, 93% attended a cultural venue or
event in the 12 months prior to interview
• Most participants who attended cultural venues and events attended more than
once in the 12 months prior to interview. Of particular note is that 81.5% of
those attending art galleries attended more than once.
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• Children in the ACT had greater participation in art and craft activities than the
national average
• Children’s attendance at cultural venues and events was higher in the ACT than
nationally, with the most significant difference being attendance at museums or
art galleries
• Indigenous participation in cultural events and attendance at Indigenous
festivals/carnivals involving art, craft, music or dance events in the ACT is
higher than the national average
• People in the ACT with a disability have lower attendance rates at most cultural
venues and events than the general ACT population. However, attendance
rates in the ACT were still higher than for Australia as a whole.
• Attendance rates for people aged 60 years and older in the ACT were higher
than the national average
• ACT household’s spending on ‘cultural items’ is higher than the national
average
• 10,784 people or 4.1% of all employed persons in the ACT considered their
main job to be in a cultural industry occupation and a greater proportion of the
ACT population works in cultural activities compared with the national average
• The number of volunteers involved in cultural activities is above the national
average
• At June 2008, there were 23 museums and art galleries operating in the ACT
employing 1,082 people and 869 volunteers
• At June 2007, there were 21 performing arts businesses in the ACT which
generated $5.5 million of income
• Attendance at cinemas in the ACT is higher than national average
Specific Art Forms noted in the artsACT ACT Arts Fund Information Booklet
2010 (and 2011) include:
• Dance
• Theatre
• Literature
• Music
• Film
• Visual Arts
• Digital Arts
• Multi Arts / Cross Arts
• New Media
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4.2 Arts Organisations
There is currently ACT Government funding for the following

Key Arts Organisations (KAOs) for the summary of functions outlined:
• ACT Writers Centre Inc - Programs and services for writers

• ArtSound FM 92.7 - Community radio broadcasting and recording facility
• Ausdance (ACT) Inc - Dance services and programs
• Belconnen Arts Centre Inc - Community arts programs
• Canberra Contemporary Art Space Inc - Contemporary visual art exhibitions,
programs and services
• Canberra Glassworks Inc - Glass programs, equipment and exhibitions
• Canberra Potters Society - Ceramic programs, studios, equipment and gallery
• Canberra Symphony Orchestra Inc - Symphonic concerts and services
• Canberra Youth Music Inc - Youth orchestral and voice programs and concerts
• Canberra Youth Theatre Inc - Theatre workshops and productions with young
people
• Craft ACT: Craft and Design Centre Inc - Contemporary craft programs,
exhibitions and services
• Gorman House Arts Centre Inc - Manage Gorman House Art Centre, manage
Ainslie Arts Centre, host of the ACT Community Arts Office
• Jigsaw Theatre Company Inc - Theatre for young people
• Megalo Access Arts Inc - Printmaking access facilities, exhibitions
• Music For Everyone - Music programs for all ages and abilities
• PhotoAccess Inc - Photographic and digital access facility, exhibitions
• QL2 Centre for Youth Dance Inc - Youth dance programs and productions
• The Stagemaster Inc - Manager of The Street Theatre programs and
productions
• Tuggeranong Community Arts Association - Community art programs, manages
Tuggeranong Arts Centre
• Warehouse Circus - Youth physical theatre/circus programs and productions
In addition to KAOs, the Australian National University (ANU) receives $1.4m directly
through the Community Outreach Program. artsACT also provides $0.2m directly to
ACT music organisations to use Llewellyn Hall.
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4.3 Arts Facilities
artsACT on behalf of the ACT Government currently oversees the operations of 12

facilities which are wholly dedicated to arts activity. These facilities are supported by
the ACT Government to: nurture and stimulate excellence and innovation; provide
opportunities to participate in the arts; and nurture cultural development.
Some of these facilities were purpose built to meet identified community and arts
sector needs for arts and cultural services. Other facilities were surplus ACT
Government assets made available for use by arts groups which had expressed a
need for space.
Some of these once-surplus-assets have been significantly refurbished for arts and
cultural purposes and some are nominated or listed on the ACT Heritage Register.
The 12 artsACT arts facilities are:
Facility Location Focus

Ainslie Arts Centre Ainslie (heritage Music
registered)
Belconnen Arts Centre Belconnen Community
Canberra Contemporary Art Manuka Visual
Space
Canberra Glassworks, Kingston (heritage Visual and residence
including The Chapel registered)
Gorman House Arts Centre Braddon (heritage Multi tenanted and multi
registered) art form
Manuka Arts Centre Manuka (heritage Visual and Radio
registered)
Nissen Hut Store Kambah Theatre Storage
Strahnairn Arts Centre Holt Visual
The Street Theatre City West Theatre
Theatre 3 City West Acton
Tuggeranong Arts Centre Greenway Community
Watson Arts Centre Watson Visual – Ceramics
artsACT currently receives base funding of $329,000 for repairs and maintenance on
these arts facilities. In 2010-11, $268,000 was allocated for capital upgrades of
facilities. For the past number of years, an additional $400,000 has been allocated by
Treasury from a central provision. This will not be provided in 2010-11.
Organisations that manage artsACT facilities operate under licence and do not pay
rent. They are, however, responsible for outgoings such as utilities and security.
The ACT Government, through the Cultural Facilities Corporation (CFC), manages the
Canberra Museum and Gallery and the Canberra Theatre Centre (The Canberra
Theatre, The Playhouse and The Courtyard Studio), and historic properties
(Calthorpes House, Mugga Mugga and Lanyon Homestead). The CFC rents its office
space and the space for Canberra Museum and Gallery from ACT Property Group
within the Department of Land and Property Services for a total of $1,532,000 per
annum.
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There has been development of performing arts centres in Government schools and
colleges. These centres have the potential to enhance accessibility by artists and the
community to versatile and well-designed venues. Schools with these venues include:
Erindale College; Lyneham High School; and Calwell High. It will be important in the
future to ensure coordination across Government so there is maximum use of these
facilities by artists and the community.
In addition there are a number of arts organisations which rent facilities under licence
from the ACT Property Group. These include:
• Canberra Spinners and Weavers, Ainslie

• Canberra Lapidary Club, Lyons
• Canberra Dance Development, Spence
• Folk Dance Canberra, Hackett
• Craft ACT, Civic
• ACT Community Arts Office, Civic
• M16 Art Space, Griffith
The Department of Disability, Housing and Community Services manages a number of

community facilities which also accommodate arts organisations including:
• The Chifley Hub (former Melrose Primary School) – Warehouse Circus

• Cook Hub (former Cook Primary School)
• Canberra Youth Ballet
• Canberra Quilters
• Phoenix Players, Free Rain Theatre Company and Supa Productions
These organisations also pay a community rent and are under licence with DHCS.
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4.4 Funding
Major Elements of Funding for the Arts in the ACT
RECURRENT
2009/10 2010/11
! $’000 $’000
Chief Ministers Department - artsACT 11,607 11,609
Cultural Facilities Corporation (CFC) 7,435 7,440
TOTAL 19,042 19,049
In 2009/2010 the total budget for artsACT was $11,607,000. This included $5,043,024
allocated to the ACT Arts Fund. $3,808,680 of this figure, or more than three quarters
of the Arts Fund, was budgeted for KAOs.
CAPITAL
2009/10 2010/11
! $’000 $’000
Chief Ministers Department - artsACT 1,821 1,525
Cultural Facilities Corporation (CFC) 1,962 459
TOTAL 3,783 1,984
ACT Arts Fund Funding and Grants
Historical
Total amount applied for since 1994: $119,610,079

Total amount funded since 1994: $65,089,888
Number of grants provided since 1994 (all categories): 2,576
In 2009 artsACT received 21 funding applications from Key Arts Organisations (KAOs).
The amount sought through these applications was $4,003,924, and 21 applications
were approved with a total of $3,757,500.
There were 23 applications received and funded in the previous year. The amount
approved was $3,470,500.
2010 ACT Arts Fund
Based on the funding available to support the Project and Community Arts Funding
categories through the 2010 ACT Arts Fund, the unmet merit (applications advised for
funding that fell outside the allocated budget) was $711,000. This is in comparison to a
shortfall of $529,800 in the 2009 ACT Arts Fund.
The 2010 ACT Arts Fund was able to fund approximately one quarter of all
applications (to the Project and Community Arts Funding categories). In previous
years, the Fund has been able to support approximately one third of applications.
!
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5. Consultations Summary
There was a clear expectation from the outset in this review from both the ACT
Government and ourselves that, especially taking account of the very broad scope of
the review, there would need to be extensive consultations with stakeholders. The
learnings from these consultations informed analysis and recommendations which
have been included in all aspects of this report.
Many of the consultations were with artists and organisations either receiving or
seeking funding from the ACT Government. It was clear from the outset that it would
be important to offer confidentiality about sources of information to gain confidence
from those being consulted so they would be as open and honest as possible about
their experiences and views. Assurances about confidentiality were often sought, and
commitment was given. This has been respected and maintained in this report. There
are a number of references to feedback from consultations without being specific about
individuals or organisations. These references are based on extensive notes taken
throughout the review and on confidential inputs received. Comments, analysis, and
conclusions throughout this report are based on a combination of extensive
consultations, research and professional judgement. There is no intention to provide
any further specifics about sources.
There were a variety of consultation mechanisms in the review process, including:

facilitated three public forums at Civic, Tuggeranong and Belconnen; received and
considered online and written public surveys and email inputs; facilitated workshops
with established and emerging artists, major ACT arts organisations, artsACT staff,
and Aboriginal artists; held face-to-face interviews with senior representatives of Key
Arts Organisations, National Cultural Institutions, Universities, ACT and Australian
Government, business and others; as well as receiving and considering hard copy and
email submissions from a wide variety of arts stakeholders; and discussions.
Consultations
The following is a summary of meetings, consultations, workshops, interviews and

inputs to the review:
ACT Government:
• Chief Minister and Senior Advisor
• Chief Minister’s Department (CMD), including meetings with Chief Executive and
senior executives
• Review of the Arts in Canberra Steering Committee
• artsACT staff workshop, and several separate background meetings with
Director, managers and various staff on historic and current funding
arrangements, venue management, public art, etc
• Visited several ACT Government arts facilities
ACT Government Departments including: Chief Minister’s Department (CMD);
Department of Land and Property Services (LAPS); Department of Territory and
Municipal Services (TAMS); ACT Health; Department of Education and Training
(DET); Department of Disability, Housing and Community Services (DHCS); ACT
Planning and Land Authority (ACTPLA).
• Received extensive written background material from artsACT
20
Major ACT Arts Bodies:
• ACT Cultural Council (one meeting, plus facilitated one full workshop); also
separate meetings with the Chair and Deputy Chair
• Cultural Facilities Corporation (CFC) Board , (including workshop and written
submission) separate meetings with the Chair and Chief Executive. Also
meetings and facility/display inspections with Directors of Canberra Theatre
Centre, Canberra Museum and Gallery, and meeting at Lanyon Homestead on
ACT Historic Places
Key Arts Organisations (KAOs):

• Individual, predominantly face-to-face meetings with managers/directors and
several Chairs of all of the 22 Key Arts Organisations (KAOs). Most were met in
person with some follow-up meetings with, for example, chairs who were
unavailable
• Received written responses directly from several KAOs
Other Arts Organisations:

• Met or spoke in telephone conference calls with, and received written responses
directly and through artsACT from a number of ACT, national and other specific
interest arts organisations receiving various forms of funding support from ACT
Government and/or those interested in the arts in the ACT
Artists:
• Facilitated Emerging Artists Workshop
• Facilitated Established Artists Workshop
• Received follow-up input from artists who attended workshops and others either
unable to attend or not involved in the workshops
Indigenous:
• Extended phone consultation with Indigenous arts representative
• Facilitated Indigenous Artists Workshop in Canberra
• Further input invited and received
Universities:
• ANU: Meetings with Pro Vice-Chancellor (Research and Graduate Studies);
Head of ANU School of Music and Head of ANU School of Art
• University of Canberra: Meetings with Pro Vice-Chancellor Development; Dean
Faculty of Arts and Design; and COO. Input also invited from VC ACU
Australian and other Governments:

• CEO and Executive of Australia Council for the Arts (AusCo)
• National Cultural Institutions (NCIs): Acting Director National Portrait Gallery;
Curators of Drama and Dance at National Library of Australia; Assistant Director
at the National Gallery of Australia, plus a written submission; CEO at the
Australian Institute of Aboriginal and Torres Strait Islander Studies
21
• Other State Governments: meetings with Executive Director Arts NSW and
extended telephone conference calls with Directors/Executive Directors from
other jurisdictions including Queensland, South Australia, Tasmania and Victoria
• Meeting with Secretary Department of the Environment, Water, Heritage and the
Arts
Public and Media:
• Facilitated Public Forums at Civic, Tuggeranong and Belconnen

• Received written public input through online and hard copy surveys
• Received emails and other written input mostly directly, and also through artsACT
from the public, artists and arts organisations
• Radio extended interviews on ABC 666 (two), 2XX and ArtSound, plus news for
ABC TV and Radio, and commercial AM and FM stations
• Broadly monitored media coverage of the review of the arts in Canberra as well
as of emerging arts issues
Business/Government/Sponsorship:
• Meetings with Chairman ActewAGL, Managing Director of ACTEW Corporation;
and CEO AGL; and
• Director ACT Australia Business Arts Foundation (AbaF)
Expert advice:
• Several discussions were held with people with a variety of relevant knowledge
and expertise
• Peter Watts, founding Director of NSW Historic Houses Trust. Director for 29
years, and since then, independent reviewer of Museums and Galleries NSW,
and Kate Clark, Director of NSW Historic Houses Trust
Venue and Facility Visits:

• Visits to all artsACT-owned arts facilities and discussions with some of the
managers and artists working at these facilities
• Visits to several KAO facilities
• Visits to Tuggeranong and Belconnen Arts Centres
• Visits to other arts facilities supported by artsACT and ACT Government
eg M16
• Visits to CFC facilities
• Tour of the Arboretum with John Mackay, Chair of the Board of Governors
• Attended dance and drama performances at The Street Theatre and The
Playhouse
• Visited NCIs including: National Portrait Gallery, National Library of Australia;
National Gallery of Australia; and the Australian Institute of Aboriginal and Torres
Strait Islander Studies
• Visited Llewellyn Hall at ANU
22
Letters, emails and documents:
• Hundreds of letters, emails, hard and soft copy documents received throughout
the review from public, artists, arts organisations and Government agencies.
Public Consultations and Brief Summary of Online Learnings
Public and community input into this review through a variety of consultation
approaches was an essential component in providing awareness and analysis of
ideas, concerns, opportunities, issues, options, and ultimately recommendations.
The public survey asked for community responses about priorities, opportunities,
issues, program delivery, and funding methods and included the following areas:
• Participation in the arts in the ACT

• Arts events attended and how often
• Most valued arts organisations
• Whether ACT Government spending on the arts is effectively allocated
• Changes to the way the arts operate and are funded
• Whether the ACT Government spends too much in some arts areas and not
enough in others
• Arts venues used in the ACT and whether they could be more effectively used
• The importance of the arts to creative industries, tourism and the ACT economy
While a wide variety of views were expressed by the public, some consistent themes
emerged. A brief summary of the online community consultation provides a snapshot
of public interest in the arts in the ACT which is not inconsistent.
There were more than 200 responses to the online survey from all age groups and
interests in the arts. The majority participated in the arts, either directly or as audiences
and all art forms were valued. Most participated in music events, visual arts, and
performance, but other art forms were well represented in the survey, including textile,
design and print-making, pottery, photography, film, writing and craft.
A significant proportion were from Canberra’s inner north and south, but all other areas
of Canberra were represented. Although young people under 20 years of age were not
well represented, many parents responding to the survey provided information and
priorities for their children.
The survey clearly demonstrated that the arts are highly valued in Canberra, and that
the public believes that Government has an important leadership role to support the
arts through funding, facilities, promotion and positive partnerships.
Some people felt that not enough was being spent in a number of areas of the arts.
There was a wide range of very divergent views about what was most important in the
arts flowing to differing views about priorities for Government arts expenditure. In
recognition of the variety of demands on Government, the public felt that the ACT
Government needed transparent policies and processes demonstrating that funding
was allocated according to clear policy priorities, as well as sector needs and
opportunities.
23
The public want the arts to be accessible, and public art is appreciated. Availability of
and access to appropriate venues and facilities for community and professional arts is
recognised as very important.
Finally, the survey showed that the majority of the public support emerging and
innovative arts, professional and amateur arts, and strongly value arts events and
festivals.
Please find attached full summaries of public consultations as Appendices:
Appendix 1: Public Submissions Summary

Appendix 2: Public Consultations Summary
Appendix 3: Online Public Survey Summary
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6. Issues, Policy Directions and Delivery
6.1 Government
Both the Australian Government and the ACT Government have important roles in
setting policy direction for the arts in the Canberra. This section covers both of these
areas of Government.
artsACT is the major focus of policy advice and service delivery for the arts in the ACT
Government. Taking account of its importance in this review it is covered separately in
section 6.3.
6.1.1 Arts, Culture and Heritage - What Role for Government?
6.1.1 Issues and Analysis
1. There has been a long history of recognition by Government of the importance of

the arts in the ACT and the need for Government support. However, there have
also been high profile issues, such as public art, which have proven to be politically
divisive. It would be unfortunate if such issues had a negative impact on overall
bipartisan recognition of the importance of ACT Government funding and other
forms of support for the arts. It is important through the policy review process to
have a fresh look at the role of Government.
2. While the ACT Government is widely seen as quite supportive of the arts, it
became clear through the review that because of significant strains on current
funding and other forms of support, there will have to be a range of changes in the
future role of Government in relation to the arts sector. These changes should be
consistent with new policy priorities.
3. The most obvious role for Government is that of direct funding for the arts, which is
dealt with in some detail in Section 7 of this report.
However, there is also a leadership role for Government to play in developing a

vision, policy and strategy for the arts in Canberra. There is an important
facilitation role to help the arts community to connect with different areas and
levels of Government, business, the public, and with other artists and arts
organisations nationally and internationally.
The ACT Government also has a vital role to recognise and promote the
importance of the arts and culture in education, health, social well-being, economic
development and the environment.
4. In the ACT, there appears to be a higher level of expectation of, and dependence
on, Government funding and resources for the arts than in other jurisdictions. This
can impact, at least to some extent, on the entrepreneurial outlook of artists and
arts organisations and can potentially even affect the scope of artistic vision of
what might be possible to be achieved in Canberra.
25
There often seems to be a sense that if Government does not provide funding then
artistic activity cannot happen. This is not only the case in the professional arts, but
also to some extent in community based arts activities. This may reflect in part the
nature of Canberra as the National Capital, but it also reflects the perceived
relative lack of funding support from other sources including sponsorship and
philanthropy. There seem to be differing views about why this is the case and the
potential for additional funding support from business.
5. While it is recognised that the level of funding able to be sourced from business
sponsorship and philanthropy may be more limited in Canberra than for many
other major Australian cities, there appears to be a real opportunity to attract more
sponsorship, and possibly more from philanthropy, for the arts in Canberra. This
would require a variety of changes including a change in mindset in the sector
about the role of Government as virtually the sole funding source for the arts.
6. There is potential for the ACT Government to provide a leadership role to

encourage business interest in sponsorship of the arts directly and through
relevant business organisations including the ACT and Region Chamber of
Commerce and Industry and the Canberra Business Council. There is now a part-
time Australia Business Arts Foundation (AbaF) representative in the ACT who is
working to raise awareness with the business community about the benefits of
supporting the arts. It is important for business to see that sponsoring the arts can
have marketing benefits similar to those from sponsoring sporting events and
activities.
7. There also needs to be a much firmer articulation by Government of the need for
Government funded arts organisations to maximise revenue through a variety of
means such as ticket sales, merchandising, paid courses and the sale of artistic
materials.
8. It will be important for Government to set clear priorities for funding to achieve
particular policy goals and priorities. At present, funding is spread too thinly to
have effective impact in key areas. It is proposed that the spread of Government
funding for the arts should be reduced and more focussed in order to ensure
serious impact rather than trying to support all areas of the arts which inevitably
falls short of expectations. This will require some difficult decisions, including
reviewing existing funding arrangements and setting clear timeframes for funding
and performance.
9. One issue to be determined will be the relative priorities of support for professional
artists and organisations compared to community based arts. This is not to
suggest that the role of the arts in communities is less important but community
arts activity should only receive Government funding support where the community
is not able to fund essential activity without Government support. There should be
a higher level of self-funding where community members are able to support their
arts interest financially, as happens in most jurisdictions.
26
10. It should also be recognised that Government plays a vital role in the planning and
delivery of arts infrastructure, particularly including arts venues and facilities. The
ACT Government already provides a high level of support in this area, though
there is a need for more effective planning, which would ensure a more consistent
approach to meeting the needs of all art forms and regions across the ACT.
11. Government has an important role in arts and culture well beyond funding provided
through the ACT Arts Fund. Many agencies, including DET, DHCS and ACT
Health have an important role to play in the arts including provision of funding,
facilities and other forms of support.
12. There could be value in some form of audit, so there is a better understanding
within Government and by the public of the diverse involvement of Government
agencies in the contribution of the arts to education, social development, the
economy and other areas of life in the ACT.
13. There was some concern expressed through the review that some areas of the
ACT Government could appear, through their directive style, statements and
expectations, to be setting out to control rather than to support the arts through
funding. However, more rather than less Government policy direction would be
generally welcomed by the arts sector and the public who provided feedback, to
help overcome concerns about transparency around how funding decisions are
determined.
14. There was criticism from the arts sector about the Government’s previous arts
policy document, Arts Canberra – Action Statement for the Arts. There was a
strong view from artists and arts organisations that the ACT Government’s Arts
Policy should be a clear and comprehensive ‘passionate statement of intent’.
6.1.1 Recommendations
1. The ACT Government must provide clear policy direction on the arts. New goals,
policies and strategic priorities need to be established, based on the extensive
consultation, and wide ranging feedback, analysis and recommendations provided
through this review.
2. The ACT Government needs to promote a wider recognition of the intrinsic value
of the arts, as well as the importance of the arts and culture in education, health,
social well-being, and as an important component of economic development.
3. Undertake an audit of all the areas across Government where the ACT
Government makes a contribution to the arts through funding, resources and
facilities. Pursue opportunities for better coordination, greater efficiency and more
integrated planning to achieve clear policy goals and outcomes.
4. There is a high level of dependence on Government funding for the arts in the
ACT. Government leadership is required to actively investigate alternate sources
of funding and revenue. This should include encouraging greater business interest
in sponsorship as well as philanthropy.
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6.1.2 Australian Government, Other Jurisdictions and Policy Alignment
In the review of current arts policies, it will be important to have full awareness of, and
as far as possible, effective alignment with Cultural Ministers Council (CMC) and
Australia Council policy approaches, priorities and terminologies. There also needs to
be a keen awareness of developments in other jurisdictions.
Australian Government
1. While it will be important to ensure policies are appropriate to meet the specific
requirements of the ACT Government’s approach to the arts in Canberra, policy
principles at least will need to be consistent with Australian Government policy
directions.
2. All States and Territories and the Australia Council have sensibly adopted the
‘Road to Harmony’ protocols, which have been designed to improve clarity and
consistency, and to reduce the duplication of information collected.
‘Harmony’ information includes a consistent approach to formats for information

sought from grants applicants in relation to: Business Plans, Budget information
and quantitative data. There is also an agreed Glossary of Terms. In addition,
harmonisation is aimed to align timing with funding applications, including for
Triennial Program Funding. It will be important to remain aware of these factors in
the policy development process.
3. Irrespective of the future role of Ministerial Councils and the Council of Australian
Governments (COAG), policy should be developed and reviewed taking account of
developments in all jurisdictions. There should be ongoing multilateral and bilateral
contact with other jurisdictions. The ACT should ensure it remains aware of new
policy approaches, and practical experience about what works and what does not
work, to be able to establish and retain a role as a policy leader in the arts. Several
States through this review indicated a strong preparedness to cooperate.
4. It will also be important to continue to track and take account of any developments
from the Australian Government’s process of developing a National Cultural Policy
to ensure awareness of any national shifts in policy priorities.
5. There seemed to be a sense of mistrust and concern from several people spoken
to during the course of the review about relationships with Australian Government
agencies and Institutions. While some in the ACT arts sector have pursued or
responded to proposals for partnerships, unfortunately this appears to be the
exception rather than the rule.
6. There was a consistent view expressed by senior representatives of the Australian

Government and the National Cultural Institutions, though not specifically from the
Australia Council, of a keenness to work more closely and collaboratively on the
arts with Canberra artists, arts organisations and the ACT Government.
28
7. There is obviously a genuine concern from artists that the Australian Government
and Australia Council do not seem to recognise the number and range of artists
and arts organisations and the quality of art in Canberra. The percentage and level
of funding that comes to the ACT from Australia Council appears to be very low.
8. There seem to be very good and positive relationships between the ACT and other
jurisdictions in relation to the arts at Ministerial, Chief Minister’s Department and
artsACT levels. There are also positive relationships through Cultural Ministers
Council (CMC), and generally bilaterally with Australian Government agencies and
other jurisdictions.
9. This review included discussions with the CEO and Executive of the Australia
Council, as well as with the Executive Directors/Directors of Government Arts
agencies in Queensland, New South Wales, Victoria, South Australia and
Tasmania. While the ACT is smaller and different to other State jurisdictions, all
have been facing similar challenges, including the need to clarify policies and
strategies to guide funding priorities with budgets ranging from very tight to
severely shrinking. There are significant opportunities to be more active in
pursuing discussions to test the benefits of what has been found to work in other
jurisdictions, which could be adopted in the ACT. Several of these ideas and
initiatives have been outlined in this report.
10. Despite differences in scale, and the need to adapt strategies to the particular
needs of the ACT, it is still important that policies, strategies, models, systems and
definitions are generally consistent with other jurisdictions around Australia. It will
be very important, particularly with the initiative to create a National Cultural Policy
being undertaken by the Australian Government, to stay connected with what is
happening, to pick up ideas and make sure the ACT is on a consistent track.
11. One possibility that was raised by one of the larger States was the opportunity for
more sharing of production and other resources across States and Territories. An
example was given of commissioning or purchasing a production to be shown in
both a major capital city and in Canberra, resulting in reduced costs and extended
availability of quality productions for Canberra audiences. This is likely to be more
an issue for the Canberra Theatre Centre to consider, taking account of costs and
benefits to Canberra. There are similar initiatives emerging in the area of festivals
and events, where costs of blockbuster productions are also a major issue and
interest is increasingly being tested in cooperative ventures across jurisdictions.
12. Irrespective of whether sharing decisions and costs of productions across

jurisdictions is found to be beneficial, there is no doubt from this review that there
are many opportunities across the board for greater sharing of ideas, initiatives
and costs that should be pursued. There seems to be a consistent openness to
sharing of ideas and experiences, and no doubt this happens informally to some
extent on an ongoing basis. However, beyond areas like data and research, there
appears a surprising lack of concerted action in relation to sharing. The ACT could
lead the way in an initiative to actively pursue an agenda of areas and initiatives
where cost and resource sharing could be mutually beneficial.
29
It is fully acknowledged that what works in larger jurisdictions will not necessarily
work without some adaptation to the arts and demographic environment in the
ACT, but this should not stand in the way of active investigation of opportunities.
1. A new ACT Arts Policy should be aligned with policy principles, developments and
priorities in the Australian Government and in other jurisdictions. It will be
necessary to continually review policy developments and funding initiatives in other
jurisdictions and to actively investigate sharing arrangements to minimise costs
and increase alignment.
30
6.1.3 Chief Minister, Minister for the Arts and Heritage
There is clearly a strong interest in and commitment to the arts from the Chief Minister,
Minister for the Arts and Heritage. However, there are appropriate concerns from the
Chief Minister and the ACT Government that there are increasing demands on the
Budget, including from the arts, and that there needs to be a fresh look at current and
future policies and priorities for ACT Government funding, resourcing and support.
1. There is recognition of the need to review the overall operations, interactions,

issues and needs of the arts in the ACT.
2. There is also recognition that, while Government commitment to the arts continues
to be strong, there is growing frustration from most parties that Government
support is now over-stretched across all areas of the arts.
3. As a result, the Chief Minister saw a need to consult widely and to listen to views
and ideas from many stakeholders associated with the arts in the ACT. There was
obviously a strong and genuine interest from the Chief Minister to receive
feedback, analysis and recommendations to tackle the challenges ahead.
4. Following consultations, it was necessary to reassess the most appropriate future

role of Government in the arts. This included policy priorities in the context of
current and likely future needs, challenges and opportunities in the arts.
5. There has been some frustration from the Chief Minister, the Cultural Council and
artsACT about scope, timeliness and current mechanisms for receiving, testing,
developing and providing ideas, feedback and policy advice from the arts sector to
the Chief Minister.
6. Following consultations and analysis of options, it is suggested there should be

four key sources of policy advice to the Chief Minister:
• artsACT
• A Ministerial Advisory Council
• Effective research and communication by Government with artists, arts
organisations and the public
• Regular Annual or Biennial Artist Forums
7. There is concern from the Chief Minister about the heavy and apparently growing
dependence from the arts sector on ACT Government funding. This has increased
awareness of the need to maximise efficiency, minimise duplication, diversify
revenue sources and to maximise funding and other support from alternative
sources. There need to be new partnerships and greater involvement of business
through sponsorship, as well as philanthropy. The Chief Minister and Government
will have an important leadership role to play in these changes.
31
8. The recognition provided by Awards and Prizes is very important in the arts, and
gives the Chief Minister and ACT Government an opportunity to show leadership and
to give recognition for achievement and contribution. The Ruby Awards introduced in
2006 in South Australia provide an excellent model for consideration to be adapted to
the ACT. Some ACT Arts Fund decisions could be announced at the annual ACT Arts
Awards, and it is suggested that the Chief Minister should play a central role in the
Awards, presenting at least one major Award. It is also suggested that there should
be a Chief Minister’s Award, chosen by the Chief Minister, for outstanding
achievement or contribution to the arts in the ACT.
1. The Chief Minister should consider establishing annual ACT Arts Awards for all
areas of the arts in Canberra. As part of these Awards, there should be a Chief
Minister’s Arts Achievement Award.
32
6.1.4 Chief Minister’s Department, Other Agencies and Whole-of-Government
Through the process of this review it was evident that the Chief Minister’s Department
(CMD) is active and generally widely respected both within ACT Government and with
external stakeholders.
6.1.4. Issues and Analysis
1. It is recognised that strong leadership from respected senior management of CMD

will be an important factor in adding value to the arts sector by coordinating
support for arts initiatives across Government. However, there were indications
that there could be some concerns if there was too much emphasis on
centralisation rather than on coordination from CMD.
2. There was clear feedback from artists, arts organisations and the public about
what is seen as an obvious lack of communication and coordination across ACT
Government in relation to the arts. This leads to considerable frustration in the arts
community, especially taking account of the relatively small size of the ACT public
sector. There appears to be very little awareness of this situation within agencies.
3. There are varying levels of awareness of and interest in the arts at senior levels of
ACT Government agencies. Despite considerable encouragement from the Chief
Executive of CMD, only one Chief Executive, in the large and vital area of
Education and Training, was able to meet with the reviewers. This is a very
different situation to larger jurisdictions, where experience indicates that Directors
General/Chief Executives would appreciate the importance of the arts and would
wish to be directly involved.
To a large extent, the level of interest in the arts in most agencies reflects the
personal interests and initiative of a few individuals rather than any informed,
policy-driven strategic approach.
Individual enthusiasm is valuable and often the source of positive initiatives.

However, in the absence of agency awareness or strategy, and apparently in a few
cases in the face of apathy or opposition, agency action involving the arts is not as
effective as it could be. While there is a considerable level of activity and potential
in relation to the arts in most agencies, there is a notable and unfortunate lack of
communication, coordination and whole-of-Government action.
4. There were differing views about whether artsACT or senior management of CMD
was best positioned to take on a wider role of providing policy advice and whole-of-
Government coordination on the arts across Government. Some concerns were
expressed that artsACT have not previously appeared to demonstrate strong
interest to become actively involved in wider issues, like the many roles and
opportunities for the arts in areas of social and economic development.
However, on balance it is suggested that artsACT, with the clear support of CMD,
should become the focal point for policy, information and coordination of all issues
related to the arts in ACT Government. It is also expected that artsACT would
become more actively engaged with the arts sector and the community.
33
This expanded role may require additional skills and knowledge, a reallocation of
resources to strengthen policy capability in the arts and associated areas, and
some culture shift to be more outward looking and pro-active. Action from both
CMD and artsACT to raise awareness of an expanded policy and engagement role
for artsACT would also be necessary.
5. As artsACT takes up its extended role, it would be highly desirable for CMD and
other agencies to seek policy advice from artsACT on any issues related to the
arts.
6. Further opportunities for structural change, which had also been noted during the
review process, appear to have been acted upon. These involve bringing together
Australian Capital Tourism with the Special Events Unit and the Centenary of
Canberra section in CMD. There are important opportunities for closer connection,
cooperation and coordination between each of these areas, and with arts and
heritage.
7. The ACT Government plays an important role in relation to heritage. There are
close connections, though also clear distinctions, between arts and heritage. It was
going to be suggested that the Heritage Unit should move to Chief Minister’s
Department (CMD), with separate managers for Arts and Heritage under a single
Division and Senior Executive. It is pleasing to see that this initiative has already
been taken.
8. Libraries also play an important community-based role in supporting and providing

outlets for community art. In fact, libraries appear to be an interested, excellent,
and probably under-utilised resource and meeting place for educational, social and
community arts. While there are already many initiatives, the ACT Library and
Information Service indicated that they are interested in developing further
productive partnerships with the arts and communities.
9. Public art has become a valuable focal point for cooperative arts-related activities
across several agencies. ACT Health is one agency that has demonstrated recent
initiative and interest in public art and in working with other agencies.
10. Poetry in ACTION is a great example of ACT whole-of-Government cooperation

based on a creative idea that began in London 25 years ago with ‘Poems on the
Underground’, and has since spread to major cities around the world. It has been
in operation for four years in the ACT and displays selected commissioned poems
from shortlisted poets for the David Campbell Award inside 100 ACTION buses.
There is quite strong interest in writing and poetry in the ACT and this project,
strongly supported by the Chief Minister, aims to increase people’s exposure to
poetry, as well as to provide a forum for local poets. The poems are estimated to
read by about 10,000 Canberrans. It is hoped that this project continues.
11. There are many very good arts related initiatives across ACT Government.
artsACT could play an important role in gathering information about these activities
and encouraging appropriate cross-promotion by agencies to raise public
awareness of the scope of Government arts activity.
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1. Having taken positive initiatives on structural change by bringing Australian Capital

Tourism, Special Events and the Centenary of Canberra together with the ACT
Heritage Unit and artsACT in CMD, opportunities should now be actively pursued
for closer connection, cooperation and coordination between each of these areas.
2. CMD should drive and support improved communication and better coordinated
whole-of-Government responses to the arts to be led by artsACT. This needs to
ensure improved, more responsive service delivery, greater efficiency and
performance measurement against Government arts priorities.
3. There should be strong encouragement from CMD for agencies to work together,
with the support of artsACT, on developing and promoting arts initiatives such as
Poetry in ACTION, which is excellent, and should continue to receive support.
CMD and other agencies should seek policy and strategic advice from artsACT on
any arts or cultural issues or proposals relating to their agencies.
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6.2 ACT Government Arts Policy Overview
The ACT Government’s arts policy document: Arts Canberra – Action Statement for
the Arts 2006 – 2008 expired two years ago. The major reasons for this review were to
provide a current strategic and practical analysis of the arts in the ACT and to review
this earlier policy to enable the development of a new Arts Policy. The comments in
this section of the report should be read taking account of Arts Canberra.
There have been some recent policy initiatives since Arts Canberra. These included
the Theatre in the ACT Strategic Directions Statement 2010-13, Developing Arts
Audiences in the ACT Strategic Directions Statement 2008-10 and Dance in the ACT
Strategic Directions Statement 2008-10.
The purpose of the Theatre Statement for instance was to provide a framework for
ACT Government investment in, and Government and sector support for, the ACT
theatre sector, and to support key objectives to strengthen and grow the ACT theatre
sector and support high-quality theatre. Key themes included: clustering, connecting,
critical debate and visibility. The first two of these themes at least, are strong recurring
themes in this report.
Different approaches were applied in undertaking this valuable policy work. It is

understood that in at least some cases, the processes involved required considerable
time to complete. It is hoped that responses to this much larger review should be
completed with appropriate consultation in the shortest possible time, so there is a
demonstrated genuine commitment to change.
6.2 Issues and Analysis
1. As has been recognised by the Chief Minister, Chief Minister’s Department (CMD)
and artsACT, there was considerable feedback throughout the review that the
previous policy is now dated and a new policy is necessary.
2. Comments in this section will refer to some extent to the previous policy but this is
not to suggest that a new policy should be an edited version of the 2006-2008
document. It is widely felt that a quite fresh approach should be taken when writing
and structuring a new arts policy. Artists and arts organisations in particular called
for a lively, inspirational and accessible policy. This view is endorsed.
3. The arts are very highly valued in the ACT and there is a greater level of
involvement in the arts than in other States and Territories. The recently released
2005-06 Australian Bureau of Statistics Survey of Attendance at Cultural Venues
and Events found that the ACT had a 90% attendance rate, which was 5% higher
than the Australian average. However, there is a widespread recognition of the
need for change in the way ACT Government provides support to the arts.
4. Having a contemporary and comprehensive policy for the arts is seen as a vitally
important early step to set direction and guide action, including the ACT
Government’s funding and resourcing of the arts.
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5. In developing a new arts policy, there is no suggestion of any move away from
acknowledging the central importance of the arts and their intrinsic value.
However, it is suggested that the arts should not be viewed in isolation from other
areas of Government policy priorities and other areas of society. There are strong
and clear intersections between the arts and areas including education, social
development, economic development and the environment.
While care needs to be taken to not lose focus in developing arts policy, it is
equally undesirable to ignore the fact that the arts are intimately connected with,
and enrich, a wide variety of areas of life. Governments need to recognise and
support the full scope of the importance of the arts.
Sport would appear to have been more effective than the arts in conveying the
message that the full range of sports, from community to elite sports, reach into
and contribute positively to most areas of Australian life. As a result sport has
reaped the benefits of wide public recognition, government funding, sponsorship
and other financial support, despite the fact that the diverse value of, and public
passion and support for the arts, would seem to be at least as great.
Recent evidence of the effectiveness of the sporting sector in putting its case to
Government was the Australian Government’s recent announcement of its new
vision for Australian sport: ‘The Pathway to Success’. It aims to increase the
numbers of Australians participating in sport and strengthen sporting pathways to
link grassroots and high performance sport. This is backed by $195 million in extra
funding, which is the largest-ever injection into Australian sport. Also, ACT
consultations several times pointed to the relative success of sport over the arts in
the ACT, with sport being seen to attract significantly more media attention and
sponsorship funding.
6. There were varying views during the process of the review about whether the
focus of this policy review should include ‘culture’. Extensive consideration of the
debate about the differences and similarities between ‘arts’ and ‘culture’ is unlikely
to be fruitful. Interpretations of ‘culture’ can be so varied as to be unhelpful, but in
the context of the term ‘arts and culture’, there is widespread understanding of
something extending beyond arts into the cultural life of a place like Canberra.
While the reviewers were asked to review the arts and arts policy, the issue of the
need for a broader cultural policy for the ACT Government must not be overlooked
in the process of creating a new policy in this area.
7. The scope and future direction of arts and cultural policy have recently been raised
by the Australian Government. Considering the importance of policy alignment,
these developments and some key comments should be noted in this report and
considered carefully in reviewing arts (and cultural) policy in the ACT. In his
speech about a new National Cultural Policy to 2020, Minister Garrett said:
“The Government agreed to consider further the need for a broader policy
framework, growing out all of the arts, to embrace and include culture… while the
arts are a core component of culture, culture is more than just the arts…So we
begin with an essential principle, namely, affirming the right that all Australians,
whatever their background, have to the benefits of cultural activity.”
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He identified three themes for a new National Cultural Policy framework: keeping
culture strong, engaging the community, and empowering the young. ‘Keeping
culture strong’ included maintaining and developing key institutions such as
galleries, museums, libraries and major performing arts companies, as well as
recognising the foundation position Aboriginal and Torres Strait Islander history
and expression occupies in Australia’s cultural life. ‘Engaging the community’
involves producing work which is not only relevant but also attracts new audiences.
The theme of ‘powering the young’ was seen to demand attention, given the
immense reservoir of creative vitality and enthusiasm that resides in young people.
In order to unleash and promote this creativity for wider consumption there was a
need to examine new opportunities for experimentation and exhibition.
Minister Garrett recognised that “a key role for government is to ensure public
funding is linked to specific public priorities.” This was seen by the Minister to
include exploring direct funding for individuals whose creative activity pushes
the boundaries to new knowledge and ways of doing things, like public funding
for scientific research. He wanted to build stronger connections between
individual artists and the well-supported, large arts organisations to increase
opportunities for artists, especially including new work from emerging artists.
These issues, and the new National Cultural Policy were often referred to, and
widely recognised through review consultations, as fundamentally important for the
ACT.
8. Strong views were expressed that a new ACT arts policy needs to be based on
strong and clear vision and purpose and should not aim to please everyone. It
should aim to reflect public and Government priorities and to transparently guide
decisions about Government funding and support.
9. Response to Arts Canberra Action Statement for the Arts 2006-2008
As noted earlier, it is not proposed to provide detailed analysis of the previous

policy. Rather the aim is to provide guidance here and through the whole report for
the development of a new policy. Comments and thoughts in this part of the report
will follow key Headings, beginning with statements in Arts Canberra and
suggestions of possible alternatives:
9.1 Previous Vision
The ACT is rich in arts activities and experiences that creatively engage, challenge
and inspire our community
A possible new Vision:
The highest level of interest, engagement and participation in the arts is valued
and nurtured. The arts and culture have intrinsic value, are a central and
sustainable part of life in the ACT, and contribute actively to our identity, creativity,
community, education, social and economic development.
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9.2 Previous Principles
• Arts and cultural activities are at the heart of our community’s identity,
dynamism and strength.
• Excellence, sustainability and professionalism are central to the development of
the arts.
• Practising artists and arts organisations make a vital contribution to our
community.
• All people have accessible opportunities to participate in arts and cultural
activities.
• Innovation, risk-taking and artistic freedom are respected.
• Government, business and community investment in the arts generates
significant social, cultural and economic benefits.
• High quality arts facilities and resources are essential to a sound public
infrastructure.
• The arts have a central place in education.
• Art in public places engages and inspires our community and enhances our
physical environment.
Principles Analysis:
The list of principles is quite long and comprehensive – perhaps too long. The
main comments here, if a section titled ‘principles’ is retained, are: to ensure each
item on the list is genuinely a guiding ‘principle’, rather than ‘vision’ of a ‘goal’;
consider a shorter list of principles – ideally about 5; while this is not ‘vision’ use
language that is clear and inspirational.
If a list of ‘principles’ is retained, two examples of principles that should be

highlighted and included are “accessibility” and “diversity” which are dealt with in
this report. To follow these examples, without a genuine commitment to these
principles, any goal relating to participation would be very difficult to achieve.
9.3 Previous Goals
1. Excellence is Encouraged
Foster artists’ professional and creative development.
Support excellence, innovation and challenge in artistic practice.
2. Engagement and Participation is Maximised

Assist diverse, high quality artistic activity to achieve a high visibility.
Improve access for all people, including young people, to a diversity of arts
activities as audience members and active participants.
3. Sustainability is Strengthened
Foster the further development of existing strengths in the arts.
Develop capacity and resilience in individuals, organisations and structures.
Support the development of new ideas, practices, outcomes and initiatives.
!
!
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Thoughts on Goals:
It is suggested that ‘Goals’ are particularly important in a policy statement. Two

short, sharp goals should declare why the ACT Government funds and supports
the arts. The Goals should also suggest what Government expects in return
from this investment.
Government funding should be directed towards achieving these goals, which will
be supported by more specific arts policies. Applications for funding and acquittals
would need to demonstrate real, preferably measurable, benefits.
Possible New Goals:
Strengthening sustainability would clearly continue to be important, but is seen as

inherent in the two goals suggested above, and more of an issue of ‘how to’ rather
than ‘what to’. There are a number of proposals elsewhere in this report dealing
with strategies to improve efficiency and sustainability, and importantly to ensure
that funding is focused more sharply on achieving the two goals suggested above.
In relation to the first suggested goal, ‘participation’ is seen to be a broader term

incorporating ‘engagement’. According to the Oxford dictionary, both terms involve
‘taking part’, and ‘participation’ includes ‘sharing in’. ‘Engagement’ can also mean
to ‘hold fast a person’s attention’ or imply a level of intensity of participation. So in
the context of simplifying a goal statement, only the word ‘participation’ is
suggested.
Participation includes people not only taking part directly in the arts and
experiencing creative expression, but also audiences for and consumers of the
arts.
In the second suggested goal, the focus is on quality, which incorporates

excellence in artists and the arts. The terms ‘quality’ and ‘excellence’ were found to
be problematic through many consultations. While the importance of ‘quality’ was
widely recognised, its interpretation and application outside a clear policy context,
across community and professional arts, and across cultures, was seen to
undermine its true meaning and significance.
Some arts activities and even organisations that had apparently been funded on
the basis of ‘quality’ were seen to be somewhat dull and lacking in quality, which
raised the question of ‘quality according to whom?’ The question was also asked
as to how the same terms ‘quality’ and ‘excellence’ could be the basis of assessing
both experienced professional artists and participants in community arts, many of
whom would not claim to be producing ‘quality’ work, but rather enjoying
participation for personal satisfaction.
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It is suggested that ‘quality’ must be retained as an important goal and measure,
but it needs to be more consistently meaningful and mainly applied to the
professional arts.
Participation, and the associated values of social inclusion, satisfaction, pleasure

and fun should mostly be applied to community arts.
9.4 Previous Priority Areas
1. public art
2. community arts
3. arts facilities and cultural institutions
4. key arts organisations
5. arts funding
6. special programs and initiatives
Possible New Priority Areas:
1. Professional Artists – Established and Emerging

2. Community Arts
3. Arts Organisations
4. Arts Facilities, Precincts and Planning
5. Arts in Education, Social and Economic Development
6. Public Art
7. Arts Funding
8. Special Initiatives
9.5 Other elements that should be considered for inclusion in some way in a
new policy document on the arts and culture are included in the headings in this
section of the report. These could serve as at least a checklist of policy issues or
future directions.
10. The arts and culture can and do deliver major benefits that are vitally important to
communities and governments. These benefits can sometimes go unnoticed or
unrecognised. Many could be of wider interest to governments if the current and
potential value of the contribution of the arts to a variety of policy priority areas was
more widely appreciated. A brief summary of benefits for consideration as a further
check list in developing a new, more broad-ranging policy could include the
contributions of the arts to individuals, as well as to society and the economy:
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Individuals: Experiencing creativity; life long learning; finding meaning and purpose
at all ages; identification and expression of personal and cultural identity; building
self-confidence; connecting and engaging with others; pleasure and fun; physical
health and emotional well-being.
Society and Economy: Developing and applying creativity and inspiration;

generating ideas; finding new forms of expression; extending the value of
education, knowledge and experience; contributing to leadership in innovation;
building economies by creating ‘smart’ new products, services and industries;
strengthening networks and communities by building awareness and
understanding across cultures, ages and genders by bringing diverse people
together around a love of art and culture.
6.2 Recommendations
1. A new ACT Arts Policy should set clear goals and priorities to transparently guide
ACT Government decisions about all areas of future funding and support. New
ACT Government Goals for the Arts should be: Increasing participation in the arts;
and attracting and developing artists and quality art.
2. In writing a new ACT Arts Policy, there are several ideas and proposals in this
section of the report including comments on vision, principles and priority areas,
which should be given careful consideration for inclusion.
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6.3 artsACT
Management and staff at artsACT demonstrate a strong commitment to the arts and to
providing professional public administration. There is quite a heavy workload and staff
have been doing their best to meet management and Government requirements and
expectations. There is now a need for change which is generally recognised both
within artsACT and beyond.
1. artsACT does a range of work which, as in many areas of the public sector, is the
result of a combination of history, culture and responding to current requirements
of Government. Any critical comments based on extensive consultations should
not be seen as being directed at any individuals in artsACT. In fact there is a good
deal of readiness among all the staff for a new focus of direction. This analysis is
aimed at achieving positive change to enable strong and effective support to
Government and the arts in the ACT.
2. The strongest areas of current effort and emphasis appear to be on providing

administrative support in a range of areas including: the ACT Arts Fund; the
operations of the ACT Cultural Council; public art, and arts facilities asset
management. There is an apparent imbalance of focus on processes and a variety
of services that do not necessarily relate to what is generally felt to be artsACT’s
core role.
3. There are perhaps three key factors affecting the way in which artsACT operates.
These are: Direction - Government arts policy; Function - responsibilities and
structure; and Delivery - how it operates and its culture. The first two are largely
beyond the control of artsACT and require action by Government and senior
management to drive change, but the third point heavily includes the responsibility
of artsACT management and staff. The review has indicated the need for
clarification and some change in all three areas.
4. artsACT’s functions and systems are regarded, both internally and externally, to
lack a clear framing vision to enable effective policy advice, decision-making and
action. This may contribute in part at least to external perceptions that decisions
and responses can sometimes appear to lack a proper evidence base, planning or
transparency. There is a feeling that artsACT are primarily reactive rather than
proactive. Another contributing factor to this perception could be the lack of
relevant data and research to inform decisions.
5. artsACT should be the ACT Government’s focal point for policy advice, but due to
its funding and service-focused responsibilities, artsACT does not have adequate
numbers of staff with the necessary skills and experience to provide the desired
quantity, quality and responsiveness of policy advice.
6. It is important for policy advice from artsACT to be both proactive, taking account
of established Government policy directions, and quickly reactive to emerging
circumstances and challenges. In this way, artsACT needs to always be prepared
to both offer, and respond to requests for, informed advice to the Arts Minister.
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7. In addition it is essential that artsACT is aware of, and effectively connected to,
arts policy issues across Government, so they are in a position to offer background
and specialist advice to agencies as well as to their Minister.
8. Policy advice should be evidence-based, as well as taking account of policy

directions in other jurisdictions. The real need for data and research is another
area requiring attention in artsACT. At least a basic level of skilled staffing
resource will be important to generate and gather essential information that is
needed to provide informed, responsive, timely and relevant advice.
9. Effective communication with artists, arts organisations and public is a vital tool in
developing informed policy and in giving the ACT arts community ‘a voice’. This is
not to suggest a direct advocacy role, but a real awareness of issues, concerns
and opportunities. Building trust is also essential to knowing what is happening.
A genuine commitment by Government to arts sector and community consultation

is clearly important not only for artsACT to be kept informed, but it is also important
for other Government agencies, to ensure ongoing knowledge of arts-related
issues, concerns and opportunities.
10. The review found that there was quite extensive criticism that artsACT appeared to
be overly process-driven, bureaucratic and unresponsive. This could be
understandable in any situation where funding decisions are made in a context of
tight Government funding, and it is also understood by the reviewers that delays
can happen with any Government approval processes, including in busy Ministers’
Offices. Delays and unfavourable outcomes of decisions can, sometimes quite
unfairly, be directed to artsACT. However, negative perceptions were sufficiently
widespread and strong to indicate the need for at least some change in culture,
operations, responsiveness and particularly communication with stakeholders.
11. There was a widespread view from Key Arts Organisations (KAOs) that, while
recognising the need for probity, requirements last year in relation to governance
and reporting, especially for community-based organisations, were too stringent,
especially taking account of the limited numbers of art form specialists and support
resources. There has very recently been a response from artsACT and the Cultural
Council to address these concerns. Changes are included in the 2011 Arts Fund
Information Booklet, which would have been widely welcomed, but may have left
residual concerns about how decisions such as this were made.
12. There is a broad range of experience in terms of each KAO’s views on and
relationships with artsACT. Many feel they have a great relationship, while others
feel that engagement is limited and that they get very little from artsACT other than
funding. There is a clear consciousness in many comments from KAOs and artists
of the influential role that artsACT has in its recommendations about funding. From
many comments from all parties, there does not seem to be enough open,
effective communication between artists and arts organisations with the ACT
Government. In fact there appeared to be serious gaps in communication at all
levels; with a disconnect between artists, arts organisations, the bureaucracy and
politicians.
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13. There were many comments from organisations and artists, that with artsACT
seen to be focusing so strongly on process issues such as funding applications,
allocations and acquittals and on governance and rules, there is insufficient
concentration on assisting them with issues where they really need Government
help. This included facilitating connecting with other areas of Government, and
working proactively and collaboratively with them to develop new partnerships
including with business, National Cultural Institutions, training institutions, potential
employers, national art form bodies and other art forms.
14. Another key area of expectation from stakeholders was for artsACT to be more
actively engaged with the arts and to initiate and support actions to bring the arts
together in face-to-face forums for organisations and artists. There were also seen
to be opportunities to facilitate the provision of more information and online
engagement. There is a pressing need to support the establishment of a
communication hub to cover what is happening in the arts for all those involved in
the arts. It is suggested that this would involve providing an upgraded website for
artsACT, to improve engagement and feedback, though the main arts hub should
operate outside Government.
15. There is also need to work with artists, arts organisations and media to create a
new focal point for more coordinated, efficient and professional marketing and
promotion of the arts to the public. A related aspect where artsACT could play a
role is to work with organisations in tackling the difficult issue of ticketing to
generate efficiencies and better information on attendance at arts activities and
events.
6.3 Recommendations
1. The new ACT Arts Policy should guide artsACT’s future roles, functions,
structures, systems, priorities for decisions and actions, and enable them to
provide effective policy advice and leadership in the arts.
2. There needs to be a significant shift in focus for artsACT, particularly including

much stronger capability in policy, data collection and communication. This will
require some changes to functions and culture, and a review of current skill sets
and structures to deliver on new Government priorities.
3. artsACT should be the ACT Government’s focal point for policy. Its advice must be
both proactive and quickly reactive to emerging circumstances and challenges.
artsACT must demonstrate leadership, communicate and consult widely with the
arts sector, have access to research, and be aware of arts issues so they are able
to offer informed, evidence based advice to other agencies as well as to the Chief
Minister.
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4. The artsACT website should be upgraded to improve the flow of information to and
engagement with, artists, arts organisations and the public. Improvements should
include: streamlining funding and other processes; providing quick and relatively
inexpensive survey information and feedback; improving communication,
engagement and interaction with the entire arts sector and the public in the ACT;
and to provide essential information in a highly accessible way to all stakeholders,
including business and other potential arts sponsors and other Government
agencies.
5. Streamline all processes and minimise administration, while retaining appropriate

management of risk. This should include the areas of funding and grants
allocation.
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6.4 Major ACT Arts Bodies
ACT Cultural Council and Cultural Facilities Corporation
6.4.1 ACT Cultural Council
Since the formation of the Cultural Council it has played a valuable role as a focal point
for ACT Government to be able to seek advice on both policy and funding decisions.
There have been many members of the Council throughout its history who have been
widely recognised and respected as leaders in the arts in the ACT. It would appear that
the influence and impact of the Cultural Council has varied quite significantly at
different times with both Government and the arts sector.
1. The Cultural Council was intended to be an important focus of external policy

advice to Government, but for a range of reasons this has not been an effective
arrangement. It would appear that there is at least some frustration from the
Council, the Chief Minister and artsACT about the outcomes of current processes.
Also, currently the majority of the Cultural Council’s time is spent on determining
and advising on funding matters. It is suggested that there is a need for the
Government to arrange for the Cultural Council to refocus its attention on
becoming an effective policy advisory body.
2. The Cultural Council does not meet regularly with the Chief Minister, nor does it
provide regular advice on specific or current arts issues in the ACT. However, it
has been very pleasing to note that since this review began, and questions about
role and focus have been raised, there have been at least two meetings between
the Chief Minister and the Cultural Council.
3. Concerns were expressed by a variety of arts stakeholders that the Cultural

Council does not appear to represent the arts, and in recent years, has been
somewhat “invisible” and disconnected from the ACT arts community.
4. Members of Cultural Council were obviously committed to providing a valued

contribution, but seemed to be unclear about their role and priorities in relation to
providing policy and funding advice, as well as about their relationship with the
Chief Minister, with artsACT and with the arts community.
5. Cultural Council meets monthly, with the exception of December and January, and
spends most of its time considering funding applications. It does not appear to
have spent a great deal of time in recent years considering policy issues or
developments, though it could quite easily be in a position to provide useful advice
to the Chief Minister with a clear role and agenda.
6. It was suggested that, while the Cultural Council continues to have a major role in
funding, it is difficult for its members to be closely connected to the arts community
because of potential perceptions of conflict of interest. This was seen as a problem
because a key role of an effective Cultural Council should be to understand and
represent the issues of artists and the arts community.
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7. Because the Cultural Council did not seem to have a high profile, to represent the
arts community, or to be influential in advising the Chief Minister on arts issues or
the development of arts policy, a number artists and arts organisations had come
to the conclusion that the Council had little purpose beyond funding, and hence
should be abolished. It was proposed that forums around art forms, arts issues and
to represent all artists could be more effective in providing advice and feedback to
the Chief Minister.
8. There is mutual respect but some level of unproductive tension between the
Cultural Council and artsACT, principally because of a lack of clarity for both
organisations about roles, responsibilities, priorities and operational protocols
within meetings and in providing advice to the Chief Minister.
9. Cultural Council members generally support the need for greater clarity of their role
and for at least some level of change.
1. The Cultural Council should have its role refocused to become a Ministerial Arts
Advisory Council which would become the principle source of advice from the arts
sector reporting directly to the Chief Minister. The new Council would generally
meet quarterly to respond to specific issues raised by the Minister as well as
providing its own ideas and initiatives.
2. The new Ministerial Arts Advisory Council would not have a role in assessing
funding as this could limit the members’ ability to remain closely connected to the
arts community without any perceived probity issues. Funding would become the
responsibility of a new advisory body.
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6.4.2 Cultural Facilities Corporation (CFC)
The Cultural Facilities Corporation (CFC) was established as a separate statutory body
by an Act of Parliament in 1997 with a range of specific roles and responsibilities in
relation to the arts and heritage in the ACT. These have changed since its creation and
its current functions appear to be somewhat inconsistent with what the legislation
originally envisaged, especially in regard to broader cultural policies and activities in
the ACT.
The CFC has an unusual range of responsibilities that are not necessarily
complementary and that reflect historical circumstances rather than natural synergies,
precinct specific requirements or current priorities.
1. The CFC has had effective administration with high standards of corporate
governance, and some areas of its responsibility have performed well. However,
many questions were raised through the review about whether the current
structure and scope of the CFC continues to be appropriate and necessary and
whether it adds significant value to each component of its responsibilities, taking
account of the costs of administration. While the CFC performs well in many areas,
it was quite widely considered to be overly bureaucratic and process-driven.
2. Despite the name “Corporation”, and the functioning of the Board, the CFC
effectively operates as an agency of Government employing public servants.
These are not ideal organisational structures or employment arrangements for the
arts and differ from the private sector and Key Arts Organisations (KAOs).
3. There appears to be a variation of performance and value added by the CFC

between different business units within the CFC. Also, some areas of responsibility
seem to need and benefit more from management by the CFC than others, which
appear to operate quite effectively independently.
4. The Board and management see the need for development of the Civic precinct
and for major new arts facilities. They indicated being open to the possibility of
administering additional arts or heritage bodies.
5. The costs of the CFC for the additional value it delivers across its portfolio of
responsibilities requires consideration.
6. While the CFC has generally been seen to have managed its responsibilities
appropriately, there are inherent structural issues which add to administrative cost
and require attention. There was a wide-spread and persuasive view that at least
some element of change was necessary.
7. The CFC appears to add most value in relation to historic properties. There is an
opportunity for an initiative to build on that proven area of capability and
performance to provide significant value to the ACT in the management of historic
and heritage properties and assets.
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8. It is proposed that in the future a reconstituted CFC should become the single
focus of management for all ACT heritage properties and assets, as well as for
some historic properties. Section 6.4.3 deals further with heritage and with this
issue of a new Historic Properties Trust (HPT).
The CFC would be relieved of other areas of its current responsibilities, and these
would in future be managed under different arrangements.
9. The Canberra Theatre Centre appears to perform well in its own right, and it is
suggested that it would operate most effectively and efficiently in future as a
separate, fully ACT Government owned entity operating under a Board reporting to
the Chief Minister. The selection of Board members would be important. It would
be expected that it would include one or two representatives of ACT Government,
including the Director of artsACT, and may benefit from the specialist experience
and perspectives of interstate members.
10. The Canberra Museum and Gallery (CMAG) is an important facility, with some
very good arts and cultural resources, but it seems to struggle with its identity, role,
marketing and with attracting audiences. Though its purpose is very different, and
its focus is the ACT, it has a major challenge to compete for audience interest with
the NCIs. It is unclear what is the main cause of ‘the problem’. It may be
competition, identity and structure, marketing, location, its management, or some
combination of these and other issues. Change is certainly necessary, and the key
questions relate to the extent and nature of change.
11. It will be proposed that the CMAG would become the responsibility of the Chief
Minister as Minister for the Arts and Heritage through artsACT.
12. As soon as possible, artsACT should oversee significant changes to the structure
and operations of CMAG. The Museum and Gallery aspects of CMAG would
separate, with the opportunity to have different management and partnership
arrangements for each function.
13. There are interesting and quite exciting possibilities and opportunities for the future
Canberra Museum aspect, and it is proposed that there could be two aspects to its
future, neither of which would be dependent on the ‘bricks and mortar’
of the current CMAG building, which would be dedicated to the Canberra Gallery.
14. The first aspect of a future museum role could involve a negotiated partnership
with one or more National Cultural Institutions with strong, specialist museum
curatorial expertise and established audience interest to include a focus on the
history and culture of Canberra. This would involve similar arrangements to the
existing ACT partnership with the ANU, and it would be proposed that the two
organisations to work with would be the National Museum of Australia (NMA) and
the Museum of Australian Democracy. This would of course require consultation
and negotiation to ensure that Museum resources and the history of the ACT
continue to be appropriately represented.
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15. In addition, the HPT would be expected to have an active, contemporary and
dynamic future Canberra Museum role, featuring a focus on the interesting people,
places and social history of Canberra, including through some of HPT’s properties
and places. A new Canberra Museum would need to be professionally curated but
would not be a collecting institution or limited to being contained within one
building, or around static displays, but would be a diverse, living experience
involving people and places across the ACT. It would be likely to include:
independent walking and driving tours to interesting and historic places; aspects of
local Indigenous and multi-cultural history and current activity; changing programs
and features with varying elements of focus in different places around the ACT
built around people’s lives, interests and cultural experiences rather than only
around objects; as well as publications and an active, engaging website.
This form of living Museum has been successful in other places and would be
expected to be a good fit with an entrepreneurial, new HPT, and it would
complement what is offered by the National Institutions. Success would require
vision and energy but this would appear to be a genuine niche in the ACT with the
potential to build strong interest for both participation and visitation from
Canberrans, as well as for visitors to Canberra.
16. The new Canberra Gallery would be the ACT Government’s visual arts gallery. It
would be expected to focus on all aspects of visual arts in the ACT. This would
include traditional and contemporary visual arts with a particular focus on high
quality work from ACT visual artists. It would be expected to include paintings,
sculpture, ceramics, wood, glass, film, photography and digital arts. It could also
include a space for local Indigenous art, some of which would be available for sale.
17. The new Canberra Gallery would aim to have an energy and purpose that
attracted substantial audiences. It would be expected that consideration would be
given to the placement and nature of the entry and of a café which would link to
the Gallery’s purpose and audience. The performing arts would also be active in
the space and the precinct.
18. It is proposed that local Indigenous artists should have an important place in the
Gallery. It is very good to see that the ACT Government supports the recently
opened Burrunju Aboriginal Art Gallery, which is aimed to provide local Indigenous
artists with an opportunity to show and actively promote their culture and heritage
through art. However, the Indigenous artist workshop strongly pressed the need,
which is acknowledged, for access to an accessible, central location, and it is
believed that a new Canberra Gallery and local Indigenous artists would both
benefit from their inclusion.
19. An innovative option for the future of the Canberra Gallery could be to consider
relocating it to Kingston as part of a new visual arts precinct. This could be
considered as part of the recently announced Kingston Arts Precinct Strategy
deliberations, probably as a longer-term option. Such a consideration should not
inhibit purposeful action to ensure that a new Canberra Gallery in Civic receives
full and focused support. If this initiative is as successful as expected, and taking
account of the accessibility of Civic, it may not be desirable to move.
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20. Civic Square is an important central location for Canberra. In moving responsibility
from the CFC it is important to consider that it needs focused, strategic attention,
collaborative planning, and probably some funding to achieve its potential. It is
suggested that the Square would become the policy and strategic responsibility of
CMD, with TAMS having day-to-day management responsibility. It will be essential
for CMD to work with all key stakeholders in the precinct and the city to enliven the
Square and the area and to make it an attractive place for all Canberrans.
21. If accepted, these actions would be expected to require legislative change at an

appropriate time. It would also be suggested that the existing very capable CFC
Board and senior management would continue to operate for some time to ensure
a smooth transition to the new arrangements.
1. The CFC has provided effective administration and has added particular value in
relation to historic properties. In future the CFC would be relieved of other areas of
its current responsibilities.
2. A reconstituted CFC would in future be called the Historic Places Trust (HPT) and
would become the single focus of management for all ACT heritage properties and
assets, as well as for appropriate properties and places.
3. The Canberra Theatre Centre should operate in future as a separate, fully ACT
Government owned entity, directed by a Board and reporting to the Chief Minister,
with a clear statement of purpose and performance expectations.
4. There would be significant changes, to be overseen by artsACT, to the structure

separate, with each function having different management and partnership
arrangements. On behalf of the Chief Minister, artsACT would continue to oversee
the operations of a new Canberra Gallery, and those museum arrangements that
would in future be managed by other Institutions. The HPT would take over
responsibility for an exciting and unusual new Canberra Museum.
5. The Museum aspect of CMAG would in future have two components of operation.
The first component would involve a negotiated partnership, similar to that with the
ANU, preferably with two National Institutions with strong museum curatorial
expertise to feature objects and documents reflecting Canberra’s history. The
second component would be a dynamic, non-collecting, curated, living, non-static
Canberra Museum which would not be located in any one place and would reflect
the social history, people and culture of Canberra. The new Canberra Museum
would be the responsibility of the HPT and would make use of its properties,
places and assets.
6. The new Canberra Gallery would be the ACT Government’s visual arts gallery,
would be located in the current CMAG building, and would focus on all aspects of
visual arts in the ACT including an Indigenous component.
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7. Civic Square would become the policy and strategic responsibility of CMD, with
TAMS having day-to-day management responsibility. It will be essential for CMD to
work with all key stakeholders in the precinct and the city to enliven the Square
and the area and to make it an attractive place for all Canberrans.
8. Any savings resulting from reduced administration costs associated with the
reduced scope of responsibilities for the CFC should be directed to the ACT Arts
Fund to fund new arts priorities, such as emerging and Indigenous artists and
additional quick response grants.
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6.4.3 Heritage and Proposed Historic Places Trust (HPT)
1. The ACT Government plays an important role in relation to heritage. As in the case
of the Arts, it was to be suggested that the Heritage Unit should move to Chief
Minister’s Department (CMD). It is pleasing to see that this has recently been
decided and implemented. If decisions have not yet been made, it is suggested that
arts and heritage should have separate managers in CMD under a single Division
and Senior Executive.
2. All heritage places, as well as appropriate heritage assets, historic properties and
other places in the ACT should come together to be managed by a single
organisation emerging out of the Cultural Facilities Corporation (CFC). It is
proposed that in the future these functions should become the single responsibility
of a refocused CFC. It would be the goal of a new ACT Historic Places Trust
(HPT), which would replace the CFC, to ensure protection of historic places, as
well as being entrepreneurial to maximise public access, information and tourism
potential and to allow heritage and historic properties and places to come alive in a
similar way to the NSW Historic Houses Trust (HHT). The NSW HHT is proposed
as a model for an ACT Historic Places Trust (HPT).
3. The following description of the NSW HHT reflects closely the proposed vision for
an ACT HPT.
The NSW HHT is a statutory authority with of a Board of nine Trustees, at least one
of whom has knowledge or experience in history, and at least one in architecture.
The HHT is entrusted with the care of key historic buildings and sites. It was
established in 1980 by Premier Wran to run Vaucluse House and Elizabeth Bay
House and has grown to manage 14 diverse sites and properties including houses,
public buildings, a farm, gardens, parklands, a beach and urban spaces. The HHT
holds extensive collections in each of its properties and conducts a dynamic
range of programs and activities attracting over two million visitors to its houses
and museums each year. It produces exhibitions, events, publications and
education programs, manages an extensive collection, library, resource centre,
shops and cafes, and has an active Foundation, as well as Members and
Volunteers Programs.
The NSW HHT’s mission is to inspire appreciation of Australia's diverse histories

and cultural heritage for present and future generations by conserving, interpreting
and managing, with integrity, places of cultural significance, in the care of the HHT.
It is a leader in the conservation and management of historic places in Australia
and has won many awards. It is guided by the desire to be part of current
community debates and open to new ideas as much as to be the repositories of
important collections and the community memories.
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4. Some of the features of a new HPT would be likely to include the need for strong
specialist skills, capability and judgement, combined with curatorial knowledge,
care and attention to all HPT places and assets. There would need to be clear
policies and criteria to ensure focus is maintained and to guide the HPT’s
decisions about what it accepts, owns or manages, and it would have no heritage
or other role beyond those responsibilities. This would be combined with a genuine
commitment to sharing access to historic places and experiences with the ACT
and Australian public.
5. The establishment of a new Historic Places Trust would be an historic, exciting and
vitally important development for the ACT. Leadership at Trustee and management
levels of such an exciting initiative would demand a shared, clear vision and a
range of demonstrated skills and experience including being responsible,
entrepreneurial, connected to community and collaborative, combined with having
absolute enthusiasm and commitment, to ensure success.
6. A Trust is suggested as the appropriate nature of a statutory authority for these

responsibilities, but this may require further consideration by the ACT Government.
There also be consideration of what is an appropriate size of a Board of Trustees,
but inclusion of historical and architectural capability, including the Chair of the
Heritage Council to ensure appropriate connection, coordination and availability of
expertise, is seen as very important.
7. There are a number of areas of a relatively small ACT Government with aspects of
responsibility for heritage properties. This appears to create some confusion and to
hinder a clear strategic focus. While there will be circumstances where it would not
be sensible to disturb agency arrangements that work well, most of these
responsibilities could all come together under the HPT. It is suggested that
heritage properties, including artsACT properties, would become the direct
responsibility of the HPT other than by exception, in which case the HPT would still
have overview of how the properties are managed.
8. The same would apply with heritage assets, which are the responsibility of different
agencies, some of which lack heritage knowledge. Examples include the carousel
or merry-go-round designed and constructed in 1914 by Herbert Thomson, and the
1911 Gebruder Bruder organ from the Black Forest in Germany. These and other
appropriate assets could become the responsibility of the HPT.
9. It would be proposed that there may need to be an audit of heritage assets and of
historic properties and places to assist in determining which should become the
responsibility of the HPT. It is certainly not proposed that heritage assets would
need to be disconnected from appropriate and historic locations. In the case of
historic properties, it is suggested that those nominated for heritage status, as well
as those properties and places of strong local interest or significance, would come
under the overview or direct responsibility of the HPT.
10. With the recent move of the Heritage Unit to CMD, there are no suggested
changes to the role or functions of the Heritage Unit.
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1. A new ACT Historic Places Trust (HPT) would take responsibility for, and bring
together, all ACT Government heritage assets and buildings (other than by
exception) as well as appropriate historic and significant properties and places.
There would be clear policies and protocols to guide priorities and acquisitions.
The HPT would ensure protection of all assets, manage the new Canberra
Museum, be entrepreneurial to maximise public access and tourism potential, and
provide information and interaction through publications and a website. The NSW
Historic Houses Trust (HHT) would be the model.
2. The HPT would have a Board of Trustees including: the Chair of the ACT Heritage
Council to ensure effective linkages, at least one person with knowledge of history,
and at least one with experience in architecture. It would be expected that some
current members of the CFC Board may be offered trusteeships on the HPT, and
there would be at least some level of senior management continuity. While there
would be significant changes to administer requiring genuine commitment, these
arrangements would provide useful continuity.
3. An early audit of ACT heritage properties and assets and of historic and significant
properties and places is likely to be required to assist in determining which should
become the responsibility of the HPT. Policies and protocols would need to be
developed as soon as possible to guide the HPT in making decisions about what
should be included in either their direct or overview responsibility.
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1. The vital contribution that arts organisations make to a healthy and active arts
environment should be clearly acknowledged. The vast majority of people working
in these organisations do so because of a deep commitment to the arts, and most
receive either very modest payment or work as volunteers.
2. Considerable professional capability has been developed and recognised in a

number of art forms in the ACT. While all art forms should receive some form of
support, it is suggested that the ACT Government should have a focus on
supporting art forms and organisations where the ACT has a demonstrated
competitive advantage on the national and global stage. The support for glass
artists through the Canberra Glassworks is an example of an excellent initiative
that is already developing an international reputation for excellence.
3. As well as supporting established art forms, it is important to identify and support

emerging art forms as well as emerging artists. It is good to see support for digital
arts and new media as well as for initiatives across art forms. However, it will be
important that this recognition is supported by funding action, and is done with real
engagement and awareness of new ideas and of what is happening in these
areas.
4. Canberra has great potential for cross art form collaboration, partly because of the
size of the city and because many artists know each other’s work. This needs to be
fostered though better communication, funding and other Government support
arrangements.
5. There could be more a focussed strategy to support professionalism in the

performing arts. For example, there is wide-spread admiration for the current
Director of the Street Theatre and recognition that the organisation is very
effectively developing professional theatre practice. It was suggested that
encouraging strong partnerships between Canberra Youth Theatre, Jigsaw and
The Street Theatre, combined with more investment in their collective practice
would help to solve a lot of the challenges confronting the performing arts.
Key Arts Organisations (KAOs)
6. While the ACT Government does not own or control the 20 Key Arts Organisations
(KAOs), it does provide the main source of funding for most of these organisations.
7. There appear to be too many ‘Key’ Arts Organisations, and there is pressure from
other organisations, which appear to be very similar to current KAOs, for them to
also be included. This would lead to an expanded number, as not many seem to
have lost KAO status in previous years. It is suggested that Government should
aim to move away from the term ‘Key Arts Organisations’ and to significantly
reduce funding for duplication and administration.
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8. Funding for KAOs accounts for a major proportion of the ACT Government Arts
Fund and KAOs generally receive both multi-year funding and funding increases.
Despite this, the majority of all KAOs felt that the current level of funding was
inadequate to meet their needs and that funding arrangements were constraining
and unresponsive. There is also a sense that the main relationship with artsACT is
heavily focused on funding. It is desirable to broaden the relationship so it is less
adversarial with improved communication and cooperation.
9. While KAOs generally appreciate longer-term funding for three to five years, which
provides greater funding certainty, there is a great deal of concern that after
funding is allocated they are ‘locked in’, because they are not able to apply for any
extra funding for new initiatives. They suggest this affects their ability to be
responsive to changing circumstances and opportunities and tends to discourage
innovation and development.
10. Funding for five years is either highly unusual or unique across other jurisdictions
and the Australia Council. It is proposed that the maximum term for funding of
organisations should be three years. Otherwise there can be too much inflexibility,
taking account of the need for Government to ensure responsiveness to emerging
arts needs and ongoing performance. Also, it should be possible in clearly defined
circumstances for organisations to apply for project funding which enables
innovation and ongoing artistic development.
11. The financial requirements to meet salary and operational costs continue to rise
and the KAOs continue to struggle to make ends meet. This constrains time,
creativity and innovative arts activity and is one of the key issues at the centre of
the funding gridlock for the arts in the ACT.
12. Many KAOs struggle to attract and retain suitably qualified staff in both artistic and
administrative roles and salaries tend to be quite low. There is duplication of
administration across KAOs. It is proposed that a form of non-Government shared
corporate service system should be established to maximise the focus of funding
on achieving arts outcomes. Government would then only provide funding for
administration to this shared service entity which would need to be responsive to
the needs of both arts organisations and Government. This would require proper
financial and business analysis to determine the most efficient model. It would then
require time and detailed discussion for effective implementation.
13. It appears that current Key Arts Organisations (KAOs) tend to be somewhat
insular. Many recognised that in the future there will need to be a stronger,
creative, art form with administrative links. While KAOs could take initiative
themselves, there is a lack of policy or leadership from Government to encourage
better partnerships. The current partnerships which do exist are largely a result of
historic and individual relationships rather than a strategic culture which recognises
synergies and are entrepreneurial in seeking out mutually beneficial arrangements.
14. It is proposed that there should be strong encouragement from Government,

supported by funding arrangements, for organisations to consolidate or cluster into
a smaller number of ‘arts hubs’, mostly around art forms, but also around
precincts. These arrangements would need to involve a clear policy direction
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followed by extensive discussions with arts organisations and artists on what
would be most practical and work best in implementation. It would require some
time for organisations to adjust and would be likely to involve a staged process of
implementation.
15. There could be five art form based ‘arts hubs’ as a focus for future funding. These
would be likely to include visual arts, performing arts, music, literature, and screen
and digital media. There could also be an additional two or three arts precinct hubs
totaling around seven or eight hubs. In future some art form hubs could
amalgamate with precinct hubs, such as for instance visual arts at Kingston.
The new ‘arts hubs’ could take the form of new bodies in their own right with their
own boards. Alternatively, they could be an association that would be the focal
point for cooperative arrangements between existing organisations that may at this
time want to continue to operate separately, but come together to apply for,
receive and distribute Government funding. Consideration of connection of art form
hubs to locations or precincts would inform, and be informed by, the development
of a Cultural Facilities Plan.
16. Communication across the KAOs does not currently appear to be very effective
and many recognise that they would all benefit from a more cooperative approach
to communications, promotion and marketing.
17. Arts organisations not only have opportunities to partner with other organisations in
the ACT but nationally and internationally as well. Some already do this, such as
the ACT Writers’ Centre, but there could be more integration.
18. There has been strong resistance from KAOs to recent governance requirements,
which are seen to be too restrictive and inflexible for circumstances in the ACT.
KAOs also seem to struggle both financially and in capacity with application and
reporting expectations. It is hoped that many of these challenges would be
addressed by proposed new strategies aimed at greater consolidation.
19. There was considerable discussion about the need for different performance
measures for professional and community based arts. They also have different
education, training and infrastructure needs.
20. It will be important through these initiatives to not lose sight of higher level
Government priorities including greater participation and the production of quality
art, as well as having all the arts come together in a vibrant Canberra arts scene.
Care will be needed to avoid ‘building walls’ around art forms and precincts. There
should be a focus on bringing artists and art forms together with the public.
Funded Arts Organisations
21. A number of arts organisations apply for and receive Program Funding from the
ACT Arts Fund. The aim of Program Funding, which is provided for one or two
years across all art forms, is to provide program activity that enables access to the
arts. It is available to proven, established organisations and can be used to fund
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staffing and administration, as long as there is an emphasis on outreach to the
community.
22. Program Funding is a vital area of funding that is highly valued by arts
organisations.
However, while some staff funding is obviously necessary, it is of some concern to

the reviewers that such important funding for arts activity and engagement is used
to provide administration. It would be desirable to cluster these needs so that the
maximum amount can be directed towards arts activity.
Also, there would need to be awareness of the risk that the requirement for
established organisations with demonstrated achievement does not lock out new
ideas and art forms, innovation and young people.
23. Project Funding is very highly regarded and sought after. These applications are
currently assessed by a number of peer panels with specific art form interest,
knowledge and experience.
There is no question about the integrity and commitment of panels, and the
reasonableness of their decisions. However, there are questions about whether this
is the best and most efficient system of peer assessment for a smaller jurisdiction
like the ACT, where the number of specialist artists applying for and determining
funding is quite small.
Delays, administrative costs and potential conflicts of interest could be reduced by

consolidating into a single peer panel with expertise across art forms. This panel
could call on art form specialists for advice if required.
It will be important to ensure that assessment capability continues to keep pace

with changing trends and new art forms generated by young and emerging artists.
24. From considerable feedback from across the arts sector and from within artsACT,
Project Funding is an area of the current ACT Arts Fund that should receive priority
for any additional funds that might become available.
Non-Funded Arts Organisations
25. Canberrans have an active interest in the arts, and a great deal of arts activity
happens through arts organisations and individual activities without any
involvement of Government.
26. The full extent of arts activity in the ACT is not known. To some extent this is the
result of a lack of valuable data and research, which would assist in raising
awareness by Government of the importance of creativity, the arts and culture in
people’s lives. However, it is also the result of a lot of arts activities, groups and
organisations operating happily and successfully in the community ‘under the
radar’ of Government scrutiny or awareness. In a similar way to sport, all of this
arts activity contributes significantly to quality of life in the ACT.
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27. In considering what is the appropriate role for ACT Government in relation to the
arts in the ACT, it should be recognised that input from Government is not always
either necessary or desirable in the achievement of positive arts outcomes.
There was some feedback, from community arts in particular, that, with the best of
intensions, because arts activities are happening, there must be a role for
Government. One step in breaking the cycle of what appears to be an over-
dependence on Government funding and resourcing of the arts is for Government
to be less inclined to be involved ‘because it is there’, which can lead to a sense of
unwanted Government intrusion into personal and community independent arts
activity. A clear policy framework should be helpful in this regard.
28. Also, where there may be an appropriate role for Government, it should be
recognised the role of Government should not be limited to funding and resourcing
of the arts. This relates to both professional and community-based arts.
29. The landscape of the arts in the ACT, including the role of the Australian
Government and National Cultural Institutions (NCIs), needs to be fully
acknowledged in deciding the most appropriate role and priorities for the ACT
Government.
30. Similarly, the national capital is extremely fortunate to have the active involvement
of the Embassies in arts activities and the overall richness of the arts in Canberra.
31. It could be of interest and significant value to build awareness and more readily
acknowledge that there is a great deal of arts activity in the ACT that is not funded
by the ACT, or in many cases, by any government.
It is important to recognise there are real opportunities for more active and regular
communication, and in some cases partnerships, with others in the national capital
to benefit local artists and arts organisations.
32. As in most locations, there is active involvement of volunteers in many areas of

life in Canberra, including the arts. Without the passion, commitment and hard
work of volunteers, many areas of the arts, including those funded and not funded
by ACT Government, would either not operate effectively, or would not exist.
Volunteers should not only be recognised because of their current contributions,
but also, if new and younger volunteers don’t see the value of becoming involved
in the arts and other areas as volunteers, there could be a serious impact on the
effective operation of the arts in future.
33. While it would appear that few arts organisations in Canberra have obtained
private sponsorship, some have been able to prove that a tenacious attitude
towards attracting sponsorship can be rewarding. Whatever the source of funding,
there was feedback from the ACT and other jurisdictions that organisations that
were independent of government enjoyed their independence and often flourished.
34. Commercial galleries are a very important component of the ACT arts
environment. Clearly they have strong interests in the arts and ACT artists. The
review showed that sometimes this is at the expense of commercial interests.
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6.5 Recommendations
1. Government should support all art forms including emerging art forms such as new
media and digital arts. However, it should also identify art forms, organisations,
facilities and activities that demonstrate clear potential as a national or
international area of excellence, such as the Canberra Glassworks, and provide
additional support.
2. All funded arts organisations should be encouraged to develop strong

partnerships. Cross art form collaboration is also important in any jurisdiction but is
particularly important in a smaller arts environment such as the ACT. Collaboration
and partnerships between arts organisations and art forms need to be encouraged
through communication and funding support for creative joint ventures.
3. There are currently too many Key Arts Organisations (KAOs) and a lack of clarity
about what constitutes a KAO. Government should significantly reduce funding for
duplication and administration by funding a smaller number of clusters of
organisations. The aim would be for seven or eight ‘arts hubs’ to emerge based on
art form and/or precinct. Government should also discontinue use of the term ‘Key
Arts Organisations’.
4. A non-Government, shared corporate services system should be established to

minimise duplication of administration, and maximise the focus of funding on
achieving priority Government arts goals and outcomes. Government would then
only provide funding for administration to this shared services entity which would
need to be responsive to the needs of both arts organisations and Government.
5. Government needs to require all funded arts organisations to maximise sources of

revenue through a variety of means such as ticket sales, merchandising, paid
courses and the sale of artistic materials.
6. Government should only fund organisations that can demonstrate strategies for the
delivery of outcomes that support Government policy priorities of increased
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6.6 Professional Artists
‘Professional artists’ is another area where a lack of data and research in the ACT
presents real obstacles to analysis. As a result, there was strong reliance on a
combination of research, very extensive consultations and professional judgement.
There were productive separate workshops with established artists and emerging
artists. The reviewers also heard from several artists when speaking with, and
receiving input from, arts organisations and the public. Comments on artists include a
combination of their impressions and ideas, as well as our analysis.
1. It is not the intent of this report to become ‘stuck’ in definitions, but clarity is
important when using terms that provide foundations of Government policy on the
arts. A number of people seem to refer to themselves as ‘professional artists’, and
expect some level of Government support on that basis. It is important for
Government to have appropriate tests for these contentions before allocating
sometimes significant funding and resources. This is particularly the case as it is
suggested that increased support for professional artists and the production of
quality art should be a major future priority for the ACT Government.
2. The Australian Taxation Office draws a distinction between ‘professional artists’

and ‘hobbyists’, which is included in Taxation Ruling TR 2005/1. While this is not
seen as binding in this review, it is not unimportant, and should be noted.
“What distinguishes a professional from an enthusiastic amateur is the intention of

the professional to carry on as a business that which others frequently pursue
merely as a hobby or by way of a pastime….What distinguishes the professional
from the hobbyist is an intention (objectively determined), to carry on as a business
that which others undertake merely for personal enjoyment, coupled with activities
which implement the taxpayer's intention to carry on a business.”
3. In this report, the meaning of term ‘professional artist’ usually refers to a ‘practising
professional artist’ or ‘full-time professional artist’. This is based on the Australia
Council’s interpretations. There were estimates in 2003 that there were 40,000 to
50,000 practising professional artists in Australia, with the largest group (more than
25%) being musicians and the smallest group (less than 3%) being dancers.
4. Consistent with the Australia Council’s interpretations, the term ‘professional’

indicates a degree of training, experience or talent, so the professional artist’s work
can be judged against the highest professional standards of quality for the relevant
art form. These ‘practising professionals’ are artists who seriously judge
themselves to be committed to artistic work as a major aspect of their working life,
and are currently working or seeking to work in their chosen artistic occupation.
5. It may be useful to broadly dimension this issue. A calculation based on the current
population of the ACT, compared to the national population, and using the higher
figure noted in point 3 above of 50,000 ‘practising professional artists’, the total
number working in the ACT would have been likely to be just under 800.
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However, taking account of the stronger interest in the arts in Canberra than many
other places, and the likelihood that there has been real growth of the arts in
recent years, it could be estimated that there are now an additional 25% of
practising professionals compared to 2003. This would indicate a current number
of up to 1,000 practising professional artists in the ACT.
6. Even based on these reasonably generous estimates, and taking account of the
fact that at least a quarter are likely to be musicians, the numbers for some art
forms are likely to be reasonably small. Not surprisingly, numbers in each art form
appear to be influenced by the availability of professional organisations, suitable
venues and professional work opportunities in Canberra. It would be very helpful in
future for artsACT to undertake, or initiate and participate as a partner in, research
to provide accurate information on this important subject.
7. There has been advice that there are professional artists in some art forms, such
as writing, painting and glass, who can make a reasonable living as professional
artists in the ACT. However, many artists and arts organisations told the reviewers
that there is less opportunity to be a professional artist in some art forms, and that,
generally speaking, it is challenging to be a full-time professional artist in the ACT.
There was advice that several people regarded as full-time professional artists
spend at least a part of their time, if not full-time, working as teachers or tutors in
the arts.
8. Canberra has a strong amateur scene and some have apparently moved into and
out of professional arts. Also, we were advised that once artists get to a certain
level of professionalism they often tend to move away to further their careers.
9. The differing needs of professional artists compared to those in the community or

amateur scene relate firstly to the fact that professional artists seek to make a
living from the arts. In most cases, it was clear that it is a significant challenge and
struggle in most art forms to make a living as a full-time artist in Canberra without
some secondary role such as tutoring.
10. It is widely recognised that many, especially younger professional and emerging
artists, leave the ACT to pursue their art. Only very few people questioned if this
was really the case, and if there was really a challenge in the ACT to retain artists
or to attract them back. Again there is a lack of data, but this conclusion is based
on overwhelming feedback from artists and organisations through consultations.
Artists leaving Canberra is not necessarily a problem per se, as many creative,
especially younger Australians, are mobile nationally and globally, seeking new
places and experiences to develop their ideas, experiences and their art. This has
long been the case for artists throughout the world.
11. What would be of concern to the future of the arts in the ACT is if professional
artists do not find that it is possible to make a living from their work, or do not find
the ACT sufficiently responsive to their art or the city creatively stimulating, so that
they feel forced to leave or feel unable to return after living elsewhere. A number of
artists also pointed out the need for other essential support and infrastructure.
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12. Aspects of support and infrastructure mentioned included a strong sense,
supported by practical experience, that: Government recognised the particular
needs of professional artists in different art forms; there was a stimulating artistic
environment including a vibrant, active, talented arts community with mentoring,
residencies, workshops and other professional communication and support;
appropriate venues and facilities for creativity, rehearsal, studio work,
performance, showing and selling their work.
13. Quite a strong view emerged in this review, particularly from professional artists in
the ACT, that it is important to differentiate between professional and community
art, and even amateur art. These areas are seen to have different functions and
different needs, including for Government financial support and the nature of
facilities and venues for both rehearsal and performance in the performing arts,
and their equivalents in other art forms. This view is supported.
14. The reviewers were advised that, while ACT Government support for amateur
theatre is appropriate, more support would be appreciated in developing
professional theatre practice. The development of the Theatre in the ACT Strategic
Directions Statement with artsACT had been positive and appreciated.
15. Professional artists stressed that, while connections are important between
different areas of the arts in the ACT, there are by no means always benefits from
attempting to ‘bundle’ the needs of all people involved in the arts. Professional
artists mostly require specialist, purpose-built venues and facilities. Some
professional artists said that they sometimes find it necessary to use multi-purpose
facilities, which can impact on their artistic development and the quality of their art.
16. Professional artists should clearly be a vital focal point for the ACT Government’s
policy on the arts. It is therefore strange that in the previous arts policy, while
artists were mentioned under ‘Goals’ in the context of encouraging excellence,
they are not mentioned specifically in the priority areas.
17. There needs to be a shift in policy to put more focus on professional artists and
encouraging the production of quality art at the centre of Government funding and
support priorities. There also needs to be a stronger recognition of the importance
of younger artists and emerging artists for the long-term health of the ACT arts
sector. Many people suggested that there was a need to support mentoring
programs for Canberra artists. This should include attracting professional artists
from interstate and overseas through artist residencies that include mentoring and
specifically for mentoring. Short-term mentoring residencies may be one way to
achieve this, and local established artists should not be overlooked. In some cases
informal mentoring already takes place and this should be recognised and
encouraged. However, it was also suggested, that while mentoring is valuable,
artists need to take responsibility for their own professional development.
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6.6 Recommendations
1. As part of establishing a clear arts policy focus to frame Government funding and
other support for the arts, there must be a consistent understanding of key terms,
including alignment as far as possible with other jurisdictions. This should include
definitions of both emerging and established professional artists, amateur artists,
people participating in community arts and hobbyists. These terms are currently
confused by governments, arts organisations, the media, arts audiences, the
public and many in the arts sector.
2. There needs to be a shift in ACT Government arts policy priorities to give greater
focus to practising professional artists, including both established and emerging
professionals, as well as encouraging the production of quality art. In future this
should be at the centre of Government funding and support priorities.
3. In focusing greater support on professional artists, there should be stronger

recognition of the importance of identifying the needs of, and giving additional
support to, emerging artists and younger artists to ensure the long-term strength of
the ACT arts sector. Associated with this, is the need to identify and support new
and emerging art forms, as well as being aware of potential future arts audiences
who may want to access, engage with, and participate in the creation of the arts
through a range of technologies and media.
4. There is a need to generate and support mentoring programs for Canberra artists,
especially emerging artists. This would include initially identifying interested,
suitably qualified, established ACT artists, and also attracting professional artists of
all ages and from many art forms from interstate and overseas.
5. The issue of affordable accommodation for artists in the ACT needs to be

investigated. This should include the impact of public housing requirements, and
the relationship and potential connections between accommodation and working
spaces for artists.
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6.6.1 Established Artists
The Canada Council for the Arts has clear, useful definitions for ‘emerging’ and
‘established’ artists. It defines an ‘established artist’ as an artist who is at a mature
stage in his or her career and who has created an extensive body of independent
work. An established artist has reached an advanced level of achievement by
sustaining a nationally or internationally recognised contribution to the discipline.
6.6.1 Issues and Analysis, including the views of established artists
Generally speaking the comments below are the views of established artists:
1. Most established artists who were consulted believed that Canberra can be a good
place to be an artist and it is important for Canberra to be recognised nationally
and even internationally as a great centre for the arts.
2. Canberra is believed by established artists to be generally well served by many

arts organisations but there are inefficiencies through duplication of effort.
3. The Arts Canberra Strategy - Action Statement for the Arts 2006-2008 is seen by
artists to be inadequate, as it gives no inspiration. A future Strategy should be
clear, comprehensive, motivating and engaging.
4. Several artists believed that the way funding and support is delivered in the ACT
indicates that there is not a valuing of continuity. They say that you have to
become “sustainable” by a certain time. This expectation is usually unreasonable
and unattainable, and can leave artists stranded. They did, however, recognise
that new and emerging artists also needed access to arts facilities like studios.
5. There was a strong view expressed that there need to be easier, more flexible
application processes for artists. “We are not bureaucrats.” Application processes
can be particularly difficult for work with other Government departments, taking up
to five months to have a grant application processed. You sometimes need to have
your artistic idea in May for June the following year. Many ACT Government grant
opportunities are seen as very directive and do not allow for creativity.
6. There is not seen to be a critical mass of artists in some art forms in Canberra.
There is great potential to make connections between artists and across cities. It
was strongly felt that at one point in the year all the creative people in the ACT
should come together in an Artists Forum. If artists are ever invited by Government
to give their opinions, there usually aren’t many involved. This would be a good
way of hearing what a larger group of artists have to say.
7. It was acknowledged that the ACT Government has “helped slow the bleeding of
artists away from Canberra” to an extent with a variety of support. Organisations
like Australian National Capital Artists (ANCA) and Megalo were seen to play a
role. ACT Government support has been widely appreciated and established
artists said they would love to see more arts facilities being planned in conjunction
with planning for Canberra’s growth.
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8. Artists said there should be a way of reaching-out to welcome outstanding new
and returning artists to Canberra. They also supported Artist in Residence
programs in various places, including being highly visible to the public producing
art in shop-fronts. There should be “Canberra living artists”, similar to Newcastle.
9. The issue of the difficulty for artists finding affordable accommodation was raised.
Artists said that it would be great to have studio spaces where artists are allowed
to live. This would save on rent, and would enable more artists to be full time
professional artists.
10. It was suggested that “everything seems to drop away” after the emerging artist
level. It was felt by some that there could be quite a lot of support at the beginning
of an artist’s career but nothing much after to develop and hold professional artists.
Artists said that many top artists were going to Sydney, Melbourne and elsewhere.
This may have been only a perception, but it was a strong perception from ACT
artists about other artists. They indicated that providing places to attract artists to
stay and work in Canberra was a major reason why Strathnairn started, and with
its low-cost studios, it has flourished.
11. Artists said that ACT Procurement Solutions’ processes are cumbersome and they
are difficult for artists to deal with. There seems to be “a one size fits all approach”
that does not work well for commissioning art. The reviewers were advised that
this may have improved recently.
12. Established artists highlighted the similarities between arts and sport, and said that
there are lessons that can be learned from the way sporting bodies are able to
promote themselves as making a vital contribution to community, education,
economy, health and personal development. The arts should be more active in
promoting the great value they contribute. This could also help with future
Government funding.
1. Future Government grants application and commissioning processes for artists

need to be as simple, quick and flexible as possible while properly meeting
essential probity and risk management requirements. Artists see current processes
as inflexible, difficult to deal with, and not well geared to art and artists, and
therefore artists should be consulted in developing these processes in future.
2. Identify, welcome and provide any necessary connections or support to new and
returning professional artists to the ACT so that Canberra’s commitment to
professional artists and quality art is clearly demonstrated. Work with professional
artists to promote the extensive value of the arts to the ACT.
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6.6.2 Emerging Artists
The Canada Council for the Arts again has what seems to be a sensible and
reasonable definition. It defines an ‘emerging artist’ is an artist who has specialised
training in his or her field (not necessarily gained in an academic institution), who is at
an early stage in his or her career, and who has created a modest independent body of
work.
A number of the comments below are the views of established artists:

1. Not all emerging artists are young people, but in the reviewers’ experience, most
are. Also, not all young professional artists are ‘emerging’, as several achieve a
level of success at an early age and become young ‘established’ artists, but again,
most young professionals are emerging artists.
2. Quite often in this report ‘young’ and ‘emerging’ professional artists are linked. This
is not to suggest that they are one and the same, though they usually are, and in
any case, they generally face many of the same challenges in a range of areas
including: getting started and established; having their art or art form seen as
legitimate or quality; surviving as artists including selling new work and applying for
grants; and being recognised and understood by Government bureaucrats in
various agencies, and those people deciding funding support.
3. Emerging artists said that they saw the need for an agreed definition of what an
emerging artist is and that this should be consistent with the definitions in other
jurisdictions. Lack of clarity can lead to a lack of awareness and understanding.
4. Finding and retaining accommodation, including public housing in the ACT, was
reported by a number of artists as a particular challenge for professional artists,
and particularly younger artists. Public housing in the ACT has rules which seem to
be particularly ‘unfriendly’ to professional artists. This may be quite unintended, but
requires further investigation by artsACT and DHCS.
5. There are differing views from emerging artists about the level of artistic and
cultural isolation in Canberra. On the positive side, there is a lot of mobility of
audiences from Canberra to Sydney in particular, and also from around Australia
to Canberra, as demonstrated recently in the NGA’s Masterpieces exhibition.
However, there are concerns from professional artists, especially in art forms such
as dance and drama, that specialist creative connections, mentoring and
stimulation are very limited. Younger artists, however, are more technology aware
and are comfortable using technology to try to stay connected with what is
happening elsewhere in the arts and in their art form.
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6. In the view of emerging artists, in Canberra there are “rungs missing in an artist’s
career ladder”. The visual arts was given as an example. An artist can have a
community show but there is nothing between that and commercial galleries, the
NGA, and other larger galleries and institutions. They believed there was an
abundance of spaces for people who practice art as a hobby, and then there are
spaces for the established artist, but there is very little in between.
7. There was a strong view from emerging artists that it is very difficult to make a
living in the ACT as a full-time emerging artist. They said that in areas like dance,
you have to leave.
8. A recurring theme from emerging artists and arts organisations that work with them
was that finding and being able to afford places to be able to work for reasonably
extended periods is a big challenge. They said that access to unused spaces in
Civic or elsewhere, even for short-terms, would be great for emerging artists.
Many artists and arts organisations gave the example of the innovative Renew
Newcastle initiative. However, there are particular circumstances and availability of
low-cost shop fronts in Newcastle that may not apply in Canberra, however, this
should still be investigated.
9. Concerns were expressed that general priorities, support and funding

arrangements through artsACT do not seem to show an understanding of the real
experiences and needs of young and emerging artists.
10. It was pointed out firmly that while there is no specific funding category for
emerging artists in the ACT Arts Fund, the Australia Council does have a specific
category, and the Australian Government seems to be more aware of the need to
support young and emerging artists who are seen as the future of the arts.
11. The comment was made about ACT Arts Fund categories and grant applications:
“How does this support the emerging artist?” Application processes are seen to be
complex and time consuming: “We are not professional grant writers.” They
suggested that perhaps another way to recognise and support emerging artists is
through greater recognition of innovation.
12. Emerging artists said that smaller amounts of money, in the range of $2,000 to
$4,000 available more quickly, with less process, and through the year when the
money, is needed could make a huge difference to the work and lives of emerging
artists.
13. There were comments about the need for encouragement at the community level
for young and aspiring artists, as this is often where professional artists start their
careers. They said that new artists can get lost in the community space if there are
not pathways and some support to make the transition into the professional arts.
14. It was seen that in some art forms insurance can be a big expense and hence a
real financial problem for emerging artists.
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15. We were told by a number of people that in recent years it has been difficult to
make a living as a professional dancer in the ACT. This provides real challenges
for talented, enthusiastic young dancers who are interested in pursuing
professional careers, and often seems to mean that they need to leave the ACT to
pursue their professional interest. Emerging artists noted that there are no career
options for professional dancers or choreographers in the ACT. There is no tertiary
level training and many dancers feel the ACT does not care about dance,
particularly contemporary dance, which is regarded as a peripheral art form.
16. A further factor seen to be influencing whether professional artists in different art
forms stay or leave the ACT is the varying availability of dynamic, professional, art
form leaders, teachers and mentors. Again dance is a clear example of this.
17. Emerging artists drew attention to the fact that there are not any, what they called
“top rungs” of the ladder, available in music, dance and theatre in the ACT. While
the Canberra Symphony Orchestra (CSO) is very able, it is not a professional
orchestra employing full-time musicians. It was noted that there are a number of
long-term, older incumbent players, which makes it difficult for younger players to
win a place. It was felt that the ACT public would support a professional orchestra,
but this is not possible without significant additional Australian Government
funding. Also, while there is some excellent theatre in Canberra, the fact that there
are no professional theatre or dance companies is seen to have a big effect on
employment opportunities for artists, and particularly emerging artists.
18. Mentoring should be valued as an educational and developmental tool. There is a

perception that there has not been enough focus on mentoring, that there are now
very few active mentors for emerging artists, and no system to encourage and
arrange mentoring. The concept of residencies for eminent artists who can be
utilised as mentors, especially for emerging artists is strongly supported.
19. The perceptions of young and emerging artists and of professional artists generally
may not be fully accurate in reflecting the true situation in the ACT. However, these
perceptions are very real, come from passionate ACT emerging and professional
artists and organisations that work with them. Their perceptions and genuine
concerns require serious consideration and response. Once again a lack of
effective communication within the arts sector, and between artists, organisations,
community and Government is a challenge that must be met with leadership from
Government and commitment from all.
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1. Emerging artists are particularly important to the future of the arts in the ACT. A
specific funding category for ‘Emerging Artists’ should be included in the ACT Arts
Fund. This should be promoted widely along with information about new, simplified
application processes.
2. ACT Government support for emerging professional artists should extend beyond
funding to include proactive engagement, assistance and advice in areas such as:
availability of arts facilities, arts organisations and connecting with other artists,
administrative and financial planning, preparing business cases, applying for
grants, marketing and promotion, and professional skills development including
mentoring and training. Ensure that a new artsACT website has separate
information geared to the needs of professional artists, with specific information for
emerging artists, and perhaps an ‘artist’s hotline’.
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6.6.3 Artists in Residence
There are different aspects to Artist in Residence programs, including the provision of
accommodation and studios, predominantly for visiting artists.
1. The ACT offers relatively informal Artist in Residence programs, provided by both
ACT Government-funded arts organisations and the National Cultural Institutions
(NCIs). ACT Government-funded arts organisations that offer Artist in Residence
opportunities include Craft ACT (partnering with the Namadgi National Park for the
use of the Gudgenby Ready-Cut Cottage), Megalo Print Studio, and Strathnairn
Arts Centre. The Canberra Glassworks is developing an Artist in Residence
program, which will bring national and international glass artists to create glass art
in Canberra and engage with local glass artists. Examples of National Cultural
Institutions that offer opportunities for artists to be inspired by collections include
the National Film and Sound Archive and the Museum of Australian Democracy at
Old Parliament House.
2. The major benefit to the Arts in the ACT of Artist in Residence programs is the
opportunity for artists, arts organisations and the whole community to be exposed
to new ideas, perspectives and artistic approaches from respected and
experienced Australian and overseas artists. Visiting artists bring new approaches,
fresh thinking and an opportunity to share skills. Appropriately qualified artists may
also elect to engage with the broader community, for example through workshops.
3. Residency programs provide opportunities for an artist to work on a specific project

or projects, often inspired by the place and culture in which they are temporarily
living. There are a variety of potential initiatives where Artists In Residence
programs can be beneficial by attracting a range of artists from other locations to
come to the ACT to enrich and energise the local arts community. These initiatives
would all involve bringing artists from around Australia or from overseas to stay in
the ACT for different periods of time with varying roles and expectations, and to be
provided with free or very low cost accommodation with access to appropriate
studio or other facilities. Examples could include:
3.1 Making a major contribution to artists and community by working intensively

over a longer period: This option involves attracting artists to come to
Canberra to do artistic work and create a body of work; meet, work alongside,
and effectively mentor local artists; and preferably also conduct workshops
and exhibit and discuss their work.
3.2 Artist Sabbatical visits over a period of one or two months with less active art
creation and engagement: This option would involve inviting respected artists
who are ready for a sabbatical coming to the ACT to inspire artists and be
inspired by the total environment.
3.3 Shorter term teaching and training assignments: This involves bringing,
usually Australian artists, with demonstrated communication, teaching and
training ability to the ACT to run a series of training sessions or workshops.
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4. The ACT is ideally placed to offer excellent Artist in Residence programs.
Canberra is a designed national capital city in a beautiful, natural, accessible
location. Canberra was recently rated in the Mercer Worldwide Quality of Living
Survey as one of the world's most livable cities, being ranked 26th globally and
fourth in Australia, which puts it ahead of many great cities such as New York,
London, Singapore and Tokyo.
Canberra has a unique mix of National Cultural Institutions, well-respected tertiary

creative arts courses provided by the Australian National University and the
University of Canberra, a variety of local arts organisations and activities ranging
across all art forms, as well as strong public interest and engagement in the arts.
There is also the opportunity for artists to live and work in either urban or nearby
rural settings.
5. The promotion of residencies would not only be good for the arts, but would also
contribute to the development of an internationally recognised brand for Canberra
as an attractive, very livable, multi-dimensional national capital that values arts,
culture and the exchange of ideas.
6. A further major advantage of programs includes attracting professional artists to

come to and/or stay in Canberra. With the size of population and location of the
ACT there are some perceptions from artists of an element of artistic isolation,
which would be actively addressed by a high-profile program with a central aim of
artistic engagement. Canberra could increasingly be recognised as a lively,
interesting, connected and artistically deep and diverse place to live as an artist.
7. As noted earlier, there have been previous successful initiatives with Artists in
Residence programs in various locations, working with different art forms in the
ACT. All feedback through the review about these arrangements has been very
positive. Artists, arts organisations and artsACT are all enthusiastic about
expanding this initiative.
8. The ACT has a clear and current opportunity to develop a special identity and
reputation as a national and international leader in artist residency programs. The
ACT could build on its strengths in this area and attract federal arts funding,
particularly through the Australia Council for the Arts, to build a significant suite of
Artist in Residence programs.
9. Most programs to date have been quite informal, which could lead to
misinterpretations and difficulties if this program was to develop. There do not
currently appear to be clear protocols, strategies or expectations in relation to
either essential facilities or agreements with artists. There are also local artists
accessing studios and other facilities under a variety of arrangements. These
related issues would need to be addressed comprehensively in the development of
an expanded suite of Artists in Residence programs.
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10. The 2010-11 ACT Budget provided capital works funding for five new studios for
the Canberra Potters Society at Watson. The Potters Society is developing a
residency program, ready for when the construction is complete. This kind of
commitment should be a requirement with any future Government investment in
these kinds of facilities.
11. Chief Minister and Minister for Education and Training partnered with the Australia
Council for the Arts to deliver an Artist in Residence Initiative in ACT schools. The
Creative Education Partnership: Artist in Residence Initiative aims to give artists an
opportunity to broaden their experiences and share their skills, while providing
students with greater exposure to the benefits of creative practice. The program
also creates opportunities for artists and teachers to work together to develop the
best arts teaching methods. This is an excellent Artist in Residence initiative with
clear benefits for artists, children, teachers, the arts and education. It is hoped this
will continue to receive support from both Governments.
1. There should be a significant suite of ongoing ACT Government funded Artists in

Residence programs in the ACT. This would provide major benefits to professional
artists, the arts community, education and the public. Canberra is ideally placed to
promote these programs as part of the national capital’s commitment to the arts
and should seek funding support from the Australia Council.
2. A comprehensive strategy and action plan will be essential if a major commitment

to Artist in Residence programs is to be fully successful. This would include:
priority artist and art form needs; interested partners in arts organisations, National
Cultural Institutions, schools, training institutions, universities and other agencies;
planning for suitable artist studios or other facilities; accommodation; opportunities
for innovation; marketing and promotion; standard agreements so that all
resources and costs are known, and the expectations (such as mentoring,
workshops, art exhibitions, etc) and entitlements of artists are clearly spelt out.
3. A commitment to direct participation in residency and mentoring programs should

be a requirement of any future ACT Government investment in arts facilities such
as the new studios for the Canberra Potters Society.
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6.7 Community Participation in the Arts
The range of people interested and involved in community arts is very broad and there
is a thriving community arts scene in Canberra. Government support, particularly in the
form of facilities and funding of Key Arts Organisations working in the community arts
area, is highly valued.
It is widely recognised that participation in community arts activities delivers important

social outcomes and contributes positively to the culture and quality of life of the ACT.
A clear policy framework needs to inform Government’s support for community
participation in the arts and to add clarity to the connections and distinctions between
community and professional arts in the ACT.

1. The ACT Government has a dual role of Territory and local Government. It
therefore has a responsibility to provide appropriate support to for both community
participation in the arts and for professional arts.
2. Government has an important leadership role beyond funding and resourcing, to
promote the extensive benefits to individual and social well-being of community
arts and to aim to increase participation in community arts.
3. Community arts, like professional arts, are important in their own right, and many
people, including volunteers, should receive recognition for their vital contributions.
A proposal in this report for awards for the arts should include full recognition of
people who make outstanding contributions to community arts.
4. Community arts can and do make a valuable contribution to improved health,
social and even economic outcomes for all Canberrans who participate.
5. Community arts facilities and activities should be accessible to all, enabling the
participation of all individuals and community groups in arts and cultural activity to
contribute to social inclusion and harmony. It is important for Government to
ensure access to community arts for all population groups, including youth, aged,
Indigenous, multi-cultural and people with disabilities. Indigenous people are
involved in both community and professional arts.
6. It is proposed that the major funding focus for Government for community arts
should be the provision of appropriate, accessible facilities. The priorities of access
to and participation in community arts can be extended through the greater use of
lower-cost multi-purpose spaces. Libraries and school facilities also play an
important locally-based role in supporting and providing accessible outlets and
facilities for community arts activities.
7. In most cases, community arts recipients of Government funding or support,
should be expected to generate revenue from a variety of sources including
membership fees and the sale of art, with the aim of becoming as self-sufficient
and independent as possible. Many community-based artists and arts groups
appear to already be highly active and effective in achieving this.
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8. While community arts should be valued principally for their contribution to
individual creative satisfaction and social cohesion, they are also important in
enabling the transition of younger people from being community or amateur artists
to being professional artists. There need to be mechanisms to identify and support
young community artists who want to take steps to become professional artists.
Conversely, effective support for professional arts can also stimulate community
arts activity.
9. It is proposed in this report that a major future goal for the ACT Government from
funding, leadership and promotion should be to increase participation in the arts.
This would be important to be recognised in agencies beyond artsACT, as
increased participation in the arts would in turn contribute to a healthier, happier,
safer and more satisfied community.
10. ‘Quality’ appears to be a dominant criterion in deciding whether ACT Government
provides funding support for the arts. While ‘quality’ and ‘excellence’ are certainly
not unimportant, they can mean very different things to different people, depending
on perspectives including: level of artistic skill in specific art forms, age, gender,
cultural background and even the motivation of the artist. It is suggested that for
community arts, the primary aim should be ‘participation’ and perhaps ‘genuine
creative satisfaction’, rather than the production of ‘quality’ art. This also implies
the need for different performance expectations and measures for community-
based arts.
11. It was suggested that there is often misunderstanding from within Government
about what is wanted and needed in community arts. Community consultation
should be encouraged and communication mechanisms need to be established
between Government and community organisations, as well as decentralising
support and outreach arrangements as far as possible.
12. Business sometimes can be overlooked when considering possible sources of
support for community arts. The reviewers were advised that Canberra is no
different to the rest of Australia in that, with energy and commitment from
community arts groups, local businesses in particular have been prepared to
provide some funding and value-in-kind support to arts as well as to sport to
demonstrate their interest and commitment in their local community. These
initiatives should be encouraged with community organisations and businesses.
13. Before becoming directly involved in community arts activities, festivals or events,
the ACT Government should test community views to ensure that their involvement
would be necessary, helpful and welcomed. The public rather than Government
should be the proprietors of community arts and Government’s role should be
supportive of and secondary to community wishes. Generally speaking,
Government funding for community arts should be quite limited as in most
locations around Australia and focused primarily on the provision of facilities.
14. In deciding future community arts funding priorities for both facilities and activities,
Government should give priority to dynamic community organisations and groups
that are open, connected and welcoming to their communities and share the
Government’s commitment to increasing public participation in the arts. There
should also be consideration of new distribution mechanisms to reduce the cost of
grants allocation administration.
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Amateur Artists
15. Amateur is a problematic term that people and governments often prefer to avoid
because of possible misunderstandings about meaning. It has been decided to
include mention of amateur artists, as they are an important component of arts
activity with particular requirements. The reviewer’s definition is the usual, simple,
technical one that an amateur artist does not expect to receive payment for their
services, though in some cases they may be given a share of profits. So, in formal
terms of compensation, are non-professional. It certainly does not mean that they
are inept or unskilled, and the artistic endeavour is often professional in its intent.
16. In most cases amateur artists have a very strong interest in and passion for their
art, and in many cases they have similar requirements for facilities and venues to
professional artists. The area where amateur artists are most clearly identified in
the ACT is with amateur theatre, which enjoys high levels of participation and also
attracts strong audiences. In many ways this reflects the high levels of participation
in the arts in the ACT and a healthy theatre culture.
17. However, there was a message from ACT professional theatre practitioners that
the amateur scene can mould audience expectations in relation to quality, ticket
prices and theatre experience, which can make it difficult for professional theatre to
differentiate their offerings to the public. artsACT is generally appreciated for its
strong support for amateur theatre, particularly through the provision of quality
purpose-built facilities at ‘peppercorn’ rents.
18. In some cases, especially younger people, will make the transition from being
amateur artists to being professional artists. Also, a number of former professional
artists, or artists who are unable for some reason to pursue a professional career
become actively involved with amateur artists who have serious purpose but do
not set out to receive payment. In summary, as amateur artists are distinct from
professional artists who seek to earn a living from their art, they are generally
included in this report as part of the large number of keen and committed people
who participate in community arts.
General
19. The reviewers were told that there is a complicating factor in deciding funding
priorities, in that professional art in Canberra can often begin through participation
in community or amateur arts activity. However, it was suggested that effective
support for professional arts can actually stimulate the community arts scene. A
clear policy focus needs to frame Government support for the arts to add clarity to
the distinction between community, amateur and professional arts, which is
currently confused by Government, artists and audiences. Apparently the
Canberra media can also be idiosyncratic, reflecting the interests, tastes and
judgements of individual journalists, reviewers and editors. Through the media’s
own form of ‘bundling’ of arts coverage in articles, items or reviews there can be a
lack of clarity about whether the subject performances or exhibitions are
professional, amateur or community. This can in turn impact on public impressions
about the range, quality and value of the arts in the ACT.
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6.7 Recommendations
1. The ACT Government’s primary goal in support for community arts should be to
increase participation in the arts, rather than to achieve artistic quality or
excellence.
2. The main focus of funding for community arts should be the provision of
appropriate, accessible facilities.

membership fees, workshops, the sale of art, and support from local businesses,
with the aim of becoming as self-sufficient and independent as possible.
4. Community artists who have outstanding talent and interests in becoming

professional artists should be identified and supported. Effective consultation and
communication mechanisms need to be established with community arts
organisations.
5. The ACT Government should test community opinion before becoming directly
involved in community arts activities, festivals or events, to ensure that
Government involvement would be needed, beneficial and welcomed.
6. Government should give funding priority to dynamic organisations and groups that
are open, connected and welcoming to their communities and share the
Government’s commitment to increasing public participation in the arts.
7. Funding for community arts should, as far as possible, be allocated at the regional
level through Tuggeranong and Belconnen Arts Centres, with oversight from
artsACT. In this way, decisions about community arts priorities would be
decentralised and administrative costs minimised.
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6.8 Public Art
There has been a major Public Art initiative in the ACT in recent years which has been
overwhelmingly driven by the commitment of the Chief Minister. The ACT now has
about 200 public artworks, including some outstanding works by renowned Australian
artists.
1. The ACT Government showed vision in recognising that public art could be an
integral part of public spaces and play a part in defining Canberra’s identity as a
community by building on Griffin’s legacy. Public art can contribute to connecting
residents and visitors to the landscape and to public places.
2. A more focused and strategic approach has been taken to public art in recent
years, including the formation of an ACT Public Art Panel in 2006 to advise
Government on new artworks and on managing existing public art, and the release
in 2007 of an Action Statement for Public Art. While there has not been a publicly
released plan for the future placement of public art, there was a stated
determination to commission and buy public art to be placed at key locations and
gateways in the ACT.
3. Obviously public art has become quite a significant public issue, which has
generated a level of public concern and criticism. However, aside from a few
specific pieces and issues, there has been a widespread response through the
review that Chief Minister’s initiative to support public art is widely appreciated.
The vast majority in all public consultations and arts sector workshops and
meetings wanted the public art program to continue with some changes in process.
4. The major criticisms through the review have been about process rather than the
initiative. The focus of criticism was an apparent lack of planning, consultation and
transparency. There were suggestions that there does not appear to be a clear
plan of where public art will be placed, what should be bought and what should be
commissioned, and how these decisions are made.
5. A clearer policy framework around Public Art would assist greatly in setting
direction and addressing some negative perceptions. These policies would begin
with the component of a Cultural Facilities Plan that would indicate future
placement of Public Art around the ACT and the associated consultation and
decision-making processes. The Public Art policy would also outline how decisions
to procure will be made, including: who recommends and decides, what is sought,
timing, as well as where and from whom it may be purchased, commissioned or
received as a gift. Public Art policy should also include a future policy focused role
for artsACT with another organisation handling installation; how ongoing curatorial
oversight will be managed to ensure the assets are properly maintained; and
possibly future funding arrangements for Public Art.
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6. Through consultations, there seemed to be little awareness of the Public Art Panel
and questions were asked about its members’ qualifications in public art and how
decisions are made. While the Public Art Panel obviously includes distinguished
artists, and there is no criticism of its recommendations, there does not appear to
be particular specialist knowledge of public art.
7. Also, the Public Art Panel’s role and level of involvement in the procurement
process appeared to be quite inconsistent. Perhaps in future, after the current
Panel’s term expires, procurement recommendations could be made by the new
Arts Fund Panel, drawing if necessary on public art specialists. There is also a real
need to clarify the Panel’s role, including the circumstances in which the Panel’s
advice would be sought and the status of its recommendations. It is expected that
the Minister for the Arts and Heritage would approve at least all major purchases
and commissions.
8. There were some suggestions that more works should be commissioned from local
artists. However, many argued that it was totally appropriate for the ACT
Government to buy and commission work locally, nationally and internationally.
9. Some artists argued that commissioned art works better when it is installed
because of awareness of art for the location. There were criticisms of the
procurement process, which was not seen as sufficiently flexible to recognise
particular issues related to the commissioning of art. However, advice was
received that actions have been taken recently to address these concerns by
improving the Government’s commissioning process for Public Art.
10. Many people from the public and the arts sector strongly pressed for the need to
retain Public Art and to extend the initiative beyond sculpture. Public art could
incorporate other visual arts, creative landscape, music and even soundscapes.
11. There has obviously been strong and genuine public concern about aspects of
Public Art, including the selection and placement of some of the works. These
concerns appear to have been encouraged to some extent rather than reflected by
some media coverage. Several people through the consultations said that they
regretted that they had not been more vocal in support for the overall thrust of
benefits from the Public Art initiative. There was a growing impression from public
forums and other feedback that many from the public and the media who had been
relatively neutral or even critics were becoming more aware of the overall benefits,
and have started to ‘own’ and value their city’s Public Art.
12. The vast majority suggested that some version of the percent for art scheme
should be retained to continue to be able to provide Public Art to the ACT.
However, some would like to see funding from percent for art directed to a wider
range of arts in the ACT. Most providing input to the review seemed to feel that,
while policy and process should be clarified, the Public Art program had been
overwhelmingly positive for Canberra, and whatever the funding source in the
future, Canberrans did not want to see Public Art discontinued.
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6.8 Recommendations
1. There have been real public concerns about some aspects of Public Art, but the
initiative has had significant, widely recognised benefits for the ACT. Concerns
about the need for a clearer policy on selection and placement should be
addressed, but the vast majority of people through this review strongly pressed to
retain Public Art, preferably with the percent for art scheme, and to extend the
initiative beyond sculpture to incorporate other arts. This view is supported and
recommended because Public Art has generally been an excellent initiative with
major current and future benefits to the arts and particularly to the image and
amenity of ACT.
2. Public Art needs a clear policy framework to set direction and address concerns.
A future Cultural Facilities Plan should indicate future placement of Public Art, as
well as associated consultation and decision-making processes. The Public Art
policy would include funding arrangements, who recommends and decides what is
bought, commissioned or received as a gift, when, where and from whom. artsACT
would have a policy role including ensuring ongoing curatorial oversight, with
another appropriate organisation handling installation. After the Public Art Panel’s
term expires, the Arts Fund Panel should make recommendations, with any
appropriate specialist Public Art advice.
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6.9 Venues and Facilities
There is a wide variety and range of quality of arts facilities for all art forms in
Canberra.
1. The strong interest in the arts in Canberra is reflected by a strong demand for
venues and facilities. There was considerable discussion and passion about
priorities, ranging from a new lyric theatre, to a professional dance space, to
greater use of empty school buildings, to shop fronts for young and emerging
artists, to more places for artists in residence.
2. Venues and facilities in the ACT are currently managed in an ad-hoc manner by a
variety of Government agencies which has led to inconsistencies, duplication and
inefficiencies. A clear Cultural Facilities Plan is required.
3. A lack of accurate data about arts facilities and venues makes it very difficult to
create informed policy. It is understood that some recent action has been taken by
artsACT. A full audit of arts and cultural facilities in the ACT is needed across all
agencies to develop a consolidated list of community, amateur and professional
venues and facilities including the number, location, nature, repairs and
maintenance issues, ownership and rental arrangements.
4. Ownership of a number of arts facilities and responsibility for repairs and

maintenance currently rests with artsACT. A small, dedicated team works long
hours and does a very good job, which is widely appreciated by the KAOs.
There are also clear advantages of ownership of arts facilities resting with an
organisation that understands the arts. However, this arrangement initially seemed
to be inefficient as it is an area of expertise outside artsACT’s core capabilities.
Therefore, transferring ownership of venues and facilities from artsACT to the ACT
Property Group and giving artsACT a Custodian type role was strongly considered
in this review. However, after discussions with artsACT, Heritage, and Property
Group, it became clear that there could be problems for artsACT to have effective
policy input on arts facilities issues and requirements with the ACT Property Group
owning the buildings.
5. There is already recognition that for specialist buildings such as schools and
hospitals, ownership remains with the agencies because it appears that the ACT
Property Group is currently more focussed on and experienced with standard
office buildings than with specialist buildings. As a result, there could be serious
risk to arts and heritage buildings if they were handed over to the ACT Property
Group without some change in the way that specialist facilities are protected and
maintained. Therefore, at this stage artsACT should retain ownership so that they
are able to maintain effective policy control, but should outsource building
maintenance, either to the ACT Property Group or some external organisation.
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Effective specialist facilities management is an issue that the ACT Government
may want to consider more broadly as a whole of Government property reform.
Ownership of all heritage buildings is a separate matter dealt with elsewhere in this
report.
6. A key concern about venues and facilities is the considerable variation of rents
paid for Government owned buildings. This is an historic problem that a number of
agencies are currently grappling with. In general, Key Arts Organisations pay no
rent for the buildings they occupy and other arts organisations range from paying
no rent, to different levels of community rent, to commercial rent. Currently a
considerable proportion of the arts fund is directed to building and rental costs so
the rationalisation of rental arrangements must be a high priority for Government.
This process needs to be undertaken carefully and thoughtfully because changing
rental arrangements can have big affects on both Government budgets and the
budgets of arts organisations.
7. In reviewing rental arrangements, the issue of access by artists to facilities such as

studios also requires attention, in relation to both rental rates and duration of
access. As with arts organisations, there are not surprisingly a wide range of
different circumstances and arrangements that have developed over time.
The issue of inconsistent historical arrangements is usually one for ‘the too hard
basket’ because of potential disruption. Great sensitivity and full consultation would
be necessary, but these issues cannot be overlooked in light of the important
connection between facilities and policy, and the fact that a number of young and
emerging artists raised their need for access to low-cost facilities such as studios.
It is not suggested that Government should take full, or even major responsibility to
fund facilities for artists, but there must be seen to be consistent, fair and equitable
arrangements for all. It is expected that Government would usually not fund
ongoing low cost facilities for artists, especially if they are not full-time
professionals, and when this ‘blocks’ access for emerging artists who really need
support while they attempt to become established. A standard ACT Government
rental agreement, perhaps with escalating rents after an initial term, and maximum
durations of availability could reflect this intention.
8. The repairs and maintenance budget for arts facilities is unrealistically low. The
cost and complexity of maintaining arts facilities requires specialist advice and
budgeting. There should be a realistic cultural asset maintenance plan to enable
proper budget planning, approvals and accountability. The absence of such
planning delivers short and especially longer-term budget risks to Government.
9. There does not appear to be a capital budget beyond specific arts building
projects. This puts inevitable pressures on the Arts Minister and on Treasury with a
continuing cycle of one-off funding proposals.
10. While it is important that there is greater recognition of the costs to Government
associated with providing arts facilities, the ACT Government should continue to
contribute to the arts by facilitating access to venues and facilities to assist in
further building participation. In the community arts sphere in particular, access to
facilities may be the Government’s major contribution. Therefore, it is important to
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fully utilise all potential community arts facilities such as school halls, and where
possible, university facilities. Government could broker relationships in this area
and possibly even set up a central venue booking system, which could be
established in conjunction with relevant agencies. The need to identify times of
peak demand was acknowledged to enable efficient use.
11. There does not appear to be clear delineation of the different facility requirements
of professional, amateur and community arts, or of rehearsal spaces, compared to
performance or exhibition spaces for audiences.
12. It was suggested by some artists that the growth of professional arts practice in the
ACT could be aided by careful planning of the range and mix of arts venues. There
are many small community venues and there are some large, good quality venues
in Canberra such as Llewellyn Hall and the Canberra Theatre, but these are too
large for most local artists and certainly too expensive to hire. There seems to be
opportunity for more mid-sized venues for professional arts.
13. A clear view from professional artists was that multi-purpose spaces have limited
application for professional artists, and that there are not enough purpose-built
facilities for some art forms. There is seen to be a shortage of a number of
specialist facilities for professional arts practice, display and performance in areas
including music, theatre, dance and the visual arts.
14. The observation was offered on several occasions that the availability of suitable
venues for some types of professional arts practice, such as dance, is vital to the
continued existence in Canberra of those art forms. For example, the Australian
Ballet will no longer visit the ACT because there is not seen to be an appropriate
venue.
15. Artists in Canberra said that they dream of having an ‘Institution of Culture’ which
would incorporate all the arts, including Indigenous, multi-cultural and educational.
This facility could incorporate a performing arts centre, which would be highly
valued by both Canberrans and visitors. This would be very costly. It is suggested
that possibly this, and other ideas of substance and merit, could be considered as
part of a consultation process associated with a new Cultural Facilities Plan.
16. Government owned purpose built arts facilities, such as the Belconnen and
Tuggeranong Community Arts Centres are highly valued by the community. There
was an indication of demand and expectation for more similar facilities in other
regional locations. Community Arts Centres may in future become hubs for the use
of a range of multi-purpose facilities in the area and for other community arts
activity. There is a lot of demand for space at night and weekend. Better use could
be made for community arts through using schools as community centres.
17. While the Belconnen Arts Centre is generally recognised as a high quality facility,
many people seemed to be confused about whether its purpose and target was for
established or emerging artists. It was suggested by some professional artists that
if it is for community, possibly too much money was spent to satisfy community
needs. If it is for professional artists, there was criticism about a lack of clear,
effective consultation, which could have delivered a better, more professional
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result for the same investment. Also in relation to the Belconnen Arts Centre, there
was criticism from community and emerging artists that well-known, successful
artists had been invited to show there, while opportunities for others seem to be
more limited. There were also suggestions that they were attempting to do too
much. There apparently was consultation, and Belconnen is appreciated, but the
conclusion here is the need to consult more, and clearly communicate on purpose.
18. There are ACT funded organisations that can provide access to studio facilities for
artists. These include M16 and ANCA. There are issues relating to quite different
models of accommodation, with M16 having had difficulties finding a suitable
facility at affordable rental. There is the strange situation with ANCA, where a
Government owned building was apparently given to the organisation with unclear
expectations from both parties about the future. This is not a desirable situation as,
while Government has given up a valuable public asset and therefore has limited
control, there still seem to be ongoing needs for Government funding. Other
organisations appear to be aware of this situation, which can appear to be
inequitable. It would be desirable to discuss and resolve this if possible by
reviewing future ownership and funding arrangements.
19. There appear to be changing demands for community arts facilities. For instance
there is a rapidly growing interest in dance and creative computer-based activities
for young people, which require additional spaces. These kinds of demands could
be met with flexibly designed, multi-purpose spaces, including the low-cost
redevelopment of existing, under-utilised spaces.
20. The ACT community seems to have developed the expectation of free access to
arts facilities. For example, during the consultations there were many artists who
suggested that Government should invest in more studio spaces. It was clear that
facilities and spaces for the creation of work were highly valued, but there seemed
to be little consideration for the real cost of those spaces, and an unrealistic
expectation that the spaces should be made available to artists and community
arts for little or no cost. There also appear to be communication issues in relation
to availability of professional spaces. Though circumstances change, artsACT was
aware of spaces that artists did not seem to have been aware of, which could be
addressed by some form of central register or other communication mechanism.
21. The issues of both physical access for people with disabilities and transport access
for disadvantaged groups need to be considered in considering the provision of
arts facilities and venues.
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6.9 Recommendations
1. A full audit of arts and cultural facilities in the ACT is needed across all agencies to
develop a consolidated list of community, amateur and professional venues and
facilities including the number, location, nature, repairs and maintenance issues,
ownership and rental arrangements.
2. artsACT should retain ownership and control of all non-heritage arts facilities, but
responsibility for repairs and maintenance should be transferred or outsourced with
a realistic budget from the small, dedicated team to external specialists in this
area.
3. Rental rates for arts organisations and access to arts studios and facilities for
artists are based on a variety of ad hoc and historical arrangements. There is an
important and pressing need to review all rents and access arrangements to
ensure clarity and consistency, reflecting Government arts goals and priorities.
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6.10 Cultural Facilities Planning
Effective planning is vital to provide a vision for the future of the arts in Canberra, as
well as to guide major Government investment in arts infrastructure.
1. The time appears to be right for the Chief Minister to articulate an arts and cultural
planning vision for the next 20 to 30 years. The current review of the arts in
Canberra is likely to lead to new arts policies and strategies within a new Canberra
Arts Policy.
2. A Canberra Arts Policy would in turn inform a longer-term Cultural Facilities Plan. It
is important that there is a clear Plan as a single point of reference when deciding
future funding priorities for venues and facilities. There also needs to be a Cultural
Facilities Asset Management Plan so that costs of asset maintenance are properly
planned and built into budgets.
3. A Cultural Facilities Plan would be consistent with arts policy, and include plans for
both professional and community arts venues and facilities for the next 20 to 30
years, as well as being integrated into Territory and City planning. Such a Plan
would include: core cultural facilities, future arts precincts, heritage buildings,
regional arts facilities, multiple use facilities such as school arts centres, other
buildings and venues with arts or cultural significance, and the future placement of
public art. It would also present a clear vision for new major developments of
cultural facilities such as the possibility of a major new Lyric Theatre for Canberra.
It must also recognise the need to adapt existing buildings and venues, particularly
for community arts use.
4. It is suggested that an Inter-Departmental Committee (IDC) might be established

to begin to develop the Government’s Cultural Facilities Plan with CMD taking a
central role, but incorporating input from the key areas of Government that
currently have responsibility for cultural facilities such as artsACT, the CFC, TAMS,
DET, DHCS, the ACT Planning and Land Authority, and Treasury. This steering
committee would also oversee the transition in Government to a more coordinated
planning approach for cultural facilities. Planning and managing the transition
would be important from both operational and budgetary perspectives.
5. The Plan should be developed in an open and inclusive process of consultation

with all relevant stakeholders including planning bodies, the National Capital
Authority, the arts sector, other relevant agencies, business and the Canberra
community. Opportunities for cooperation and possible cost-sharing and other
partnerships would be expected to be tested as a part of this process.
6. Accessibility issues including public transport and parking availability, as well as

disability access would be expected to be standard, consistent planning
considerations. Planned arts facilities would also take account of and connect with
existing and planned developments and facilities like schools, commercial,
community and residential facilities and accommodation, as well as with other arts
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facilities. The most efficient expenditure of public funds to achieve priority arts
outcomes would also be important considerations for Government.
7. The Cultural Facilities Plan would enable a planned, strategic approach to the
delivery of everything from community arts facilities, to highly specialised
professional arts venues and facilities, to art form-based and multi-art form
precincts. Planning would need to take account of facilities across the Capital
Region.
8. Master Planning would be likely to be needed for major arts precincts to add
necessary planning detail to key developments. City West and Kingston are clear
examples. There has been recent recognition by the ACT Government of the need
for detailed planning for the Kingston arts precinct with approval for the
development of a Kingston Arts Precinct Strategy. This is a very positive
development, and this initiative would be further enhanced if it was included as a
key component of an ACT Cultural Facilities Plan.
9. Effective planning for arts precincts can be a powerful way to create critical mass
for art forms. However, in meeting the needs of individual art forms, care needs to
be care taken to avoid the ‘siloing’ of art forms, which can limit the opportunities for
creative partnerships across art forms, and the enjoyment of audiences.
10. It was interesting to note the interest of ACT Health during the review in the
possible future role of public art in the redevelopment of Canberra Hospital, and
other arts in the delivery of a range of health services. An announcement for a
major arts facility to be built in a school was also noted. These initiatives are to be
applauded, but also demonstrate the value of a Plan, including input from relevant
agencies, so that all ACT agencies are aware of Government strategies and
priorities for arts facilities across Government and across Canberra.
11. Business also appears to be increasingly showing active interest in public art both
inside and outside company buildings. It will be important in involve business, and
private owners of cultural businesses and facilities in Government cultural facilities
planning. They can contribute ideas, make informed decisions about their own
planning, and possibly partner and cost-share with Government in some initiatives.
12. A Cultural Facilities Plan would be a spatial vision and framework for future arts
and cultural facilities development in Canberra. It would be expected that the Plan
would be reviewed from time to time to ensure it continued to respond to ongoing
and emerging needs of the arts, the community, the city and the ACT.
13. There was a good deal of interest during the review in any likely plans for future
community arts facilities in other Canberra regions with the opening of the
Belconnen Arts Centre. It was suggested that other regions also had needs for
community arts facilities and suggested that a long-term plan would be welcomed.
There were also several comments about the need for community and arts
consultations as part of any future planning process
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14. Another input from review consultations was that a Cultural Facilities Plan, sitting
alongside clear arts policies, would help avoid arts sector and public confusion and
criticism about what can appear at times to be ad hoc decisions, rather than
decisions based on clear plans and policy priorities, about arts expenditure.
15. A further factor that arose during review consultations was that while planning for
arts facilities, public art and precincts were highly desirable, arts organisations and
artists would have their own views, and to some extent precincts in particular
should continue to evolve naturally. These were seen as further reasons for some
level of flexibility, responsiveness and lightness of touch, as well as high levels of
arts sector and public consultation in the development of a Cultural Facilities Plan.
6.10 Recommendations
1. The ACT Government should develop an ACT Cultural Facilities Plan, to be led by
Chief Minister’s Department, consistent with the new arts policy, with plans for
professional and community arts venues and facilities for the next 20 to 30 years.
The Plan would include: core cultural facilities, future arts precincts, heritage
buildings, regional and multiple use facilities, and any new major developments of
cultural facilities for Canberra. The Plan should be developed in an open and
collaborative process with input from all key stakeholders.
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6.11 Governance
1. It is essential that funding of any organisation or artist is supported by a proper

level of probity and process and considerations about appropriate levels of
governance. Governance arrangements are a legitimate concern of the ACT
Government in deciding which arts organisations and artists to support and the
extent of that support.
2. Government should not seek to be overly interventionist or directive about how

non-Government organisations are governed. They should rather require that
organisations meet principles and standards of governance and require
confirmation that these have been met.
3. Organisations should be responsible for the ways in which governance principles

are applied. Government should assist by providing suggestions and advice on
how appropriate governance standards might best be achieved. Examples of
useful advice could be the inclusion in Board meeting agendas at the beginning of
a meeting for Board members to declare any change of circumstance that could
lead to a conflict of interest, and during a meeting to withdraw themselves from any
discussion or decision where there may be a conflict of interest.
4. Steps were taken by artsACT to improve what were seen to be unacceptable

governance arrangements in some Key Arts Organisations (KAOs). There is
evidence to support these concerns, so quite reasonably, steps were taken to
require improved governance arrangements on KAO Boards. Through the review,
while several KAOs acknowledged that there had been some serious conflict of
interest in issues requiring attention, very few supported the approach and stance
taken by artsACT to address these concerns.
5. Unfortunately, there were some unintended consequences from these actions by

artsACT that were aimed at improving governance. artsACT’s requirements in the
2010 Arts Fund booklet generated a great deal of concern from KAOs, which was
very evident and consistent through the extensive consultations in this review. “It
has created a them and us situation with artsACT”. The requirements included that
KAO Board Members “cannot be employed, or otherwise remunerated by the
organisation in any capacity. Board or staff members also cannot benefit from the
organisation’s programs or services.” There were obviously genuine concerns from
KAOs that what were widely seen as overly restrictive guidelines would result in
the exclusion of many capable and committed Board members.
6. Even those organisations that believed that supported action said that the
inflexibility of the governance guidelines were inappropriate for the ACT. The
relatively small population size meant that for some of the KAOs it is very difficult
to find Board members who are interested in the art form who won’t be seen to
have some sort of conflict of interest. This could lead to the exclusion of those few
people with knowledge, experience and passion from involvement in directing the
activities of arts organisations.
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7. KAOs involved in community arts argued that having a Board passionate about the
art form leads to much better results. There were some proposals to invite more
input from outside Canberra onto Boards. This may help with conflict of interest
issues as artists with more specialised art form knowledge could be included.
8. ACT Government governance requirements can be seen as overly demanding of

non-Government organisations that sometimes receive quite low levels and
proportions of their funding from Government. This could have contributed to some
broader negative perceptions from KAOs, that were evident in the review.
artsACT, while generally respected as being committed and trying to do the right
thing, could often be regarded as interventionist, bureaucratic, not listening, and
lacking an appreciation of the difficulties of running arts organisations with limited
funding, low-paid workers and volunteer Boards.
9. It has been good to note very recently that artsACT has heard and responded to
the strong concerns expressed by KAOs. The governance guidelines in the 2011
Arts Fund Booklet are far less directive, but still require appropriate governance
arrangements. They now state: “The ACT Government requires all Key Arts
Organisation to have in place formal conflict of interest management policies and
procedures. The policy/procedures need to include that any board or staff conflicts
are declared, discussed and decision made on how the conflict will be managed at
board meetings. In general, Key Arts Organisation should limit – to the maximum
extent possible – actual or perceived conflicts of interests. Sub-committees
including external representatives can be used to assist with avoiding conflicts of
interest.”
10. These are now sensible and appropriate guidelines. Unfortunately, it was clear
from the review, that while the development of the 2010 guidelines had positive
intentions, it did not include sufficient consultation and consideration of unintended
consequences. This appeared to have a quite negative and damaging impact on
the relationship between artsACT and some KAOs, and on impressions about
artsACT’s communication and operational style. While the 2011 guidelines will no
doubt help, there is expected to be more work to be done to build relationships and
trust. KAOs depend on artsACT recommendations for funding, and were very
cautious about the confidentiality of their comments, so it is unlikely that artsACT
would be fully aware of the extent and depth of various KAO concerns.
11. It is useful for Government to suggest sources of further information on

governance to KAOs. The Australia Council has a booklet on governance called
‘On Board’ and the Australia Business Arts Foundation now provides workshops
and information on governance which are valued by KAOs.
12. BoardConnect is an excellent initiative involving a Brisbane consulting firm and

supported by Arts Queensland. It is a service designed to provide capacity building
and ongoing governance support for boards of arts and cultural organisations in
Queensland. BoardConnect has developed a series of public programs and
support services including a help line, fact sheets, workshops and round tables.
The ACT may not be large enough to justify a separate arrangement but the model
would be worth investigation, including testing whether a partnership arrangement
in the ACT would be feasible.
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13. With the proposal elsewhere in this report to take steps to consolidate the number
of arts organisations receiving funding, this could assist in minimising some of the
issues relating to governance and communication. However, a strong consultative
mechanism and cooperative approach will be essential from the outset on all future
arrangements and Government requirements.
1. Principles of good governance and risk management in arts organisations should

be developed, communicated and promoted in a positive and collaborative way
with arts organisations and the arts sector, and information should be provided on
where useful governance advice can be accessed, such as through the Australia
Council and the Australia Business Arts Foundation.
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6.12 Data and Research
1. There is a clear need for data and research to inform evidence based arts policy.
This has been identified as an important area which is currently lacking adequate
resources and focus.
2. There is currently insufficient information available on the arts in the ACT to be

able to make fully informed decisions about policy or even Government decisions
about priorities.
3. Business cases, performance goals, monitoring and measurement against key

performance indicators (KPIs) should be a part of reviewing performance in all
area of the arts.
4. Important future Government goals are likely to include increasing participation in

the arts, supporting quality art and retaining and attracting professional artists.
Performance areas and targets will need to be determined, measured and tracked.
5. One early area of interest for data collection is likely to be about the number of
professional artists working in, leaving and returning to the ACT. An associated
important issue for data collection is the art forms in which they are involved.
6. An area where data collection is particularly important is measuring the impact of

the arts on economic development including the number of people attending arts
events and the extent to which the same people are involved in multiple arts
activities.
7. There is a need for both quantitative and qualitative information to help inform
policy development, including changing public issues and priorities. Qualitative
information can be used to track trends in interests and satisfaction over time.
8. It is desirable to give significant consideration at an early stage to what information

will be collected in coming years to enable benchmarking and ongoing tracking of
performance. The most appropriate measures should be considered for the public,
arts audiences, community arts and professional arts. This should take full account
of measures adopted in other jurisdictions.
9. More effectively coordinated and regulated ticketing arrangements could provide

more current and consolidated information, as well as savings to arts
organisations. Data from computerised ticketing is an area which should be able to
provide very prompt and useful information for Government, with minimal
additional cost. This should be a priority for artsACT investigation and facilitation.
10. An important area where there appears to be a shortage of data or inaccessible

data is the level of community access to different art forms in different locations.
This makes it difficult to make evidence based decisions around planning for
facilities and deciding on funding priorities for community arts.
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11. There is also very limited demographic data in the arts and it is currently difficult to
track the involvement of important population groups such as Indigenous, disabled,
non-English speaking background, women, ageing and youth. It will be proposed
that organisations receiving funding must commit to including these groups, and it
will be important for Government to benchmark and track overall progress.
12. There does not appear to be a great deal of cooperation across Government
including between agencies in data collection and research. artsACT should work
with other agencies, as well as with the National Cultural Institutions (NCIs),
universities, arts organisations and others who may be able to assist in data
collection and research. .
13. The Cultural Minister’s Council has a Statistics Working Group which provides
extensive Australia-wide data and information on the arts and cultural sector. This
provides a clear foundation of the kind of information and means of expressing it,
which the ACT should use as a guide in establishing a data and research
capability within artsACT.
14. All possible opportunities should be taken by artsACT to pursue coordination and
to develop partnerships to minimise cost and maximise value.
15. There seems to be little data available on the arts in education and training,
ranging from children and young people involved in arts studies to the adequacy of
higher level training and professional development in arts practice in the ACT.
16. Systems do not seem to be as well developed for the arts as they are for sport to
capture data about participation in and attendance of activities and events. There
may be value in investigating whether any of sport’s mechanisms of data collection
could be transferable to the arts.
1. Consistent collection of quantitative and qualitative data and research is essential

to inform policy development, enable evidence based decision-making, and assist
in tracking performance, which in turn should inform funding and resourcing
decisions. There needs to be a commitment to developing a data and research
resource and capability in artsACT.
2. Undertake an audit of currently available data, and identify gaps in data and useful
and reliable data sources that have been used by other jurisdictions, organisations,
agencies, universities or institutions. Develop systems to simplify data collection
and analysis, and partnerships to minimise costs in gathering data and research.
Coordinated, computerised ticketing arrangements could provide very prompt and
useful audience information with minimal additional cost. Maximise the use of cost-
efficient online surveys, including through a new artsACT website.
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6.13 Communication, Marketing and Promotion
Effective communication is essential between artists, arts organisations, community

arts, the wider arts sector, the media and the public. This is important not only in
marketing and promotion, but also in professional development and arts event
planning, as well as in awareness of emerging issues, challenges and opportunities in
the arts.
1. There was overwhelming feedback that communication, marketing and promotion

of the arts in the ACT are fractured and ineffective. It was recognised that it is not
necessarily the Government’s role to promote the arts, but there is a clear need
that is not currently being met. Many are aware that artsACT has had involvement
with arts promotion through the funding of Canberra Arts Marketing (CAM) and
MUSE. The arts sector clearly remembers a commitment from Government to fill
the void when these organisations were defunded.
2. When CAM was defunded, the arts community was apparently told that an arts
development officer in artsACT would take on this role. This has not eventuated.
3. While there was some acknowledgement that there had been problems with
previous arts marketing organisations, these were seen to be more related to
execution, than to the principle of a coordinated resource. It is concluded by the
reviewers that a centralised and coordinated information service would be very
beneficial for artists, arts organisations and the public. However, while some
overview would be useful within artsACT it is proposed that a Communications and
Marketing Unit would operate best and most-cost effectively outside Government.
4. An arts diary would be highly valued by the arts community. The ‘Daily Capital’
makes a good contribution in this area. However, it is not comprehensive and there
is a need for a regularly updated clash diary. Many suggested that a clash diary
would be an important planning and partnership tool for arts producers.
5. There is a need for less expensive advertising. The arts community currently find it
very difficult to promote their shows in a cost-effective way. It was suggested that
promotional partnerships and better communication within the arts community
could help to avoid costly duplication, and encourage cooperative marketing with
other artists, arts organisations and festivals.
6. Many believed that a small amount of Government support for cooperative

marketing would be a good investment in encouraging artists and arts
organisations to become more entrepreneurial and to generate a larger proportion
of their revenue.
7. Some ideas from various consultations for cooperation included: a cooperative

advertisement in the ‘Canberra Times’ on Saturday mornings; a promotions stand
in Garema Place; a brochure promoting Government funded arts organisations;
and an arts website for the ACT which includes a diary and ideally coordinated
ticketing options as well.
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8. There was a consistent view that the artsACT website needs to be upgraded. It
was suggested by artists, arts organisations, artsACT staff and the public that
there is opportunity for a website that could provide a communication and hub with
at least essential information for the ACT arts community. The website could also
facilitate engagement, surveys and provide links to relevant sites.
9. There was some criticism of what many saw to be Australian Capital Tourism’s
lack of recognition of the importance and potential of the local ACT arts scene. It
was suggested that Tourism seem to be aware of the work of the National Cultural
Institutions but do not focus on promoting local talent or events.
10. Communication within the arts community, and particularly between artists, is
extremely valuable for the health and vibrancy of the ACT arts scene. Many artists
and arts organisations were enthusiastic about the idea of regular artist forums to
promote direct communication about key arts issues. Others encouraged more
opportunities for arts organisations to come together with artsACT in a cooperative
environment to share ideas and experiences. These proposals emerging from the
review are both seen to be highly desirable.
11. artsACT should investigate and discuss with the sector facilitating an annual or
biennial Artists Forum, which should be a very positive event including discussion
of current and future arts and cultural issues and ideas for collaboration, with a
promotional dimension to raise awareness of the arts in the ACT.
12. artsACT should also discuss with arts organisations and NCIs an initiative to host
six-monthly Arts Organisation Forums with ACT arts organisations, including
discussions, sharing of information and experiences followed by informal
gatherings. It is suggested that the NCIs could be invited to join the group every
second meeting.
1. A cost-effective, centralised and coordinated communication and information unit

overseen by arts organisations and artsACT should be established outside
Government for artists, arts organisations and the public. There is a need for an
arts diary which could be built around an existing initiative. There is also a need for
better-coordinated, less expensive advertising, promotion and marketing, which
could be part of the unit’s responsibilities.
2. The ACT Government through artsACT should provide leadership on

communication and engagement with the arts community. artsACT should discuss
with the sector facilitating an annual or biennial Artists Forum, and regular
meetings with arts organisations, with half of these including invitations to senior
representatives of the National Cultural Institutions.
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6.14 Universities
The major Universities are not only significant educational institutions in the ACT, but
also play an important role as cultural institutions. This is particularly the case for the
Australian National University (ANU).
In addition to the two major universities, it is understood that the Australian Catholic
University and The Canberra Institute of Technology are involved in the arts and offer
arts related courses. However, both were invited on two occasions to provide input to
this review but did not respond.
6.14.1 Australian National University (ANU)
1. The ANU School of Music and School of Art are widely acknowledged as providing
a highly significant and valued contribution to artistic and cultural education and life
in Canberra.
2. The ANU, through the School of Music and School of Art, is the recipient of major
funding from the ACT Government through the Community Outreach Program
which is administered by artsACT. This funding arrangement began as funding
from the Australian Government, half of which was transferred to the ACT
Government from the start of self-government.
3. While the ANU’s contribution to arts education and the arts generally is widely
supported, there are questions from many artists and arts organisations as to
whether the high level of funding provided by the ACT Government ($1.6 million
per annum) to the ANU continues to be such a high priority and even whether ACT
funding of a major national university is appropriate. There were few if any
questions about the value of these Schools, but there were serious questions
about whether ANU funding should be an Australian Government responsibility
rather than drawing so heavily on the limited resources of the ACT Government.
4. At the same time, taking account of the importance of the ANU to the arts in
Canberra, there were also comments about the fact that funding levels have not
increased from the ACT Government over the life of self-government.
5. Until recently there have been tensions between the ACT Government and ANU in
relation to performance expectations and accountability for funding. However, with
changes in approach, communication and senior management, there is now a
much more positive and productive working relationship.
6. ACT Government funding through the Community Outreach Program now requires
the provision of specific programs and services to deliver cultural and educational
benefits to the ACT community. While the ANU is keen to engage with the ACT
community, it is also strongly interested in engaging with a broader regional
population in NSW. With the combination of constraints on both the level of funding
and the requirements for how funding is to be applied there is likely to be a further
increase of pressure on both the ANU and the ACT Government to be managed.
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7. The ANU has responsibility for vitally important arts venues and facilities. These
include Llewellyn Hall, which has stage, acoustic and seating characteristics, that
are unique in Canberra. Therefore, access, especially to Llewellyn Hall can be an
issue of some tension, especially as it is regarded by ANU as being first and
foremost a university facility.
8. As the ACT Government provides $200,000 each year to ANU specifically in

recognition of the value of Llewellyn Hall, it is suggested that it should be in a
position to reasonably expect greater leverage and acceptance of the fact that this
is a shared facility, which should be readily available to the musical artists and
public of the ACT. If this is not acceptable, perhaps at least this proportion of
substantial ACT public funding could be more productively invested in the arts and
music elsewhere in the ACT.
9. While the CSO and the ANU have some key co dependencies around the use of
Llewellyn Hall and the educational benefits of a symphony orchestra, there is no
formal relationship beyond the provision of National Orchestral Scholarships.
There appears to be great potential for better arts outcomes through a stronger
partnership between ANU, CSO and the ACT Government.
10. The ANU Schools of Art and Music make a very significant contribution to
supporting, producing and sustaining a large number of arts professionals.
11. Many artists recognise that the ANU School of Art is the feeder pool for the local
professional Arts scene. The ANU School of Art is a key entity in visual arts and
many of the visual arts KAOs cooperate and collaborate with the School.
12. Despite the undoubted great value of the ANU to the arts in Canberra, and the fact
that the funding level has not increased, it is one of the largest areas of arts
funding, so the benefits to the ACT in terms of delivering on new policy priorities
will need to continue to be closely monitored. It is pleasing to see that there is
recognition by both parties of the importance of effective communication and clear
accountabilities for the funding provided.
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1. The ACT Government should fully acknowledge the vital contribution of the major
universities, and particularly the ANU, to the arts and the professional development
of artists in the ACT. This should be used as a basis to further develop trusted
relationships and new partnerships including with additional parties such as the
Canberra Symphony Orchestra and the National Cultural Institutions.
2. The ACT Government provides substantial arts funding to the ANU which is one of
its largest recipients of funding. There must be clear performance expectations
attached to the funding regarding specific social and arts benefits to the ACT. The
ACT Government should work with ANU to attempt to increase Australian
Government funding. In this way, funding can increase for ANU’s valuable
contributions to arts and education, and ACT can redirect some of its large pool of
funding from ANU to new areas of funding priority.
3. Llewellyn Hall is a very important ANU-owned Canberra arts facility. The ACT
Government provides $200,000 each year to ANU specifically in recognition of the
value of Llewellyn Hall. With such significant funding support, the ACT
Government should leverage considerably greater benefits for the ACT arts and
public, based more on a sharing arrangement, with extended and more affordable
access. If this is not possible, it may necessary to consider whether ACT public
arts funding could be more productively invested in the arts and music elsewhere.
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6.14.2 University of Canberra (UC)
1. There appears to be a greater distance and some tension between the ACT
Government and the University of Canberra (UC). This is likely to be due to the
fact that UC is aware of the high level of funding to ANU and regards itself as
Canberra’s community university. UC is clearly frustrated at the lack of funding and
what is seen as a minimal level of communication in relation to the arts and other
issues.
2. There are impressions at UC that there is at best a lack of interest and at worst an
arrogance from the ACT Government in its agencies dealings with the UC,
especially in contrast to what UC sees as a much closer, more respectful and
collaborative relationship at all levels with the ANU. This may come as a surprise
to ACT Government as this is unlikely to be their intention, and there is apparently
an MOU in place, though it is not clear who manages and monitors this.
Nonetheless UC’s strong perception requires awareness and an early and
appropriate response from ACT Government.
3. Building the relationship between UC and ACT Government, and seeking new
opportunities for collaboration could begin with clearer lines of communication and
a determination to forge a more open and positive relationship. Issues including
UC’s interest in arts and culture could be a good starting point. Issues of funding
and possible partnerships should be put on the table and discussed, as there
appear to be several joint opportunities of potential value to the Arts in the ACT.
4. UC is active in arts education and community engagement on a variety of fronts.

This includes: music, literature, Indigenous culture, art and design, audio and video
production.
5. UC also plays an important role in the provision of education in digital media and
its role in innovation has been recognised through funding from the Australian
Government for Creative Industries initiatives.
6. The University is a supporter of the Belconnen Arts Centre, and there is

representation from the Faculty of Arts and Design on the Advisory Group. A
Performing Arts Centre is envisaged as Stage 2 of the Belconnen Arts Centre
development, and there have been conversations around the University from time
to time about redeveloping their Boilerhouse Theatre as a performing Arts Centre.
There appears to be important potential for further partnerships between the
University, ACT Government and the community. Opportunities for greater
cooperation, consolidation and cost minimisation should be investigated.
7. UC advised that it is taking a much more strategic approach to developing and

maintaining interactions and relationships with governments, industry and the
community. It is seeking to lift its relationships from a transactions-based approach
to one that is based on partnership and collaboration.
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They are keen to build longer-term relationships which could provide opportunities
for both ACT Government and the local community. The time is certainly right to
begin to work more closely and openly with UC and artsACT could lead the way in
this.
1. ArtsACT should work proactively to improve communication and relationships

between the ACT Government and the University of Canberra (UC) and jointly
investigate opportunities for new partnerships in relation to arts activities, facilities,
skills development and training in traditional and new art forms, creative industries
and innovation.
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6.15 National Cultural Institutions (NCIs)
The National Cultural Institutions (NCIs) are a vitally important part of Canberra’s arts
and cultural environment. Discussions were held with senior representatives of the
Australian Institute of Aboriginal and Torres Strait Islander Studies, the National Library
of Australia, the National Portrait Gallery, and the National Gallery of Australia (NGA),
which also provided a written submission. There was also less detailed input from
representatives of other NCIs.
1. During the course of the review, the issue of the roles of and relationships with the
National Cultural Institutions arose in most discussion forums, including with
artists, arts organisations, governments and the public.
2. Though the NCIs are clearly critical stakeholders in the Canberra arts landscape,
communications and relationships between the NCIs and the ACT Government,
including artsACT, appear to be at best limited, and at worst strained or near non-
existent. This situation clearly requires attention from the ACT Government.
3. From every individual discussion with senior representatives of NCIs and the
Australian Government, it was clear that, while their responsibilities and outlook
are national, many already have very positive relationships with local artists. They
would welcome improved communication and possible partnerships with artists,
arts organisations and the ACT Government.
4. Many of the NCIs have shown initiative over some time and are already working
with a range of artists across a variety of art forms. The fact that the National
Library for example has Curators for Drama and Dance, and draws on local
performers, indicates the openness to creative, artistic approaches to generating
interest in their Institutions. It also demonstrated their recognition of the potential of
using multiple art forms in storytelling and promotion.
5. There were quite consistent and specific suggestions from NCIs that the ACT
Government through artsACT could be more active in communication about what
is happening and available in arts in the ACT and “looking at ways of
engaging/leveraging the public programs of the National Cultural Institutions to
engage the ACT community in a more pro-active way.”
6. The NGA for example runs Arts and Alzheimers programs that could reinforce and
support ACT health and human services and objectives, and benefit the ACT
community.
7. There is also an opportunity for the ACT Government to benefit from the expertise
of National Cultural Institution educators in developing specific programs for the
ACT community. The National Library and National Gallery for example are keen
to look at more ways to engage with the ACT community and would be very open
to partnering with the ACT Government to stage more NCI-based and community
events.
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8. artsACT should become the first point of contact into ACT Government for NCIs. It
should take initiatives to generate bilateral and wider meetings and gatherings to
improve communication and awareness of opportunities for ACT arts and artists,
as well as for all ACT agencies with the intersection of arts-related initiatives from
the NCIs with other areas of ACT Government interest such as health and
education.
9. There are also opportunities for the economy and the arts in the ACT through a
variety of major NCI arts and other events such as the recent successful
collaboration between the NGA and ACT Government with the Masterpieces from
Paris Exhibition. There are also benefits for local artists, as for instance during
Masterpieces when the NGA directly employed young, local musicians who were
students at the ANU School of Music, and their performances were broadcast
nationally on ABC Radio. This kind of initiative can deliver a range of benefits for
Canberra, though there needs to be effective, early planning to ensure maximum
benefits are leveraged for ACT arts and businesses.
10. It was evident that there can be some tension between some areas of the ACT arts
sector and the NCIs. This tends to be predominantly from the ACT’s perspective
and to be based on what was found to be a general misconception from some arts
organisations and areas of ACT Government about a lack of interest from the
NCIs. The major problem is a lack of effective communication rather than any lack
of interest. Also, at one level the NCIs have a national charter and they cannot be
seen to be giving Canberra preferential treatment, but at the same time their staff
live locally, the NCIs are part of Canberra and there is a readiness to engage.
1. The National Cultural Institutions (NCIs) are such an important component of

Canberra’s arts and cultural environment that stronger bilateral and multilateral
connections should be created and developed with them. artsACT should build
relationships, establish regular meetings involving the NCIs and ACT arts
organisations, and be a broker and facilitator for possible opportunities and
partnerships for NCIs with ACT arts organisations and artists, as well as with other
ACT Government agencies.
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6.16 Diversity
There is already a great diversity of people involved in the arts in Canberra. With active
Government awareness, planning and action there is the opportunity to ensure access
for all people to the arts, which will in turn make a difference to every person’s life.
Indigenous arts is such an important issue in its own right, it is dealt with in the next
section of this report.
1. In addition to Indigenous people, specific areas of diversity which arts policy

should take account of include disability, people from non-English speaking
backgrounds (NESB), women, youth and the ageing.
2. It was excellent to find that women clearly have a strong presence in the arts in the
ACT. Women are very well-represented across art forms, in both professional and
community arts, in leadership and management roles, and across Canberra.
3. Accessibility to arts facilities is an important issue for people with a disability.
4. Awareness of language differences and levels of proficiency in English are

important in communicating with people from non-English speaking backgrounds
to ensure accessibility.
5. There is currently a focus on multi-cultural arts, including NESB, through the multi-
cultural festival that is run through DHCS. However, awareness of the multicultural
nature of Canberra should be a component of many arts activities and festivals
and should have a stronger presence within Government arts priorities.
6. Awareness of the importance of diversity should be an essential component of

ACT Government arts policy, planning and funding requirements. In addition to
disability, Indigenous and NESB people, the inclusion of gender balance, youth
and ageing are important.
7. There is a growing ageing population in the ACT and it is important that

accessibility, project and program planning for the arts takes specific account of
the needs of the ageing.
8. There is an ACT Community Arts Office that works with Indigenous and multi-
cultural communities and individuals, as well as with people with disabilities. The
Office sets out to support community arts by assisting artists, individuals and
groups through building community capacity, mentoring, assistance in accessing
arts funding and facilitating communication between artists, communities and the
wider arts community.
9. The ACT Community Arts Office is currently centrally located in Civic and employs
three specialists, with one for each of the major focus areas, and a manager.
There is absolutely no doubt about the critical importance of diversity, including the
three target groups, and there is also no doubt about the commitment of all of the
officers employed at the Office and of their achievements.
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However, there have to be questions about whether, in contemporary Canberra,
this is the most effective structure and mechanism for the cost involved to achieve
the desired diversity outcomes for all population groups. This includes not only the
three target areas specifically covered by the Office, but also others including
women, youth and the ageing.
10. It may well be the case that an enforced policy approach would be just as effective
in delivering new diversity arts policy priorities. It is proposed that a condition of
artsACT funding for all organisations would be a requirement for all arts
organisations to demonstrate and report on social inclusion and diversity initiatives.
In this way, diversity would become the responsibility of every Government funded
arts organisation, rather than the responsibility of a person based in Civic.
11. It would be proposed that the resources currently allocated to the ACT Community
Arts Office should be outposted to provide local support to community arts, with
two positions allocated to Tuggeranong and two to Belconnen Arts Centres, to
cover all of the south and north of the ACT. It is envisaged that if existing staff are
keen to work closely with the whole arts community, they should be given the
opportunity to take up these new roles, including the role of manager of the group,
at least for a reasonable initial period.
12. The roles of the new Community Arts Officers would be to ensure that the
Government’s high priority of increasing participation in the arts, including all
diversity target groups, is being actively supported. These Officers would be
expected to be active and highly visible in the field, and their responsibilities would
include: providing a wide range of support to community arts organisations;
assisting with designing community arts programs; gathering information and
providing advice on local arts facilities to meet differing needs and to improve
access; assisting community organisations with inclusion and diversity strategies;
liaising with artsACT and facilitating communication with other ACT agencies;
ensuring the Minister for the Arts, through artsACT, is kept fully informed and,
where appropriate, involved in community arts activity; and very importantly
providing advice to artsACT about community arts funding priorities and ensuring
that this allocated funding is used in the most effective and efficient way possible
to deliver increased participation in the arts. This would be a key performance
measure.
13. It is proposed that artsACT would gain significantly from having a designated staff
position to be filled by an Indigenous person. It would be desirable for this person
to work in the policy area as an Indigenous Arts Officer, but they could work on any
area of artsACT for which they might be qualified, and would by no means be
restricted to Indigenous issues. . It is good that there is a high proportion of women
on the staff of artsACT as well as people of non-English speaking background. It
would be highly desirable to make strong efforts to try to ensure that there is also a
person with a disability on staff. From extensive experience, it is strongly
suggested that the inclusion of people with Indigenous and disability perspectives
would deliver significant benefits to artsACT, including in its provision of advice,
decision-making and communications with the entire arts sector in the ACT.
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1. Diversity is a very important issue that needs to become a broader shared

responsibility of not only the ACT Government but also of all those that receive arts
funding. A condition of future artsACT funding should be a requirement for all arts
2. The ACT Community Arts Office should be outposted to provide significant local
Belconnen Arts Centres, to cover all the ACT. Existing staff should be given the
opportunity to take up the roles which would be focused on ensuring increased
participation in the arts, including all diversity target groups. Their responsibilities
would include: providing support to community arts organisations; assisting with
designing programs; providing advice on local arts facilities and improving access;
assisting community organisations with inclusion and diversity strategies; and very
importantly, providing advice to artsACT about community arts funding priorities.
3. Commitment to all aspects of diversity needs to be demonstrated, and the

inclusion of people with Indigenous and disability perspectives would deliver
significant benefits to artsACT. As soon as possible, artsACT should have a
designated staff position to be filled by an Indigenous person who would work in
the policy area as an Indigenous Arts Officer, but would not be restricted only to
Indigenous issues. artsACT should also attempt to ensure there is always a person
with a disability on staff.
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6.17 Indigenous Arts
The importance of the arts and culture cannot be underestimated for Indigenous
people. It is a central aspect of expression and identity for both individuals and the
community. Canberra is a centre for Indigenous arts for the Region and its status as
the National Capital gives it both an opportunity for leadership in ‘Closing the Gap’ and
a responsibility to assist in creating a vibrant and sustainable Indigenous arts scene.
1. The ACT Government has recently allocated some funding and resources to a
Strategic Indigenous Arts Development Initiative. Through the review, it became
apparent that the Chief Minister is widely recognised by the Indigenous community
as being personally interested in and supportive of Indigenous arts. However, at
present, while there are examples of activity, there does not appear to be an
ongoing strong ACT Government commitment or a clear strategy for the
development of Indigenous arts in the ACT. This is a serious omission which
should be corrected.
2. It is recognised that the ACT Indigenous Arts Development Officer, who is part of
the ACT Community Arts Office, receives funding through artsACT. However, both
through the Indigenous consultations and subsequent research, it was found that
the ACT is the only State or Territory that does not have an Indigenous Arts Officer
within the arts bureaucracy. Neither does the ACT Government appear to support
an Indigenous Key Arts Organisation, an Indigenous Arts Centre, or a specific arts
funding category for Indigenous art. This is not to suggest that there have been no
initiatives or that all of these matters should be acted upon. However, there is a
need to take a range of early actions as proposed in this report, and to work
collaboratively with Aboriginal and Torres Strait Islander people to develop an ACT
Indigenous Arts and Cultural Strategy, as has happened in other jurisdictions.
3. There are significant frustrations from Indigenous artists about gaining access to
ACT Government funding support through current funding categories. Only two
Indigenous applications were funded in 2009. It was suggested by several artists
that interpretation of words like “excellence” can get in the way of supporting
Indigenous artists. Different groups of people have different definitions and
interpretations of “excellence” and many of these are culturally based. The point
was made very strongly that there needs to be more Indigenous representation on
peer assessment based funding panels deciding funding for Indigenous artists.
4. Many Indigenous artists find the grants application process overly complicated and
feel that their applications are often judged more on the writing of the application
than on artistic merit. They also find repeated rejection disheartening and can tend
to lose faith in ACT Government interest in supporting Indigenous art.
5. Both project and program funding are important for Indigenous artists, but
Government can also make a significant contribution to Indigenous arts through
other practical support mechanisms. Some of the pertinent suggestions from the
Indigenous consultations included funding an Indigenous Arts Business Manager,
which was a successful Federal initiative at Northern Rivers Art Centre in NSW.
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Other possible capacity building initiatives worthy of consideration include:
establishing targeted business and financial skills development programs;
encouraging industry relationships and private sector support for Indigenous arts;
and developing mentoring programs for Indigenous artists. A further initiative from
another jurisdiction for possible consideration involves the provision of seed
funding for an Indigenous arts export agency along the lines of the Queensland
Indigenous Arts Marketing and Export Agency (QIAMEA).
6. While the Indigenous population in the ACT is not particularly large, participation in
arts and cultural events in a variety of art forms is higher than the national average.
In addition, the ACT is home to some very strong professional Indigenous artists
including national prize winners in arts and fashion. For example, the Indigenous
Textiles and Glass Artists Group (ITAG) was honoured with an International
Women’s Day Award. However, many of these artists are working in isolation. The
ACT Government has an opportunity to build on these strengths through support
for professional development, mentoring, recognising both existing and emerging
talent and very importantly assisting with the provision of spaces and facilities for
these artists to create and display their work.
7. Throughout the review, artists repeatedly reinforced their need for adequate
spaces and arts facilities.
The Indigenous artists were especially forceful in prioritising this need for
appropriate spaces and arts facilities. In summary, there were three core areas of
need identified by Indigenous people and others, including artists and the public,
with interests in Aboriginal arts in the ACT:
7.1 An Indigenous Arts and Cultural Centre
During the Indigenous consultations artists advised that there had been an
earlier concrete plan to create a major Aboriginal Cultural Centre for the ACT
on a site on the Acton Peninsula which never eventuated, but has not been
forgotten.
The ACT Government has, since the review’s Indigenous consultations,

recently provided some support for the Burringiri Association cultural centre,
which should be acknowledged. But it is understood that Aboriginal artists had
something centrally located, larger and more far-reaching in mind.
If a new Indigenous Arts and Cultural Centre did receive consideration, it

would need to be in a central, accessible location to create Indigenous, ACT
community and wider tourism benefits. This would give the ACT the
opportunity to take an important initiative in the cultural tourism space to
generate tourist interest and real potential economic benefit. Cultural tourism
in Canberra is currently built almost entirely around the National Cultural
Institutions, but there are opportunities for more partnerships with the ACT,
and this is one example of a potential independent ACT initiative.
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The Indigenous workshop suggested that the Fitters’ Workshop in Kingston
would be an ideal space for an Indigenous multi-arts centre with studios, a
gallery and spaces for the performing arts. The building was seen as very
central and could become a meeting place for Indigenous people working in
the arts. They believed that this would be a magnificent Centenary project.
Alternatively, depending on the scope of such an initiative, consideration could

be given to forming partnerships with the Australian Government and with
interested National Cultural Institutions such as AIATSIS, where the CEO was
consulted as a part of this review.
The ACT Government may wish to test interest in a joint venture with the
Australian Government and with Aboriginal people to create a significant
Aboriginal Cultural Centre in the national capital which would include input and
art from local Indigenous people.
7.2 A centrally-located Indigenous Gallery and Retail Outlet
The establishment of a centrally-located Indigenous gallery and retail outlet

was seen as an important priority by Indigenous artists.
Such a shop-front would display the work of Indigenous artists from the ACT
rather than from Central Australia and elsewhere and would create some
economic sustainability for Indigenous artists in the ACT.
Either a separate location might be identified, or during the review, the

Secretariat of the National Aboriginal Community Controlled Health
Organisation (NACCHO) suggested the possibility of a partnership with ACT
Government to establish such a facility in the foyer of NACCHO House in
Canberra city.
The ACT Government may not have a major role to play in identifying and
establishing such a facility, which should be driven by Indigenous people.
However, there is little doubt that at least awareness and support through
facilitation by artsACT would be likely to be appreciated.
7.3 An Indigenous Community Arts Facility
Indigenous people recognise the need for the ACT Government to not only
support professional artists but also to encourage greater Indigenous
community participation in the arts for the multitude of benefits that this would
deliver.
It was suggested by the Indigenous workshop that the current Billabong

Aboriginal Development Corporation already had strong links to the
Indigenous arts community. Billabong has a great number of facilities and
resources including textile machines, kilns, knitting machines, buses for
transportation and spaces for art creation. Its current manager is respected by
Indigenous people and has impressive vision, commitment and
resourcefulness.
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If the ACT Government wanted to act on this proposal to support an
Indigenous community arts facility, Billabong has the great financial and
cultural advantages of being an existing, established facility which is used and
trusted by Indigenous people as well as the wider community. To some extent,
through its own initiatives, it is already on the way to being a community arts
facility as part of its role as an Indigenous community facility. However,
Billabong suffers from very low levels of funding and cash flow and a chronic
lack of human resources.
8. Many Indigenous people are involved in the arts both at the community and
professional levels. However, the contribution that Indigenous professional and
community artists make does not appear to be fully recognised by Government in
terms of funding and other forms of support. Community arts are also critical for
improved health, social and other outcomes for Indigenous communities.
9. Insufficient data seems to be a problem across the arts in the ACT. This has a
significant effect on planning, policy and strategy development for the arts for
Indigenous people and communities. It also creates a feeling within the Indigenous
community that there is a lack of transparency and evidence base to some aspects
of Government decision-making.
10. It has been pointed out that less than 1% of the ACT population (less than 4000
people) identify themselves as Aboriginal and Torres Strait Islanders, and that
there are both Indigenous artists from the ACT and Indigenous artists working in
the ACT. The reviewers have noted this information, but do not see this affecting
the importance of recognising that whatever the percentages, numbers or origins
of Indigenous people living in the ACT, their needs and interests as professional
artists and in community art and culture should in future be a very high policy and
strategic priority for the ACT Government.
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1. There should be an Indigenous specific funding category in the ACT Arts Fund.
Within this category, it would be highly desirable to have separate allocations: one
for individual Indigenous artists and one for Indigenous groups or organisations.
An Indigenous grant category must not diminish opportunities for Indigenous artists
and organisations to apply for any area of the Fund. artsACT should work closely
and collaboratively with Indigenous people to ensure that all decisions about an
Indigenous category are informed and that implementation is successful. Capacity
building initiatives, including assistance with application and reporting
requirements are strongly encouraged.
2. The recommendations of the Strategic Indigenous Arts Development Initiative

should generally be supported and acted upon. In particular, expanding skills
development programs in identified areas of high interest for Indigenous artists;
programs aimed at long-term professional development; and support for Inter-
generational projects; and a youth music project.
There should be a collaborative process aimed at setting priorities for action within
available resources. There is a real opportunity with these important initiatives for
artsACT to actively pursue and develop partnerships with other agencies and
external parties.
3. The ACT Government may wish to consider testing feasibility and interest in a joint
venture with the Australian Government, possibly National Cultural Institutions and
with Aboriginal people to create a significant Aboriginal Arts and Cultural Centre in
the national capital which would include input and art from local Indigenous people.
4. It is highly desirable for ACT Government to build on existing Indigenous

infrastructure as it has done recently with the Burringiri Association. It should
support successful community arts initiatives such as the Billabong Aboriginal
Development Organisation which has undertaken several positive initiatives. It is
an established Indigenous community focal point with support from Aboriginal
artists, Government funding support through a range of agencies, and other
potential sponsors or partners. It would be likely to deliver increased Indigenous
community particiption in the arts, leading in turn to significant social benefits.
5. The establishment of a centrally-located Indigenous gallery and retail outlet for

ACT Indigenous artists was seen as an important priority as it would bring artists
together and could help create some economic sustainability for Indigenous artists
in the ACT. This view is supported, and the ACT Government through artsACT
should actively investigate options, with the preferred option being to provide a
space in a future Canberra Gallery in Civic for local Indigenous art.
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6.18 Accessibility
There are a variety of aspects of accessibility to be taken account of in arts policy

considerations, including for different groups of people who may wish to access arts
facilities, access to facilities in different locations across the ACT, aspects of transport,
and public access to arts venues and facilities.
1. The accessibility needs of professional artists, particularly young and emerging

artists, is an important consideration. Key concerns include access to affordable
housing and appropriate arts facilities. Difficulties with access to these essential
requirements can be a trigger for artists to leave the ACT.
2. Depending on their art form, established artists can also struggle to have ongoing
access to appropriate arts facilities and venues.
3. Access to appropriate facilities provides a variety of challenges in different art

forms. There was very strong feedback in various consultations, especially from
new and emerging artists, that there is strong competition for limited studio space
in the visual arts. They seemed to indicate that some older artists apparently had
ongoing tenure over spaces. While there were doubts from a small number of
people as to whether this problem was real, the concern from several artists
appeared to the reviewers to be very genuine, and based on the direct
experiences of many young and emerging artists. If studio facilities are available,
communication processes about arts facilities do not appear to work well.
4. A number of people highlighted the arts benefits of the ‘Renew Newcastle’

scheme, which has been established to find short and medium term uses for
vacant buildings in Newcastle’s CBD. The initiative aims to install artists, cultural
projects and community groups into the vacant buildings until they become
commercially viable.
5. While high-cost specialist venues and facilities are less an issue in community arts,
access to spaces is no less an important issue. The availability of facilities in some
parts of the city does not mean that these are accessible, especially by younger
people and people who are socio-economically disadvantaged.
6. The availability of community and public transport is an important access issue.

For people without access to motor vehicles, there is a heavy dependence on
public transport. Public transport issues like the hub and spoke design of many
transport routes, and the reduced availability of buses at night and on weekends
can restrict access to arts facilities. There also appears to be very limited
availability of community transport for this purpose.
7. Access for people with disabilities is an important priority for access to all venues
and facilities, including arts facilities.
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8. In the area of diversity, there needs to be cultural sensitivity and awareness of the
appropriateness of arts facilities and their location so that access is not
unintentional restriction of access.
9. For a large proportion of Canberrans, motor vehicles are their major form of
transport. The availability of parking was raised on several occasions as an
important issue for people accessing arts facilities (Belconnen Arts Centre was
raised as an example) and audiences accessing arts venues.
10. It should also be noted that it became clear through the review that there are some
historical and cultural issues about the extent to which people are prepared to
travel reasonable distances in the Canberra context to other areas of the city to
access facilities. Even though facilities may be available in the city, motorists do
not necessarily believe that they are accessible.
1. There needs to be clarification of policy on all aspects of access and accessibility.

Many of these, such as transport and disability access, should be included in the
development of a Cultural Facilities Plan. There is a requirement for improved
awareness of and access to arts facilities that should be addressed through better
information and communication about what is available.
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6.19 Arts and Education
1. Investment in the arts is a long-term investment and begins with young people and
education. There is a clear benefit in directing funding emphasis for the arts and
education at the early stages of a child’s development. The Federal Minister for the
Arts was very clear about this benefit in his outline of a National Cultural Policy:
“We know that learning is boosted when it includes the arts and when opportunities
are provided for children to express themselves through art and music.”
2. There is a lot of opportunity for the ACT arts sector to engage more effectively with
the education sector and be to mindful of the national curriculum in the cooperative
development of arts in education policy. There should be a clear articulation of the
contribution that the arts can make to education in the ACT. While few children will
become professional artists, it is important to consider the benefits of the arts and
creativity to education and to society. The arts and creativity can contribute to
education and social development in areas such as: avoiding social dislocation;
creating opportunities for children with special needs; building self-esteem and a
sense of identity; and encouraging a life-long learning and engagement with the
arts. These benefits will be seen with educational experience across art forms, and
will begin the development of professional artists and future audiences.
3. A whole-of-Government approach to arts and education is seen to be very
important and this had been lacking in the ACT Government prior to last year. The
Arts and Education Consultative Committee was initiated by the Education and
Training Department in May 2009. The Committee draws together stakeholders
from education, the arts and other relevant areas. As well as holding regular
meetings, the Committee organised the inaugural 2010 Arts Education
Conference, ‘Arts Up Front: Leading Arts Learning’, which was attended by 165
delegates from across the education and arts sectors. Having read the Conference
Evaluation Report, it was clear from feedback from attendees that this was a very
good initiative with valued content. It is encouraging to see that planning is
underway for another conference next year.
4. The Education Consultative Committee and associated annual Arts Education
Conferences are excellent initiatives, but arts in education was found to be an area
of great interest to the arts sector and the public, and there were many
suggestions of areas of opportunity. The links and communication between
artsACT and Education have recently improved with enthusiastic commitment from
the artsACT officer. This is an important development to be built upon with an
agenda of shared interests, some of which will need to be pursued at senior levels.
An area for early consideration is the desirability of establishing an Arts Education
Officer to be a focus of communication and advice on arts and education.
5. Key Arts Organisations (KAOs) are an important resource for schools, education,
community and social development. Currently, KAOs have a lot of the engagement
with the education sector by providing arts programs after school hours. Many arts
organisations believe there are opportunities for stronger engagement with
Education to have more artists in schools during school hours as an integral
component of education. This would be beneficial for both the artists and children.
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6. The Artists-In-Schools (Early Childhood) initiative is part of the Creative Education
Partnership: Artist-In-Residence program and is a very good initiative for both the
arts and education. In 2009, the Australia Council provided $20,000 to the ACT
Government for five artist-in-residencies which were designed to stimulate the
creative capacity of children, increase access to the arts, provide a quality
experience of participation in the arts, and promote cultural citizenship. The Artists-
In-Schools program supports a balance of art forms, depending on the skills of the
artist, and priority is given to maximising impact on children’s learning and the
school environment. Encouragement should be given by ACT Government to
continue with this excellent initiative.
7. There are many successful arts-related projects and activities in Education
Departments around Australia that could be adapted to the ACT. It would be
desirable for artsACT and Education and Training to work together to consider
possible opportunities. One example of an initiative in a smaller jurisdiction that
apparently works very well is Exit Art, which is an annual exhibition of outstanding
contemporary artwork created by Northern Territory Year 12 visual art, craft and
design students. The exhibition gives an insight through art into young Territorians’
experiences and their influences. It is an avenue for students to bring their
thoughts to life and an opportunity for the public to gain a unique perspective
through viewing these works. The most outstanding works are selected for their
excellence, innovation and creativity in a range of modes including painting,
drawing, photography, ceramics, printmaking and digital presentations. Similar art
works could be featured in a gallery space like CMAG, which is readily accessible.
8. Feedback was received through the review that the ACT currently has very limited
capacity to train teachers of the arts, particularly beyond theory to the practical
aspects of teaching music and drama. It was suggested that an old school could
be converted into a music camp where students and particularly teachers can be
taught by professional artists to improve arts outcomes in schools.
9. There was consistent feedback, particularly from emerging artists, that tertiary
education and training for young artists in the ACT can be limited and variable. It
was pointed out that even at the highly-regarded ANU School of Music many of the
staff have held positions for 20 to 30 years, which can create a somewhat
stagnant, dated and less dynamic learning environment. This is situation was seen
to be amplified when combined with the pressure from within universities to reduce
practical aspects of art studies, and to concentrate almost entirely on theory. The
lack of an effective tertiary Drama course in the ACT was also cited.
10. Despite some of the perceived limitations of tertiary training in the ACT, there were
also comments that artists who have not been trained at a tertiary institution can
often feel discriminated against by funding bodies and institutions, because of
requirements for tertiary qualifications. The structure of tertiary studies can be
seen as limiting for some artists, including those from minority groups.
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1. There needs to be a clear articulation of the very valuable contributions that the
arts, culture, and creativity can make to all aspects of education in the ACT.
Stronger communication and coordination across the arts and education sectors,
as well as with communities and across governments, should be encouraged, such
as the initiative last year to establish the Arts and Education Consultative
Committee. This important initiative should be built upon with an agenda of shared
interests, and there should be early consideration of establishing an Arts Education
2. There are many excellent arts in education initiatives in the ACT and in other
jurisdictions that could be adopted or extended. artsACT and Education should
work together to identify, along with potential partners, what might be adapted to
meet the needs of the ACT. Also, Artist in Residence school programs, including
the Artists-In-Schools (Early Childhood) initiative, have demonstrated real value in
the ACT and these should be retained and extended, with support expected from
the Australia Council.
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6.20 Arts, Health and Social Development
The arts are an important component of society and contribute directly to individual
physical health and emotional well-being, as well as to stronger, more cohesive
communities.
1. There is increasing evidence indicating the importance of the contribution of the

arts in achieving improved outcomes in both health and social development.
2. It is encouraging to note that the arts tend to be increasingly recognised in their

potential contribution to addressing health and social challenges and contributing
to recovery. They are often included in health recovery and rehabilitation
programs, as well as for people with disabilities, and in some cases in the
correctional system
3. While there have been some recent improvements, the arts tend to be less well
recognised for their potential in early intervention and prevention of health and
social development difficulties, where relatively small investments can assist in
avoiding costly and difficult problems.
For example in health, the arts can and do play a valuable but largely
unrecognised role in addressing and avoiding the huge cost of obesity.
The arts have also demonstrated value in providing outlets, choices and alternative
opportunities for expression for ‘at risk’ youth, Indigenous people and people
struggling with mental illness.
4. There is a positive role from Health and Human Services in supporting various arts
initiatives in the ACT. It was noted that a number of Key Arts Organisations (KAOs)
deliver programs in a range of art forms. ‘Music for Everyone’ is one of the KAOs
with a strong focus on social development programs, including youth and people
with disabilities.
5. Artists and arts organisations appreciate these investments in the arts. However,
there is concern that these investments are seen to be based on rather fragile and
vulnerable funding arrangements where purpose, priority and longer-term strategy
are not generally clearly articulated or understood.
6. There also appears to be little whole-of-Government coordination. It would be both

desirable and useful for Government to have a more complete picture of its funding
of the arts across health and human services agencies and related Government
portfolios, including in the criminal justice area.
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7. Additionally, it would be desirable for there to be closer engagement and specialist
arts advice from artsACT to all these agencies that invest in the arts. It would also
be useful to identify ways to better identify current and potential connections
between the arts and culture with all areas of ACT Government, non-government
and community with interests in and responsibilities for health and social
development.
8. It would be desirable in looking at data collection and research to investigate

whether there are acknowledged specific measures of health and social benefits
from arts and cultural activities. There is considerable research evidence available
both nationally and internationally that could assist ACT agencies in developing
informed strategies for investment in the arts.
1. While there are a variety of positive initiatives in the ACT, there should be a wider
appreciation of the benefits of arts and culture to health and social development,
including in early intervention and prevention of a multitude of issues such as
reducing the risk of alienated youth entering the criminal justice system. There
needs to be greater awareness and coordination, including from artsACT, of arts
initiatives across agencies so that connection with and investment in arts
organisations is more visible and strategic, and there is less fragility and
uncertainty for the arts sector.
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6.21 Arts Innovation and Economic Development
There are strong connections between the arts and economic development, though
these are not always recognised or understood. This is an increasingly important area
for clarity of awareness, communication and opportunity.
1. The economic value of the sector is increasingly being recognised, with Australia's
arts and cultural industries valued at around $32 billion or 3.5% of GDP, supporting
around 474,000 jobs in 102,000 enterprises.
2. It is somewhat strange that the economy is seen by some people with interests in
the arts as either irrelevant or as a potential enemy of the arts. This review found
that this is rarely the case for professional artists, especially young and emerging
artists who want to make a living from the arts.
3. The intrinsic value of the arts is arguably their greatest value. Many activities in the
arts do not contribute to the economy, but must continue to be supported because
of their immeasurable benefits to individuals and society. However, this contention
does not need to be at odds with artists in art forms ranging from music, theatre
and dance to sculpture, film and the digital arts wanting to be paid as full time
artists, thus also contributing to the economy. Love of art drives many to pursue
their art whatever the financial returns.
4. The professional arts should be valued highly for what they deliver to society as a
whole, and hence this should be a very high policy priority, including the place of
the professional arts in the economy. There is an apparent lack of clear connection
between the arts and the economy in ACT Government, as well as a lack of policy
direction for the role of the arts in the economy.
5. It is also not unreasonable, and is in fact desirable, for Government to expect that
one aspect of its return on investment in the arts is the economic benefits that the
arts deliver to the ACT economy.
6. Investment in the arts for economic benefit to the ACT does not need to be limited
to investment in local art and artists. For instance, the Government’s investment in
the recent NGA’s Masterpieces exhibition received some criticism early in this
review. Several people said the money should have been invested in local arts.
This view failed to appreciate the fact that this was a considered investment with
the aim of economic benefit, and could as easily have been invested in any
industry. It was an astute joint business venture involving the most senior people at
the NGA and the ACT Government, who recognised this as a sound investment
opportunity for both the Gallery and the ACT economy. This initiative delivered
close to 500,000 visitors to the NGA, with about 80 per cent being visitors from
outside Canberra, and there was an excellent return on investment.
This also reinforced the image of Canberra as a national centre for the arts, and
incidentally gave Canberrans direct access to some of the world’s finest art.
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7. There is a clear nexus between creativity, the arts, innovation, research, digital
technology, education, training, creative industries, business investment and
government funding. Government and the arts sector have opportunities to work
together, and in partnerships with others to leverage full advantage from these
connections.
8. Creativity and creative industries are increasingly recognised as adding value to

social and economic well-being. The well-known author Richard Florida paved the
way for new thinking about how creativity is revolutionising global and local
economies, and his analysis of commercial innovation and regional development
warrants consideration in the ACT, particularly in relation to arts and innovation.
His ideas are being used globally to change the way regions and nations do
business and transform their economies. The arts and ACT Government have
important roles to play in new thinking about creativity and the future of the ACT
economy.
9. Most Federal funding for creative industries, and related education and training
initiatives comes from the Innovation rather than the Arts portfolio. There could be
more active positioning of the ACT as a leader in arts, ideas and creativity,
positioning it well for a number of new and emerging creative industries. There is
interest from Universities in the ACT, and there are opportunities for partnerships
with business. The NCIs are other potential partners.
artsACT should be encouraged to broaden its policy scope to build capacity,

knowledge and expertise in the areas of economic development, innovation and
creative industries. This would enable them to work more closely and actively as
specialist advisers with the ACT Innovation and Industry Development Unit within
the Business and Industry Development Branch of CMD, as well as with the many
interested parties and potential partners outside Government.
10. There appear to be excellent opportunities for the arts to create stronger
relationships and partnerships with other areas of Government and business in a
range of areas including tourism, events and festivals. There needs to be a clear
policy framework to provide a full awareness of importance of the arts, alongside
sport for instance, to the future economic development in the ACT.
11. Digital content production industries bring together high-level skills in the arts and
technology and have demonstrated great achievement and future potential in at
least the screen (including games) and defence industries, as well as in areas
such as planning and architecture. Consideration should be given to developing
ACT Creative Industries and/or Digital Economy Strategies. NSW recently
launched a comprehensive Digital Economy Strategy at the CEBIT Conference.
12. The benefits and opportunities that can generated by the arts are often overlooked.
It is understood that there have been recent initiatives by Government to support
live music through a range of initiatives including reviewing the unintended
restrictive impact of some areas of regulation and legislation.
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This is to be applauded. Live music and other areas of arts activity, when working
constructively and creatively with the hospitality industry and with Government, can
encourage the growth of Canberra’s night-time economy.
1. While there have been excellent recent initiatives including ACT Government
investment in screen industries and ‘Masterpieces’, there needs to be a clearer
recognition and promotion by all stakeholders of the strong connections between
the arts, creativity, innovation and economic development. There is need for a
more strategic approach to achieve the ACT’s full potential through the
collaborative development of ACT Creative Industries, Digital Economy and
Cultural Tourism Strategies. Business, the arts community, universities and the
National Cultural Institutions should all be included. These facets of life and work in
the ACT should also be integrated into Canberra’s image and identity through
‘Brand Canberra’.
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6.22 Arts, the Environment and Sustainability
Art has always played a critical role in provoking thought and generating dialogue in all
areas including the environment, climate change and ecological sustainability. Art can
be a catalyst for individuals, communities and governments to focus on environmental
values and to raise environmental awareness.
There are a range of dimensions to this subject including: art generating environmental
awareness, art being inspired by the environment, and art, arts activities and facilities
being ecologically sustainable.
Sustainable art is art that is produced with consideration for the wider impact of the
work and its reception in relationship to its environments, including the ecological
environment. Environmental art used to be mostly associated with sculpture but now
encompasses many media, and is essentially about being in harmony with the natural
environment.
There are real opportunities in the ACT for more active connection between the arts,
sustainability and the environment.
1. One of the great natural features and attractions of the ACT for many artists is the
environmental setting. Artists talked of the inspirational setting and the fact that the
natural environment is either part of Canberra or at least on it’s doorstep.
2. Some artists and art organisations also spoke of using materials from and
reflecting the environment. There was also recognition of the importance of
commitment to environmental sustainability and awareness of climate change
principles in the creative process.
3. Residencies for artists in Parks and on nearby properties provide great

opportunities.
4. The arts have a great opportunity through visions and plans for precincts and for
all cultural facilities to set high standards for environmental sustainability for the
future.
5. A wide variety of public art and landscape architecture provide opportunities for
further connections between the arts and environment.
6. The Arboretum is an outstanding initiative that has wonderful potential for many
future initiatives, including with a variety of the performing and visual arts. At least
some of this potential has been recognised at an early stage by the drivers,
designers and managers of the Arboretum, and a sponsored opera has already
been announced.
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7. It is suggested that there should be discussions with the Arboretum about the
possibility of establishing some form of Arboretum arts and cultural group,
including input from ACT and Australian Governments, business/sponsors, arts
organisations and artists, to consider design and infrastructure requirements and
opportunities for appropriate arts-related and cultural events.
8. There should be greater awareness of sustainability by artsACT and in turn funded

arts organisations taking account of issues such as carbon neutrality.
1. The ACT Government and artsACT should embed commitments to environmental

sustainability into all aspects of its arts policies and activities. There is great
awareness of the importance of the environment in the arts and in the ACT and
there is an opportunity to provide leadership in linking positive arts and
environmental outcomes. Any new or redeveloped arts facilities should be built to
the highest environmental standards, and there should be a commitment that
funded organisations, events, festivals and activities should be aware of the need
to be environmentally responsible and to aim to be carbon neutral.
2. The Arboretum is a wonderful initiative with great potential that was recognised
from the outset to connect with and enrich the arts. There should be discussions
with the Arboretum about the possibility of establishing some form of Arboretum
arts and cultural group, including input from ACT and Australian Governments,
business/sponsors, arts organisations and artists to consider design and
infrastructure requirements and opportunities for appropriate arts-related and
cultural events.
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6.23 The Public
The public demonstrated their strong interest in the arts throughout this review through
the media, public forums, online, email and other inputs.
1. Many of the public who provided input to the review were active in different areas
of the arts, across all art forms and across the ACT. Some had experience as
artists and several were involved in a variety of large and small arts organisations.
A consistent theme was the importance of all Governments recognising the
multiple value of creativity, artists and the arts to a healthy society. These benefits
were seen as ranging from the intrinsic value of the arts to individual and
community wellbeing, to the more specific benefits of social engagement and
economic opportunity.
2. There was a consistent view that the arts are under funded. This was based on a
strong belief that there can be significant social, education and heath benefits from
relatively small investments in the arts.
3. The public expressed the importance of clear and transparent policies guiding
decisions about Government expenditure on and investment in the arts. There was
quite a widespread view that Government decision-making on support for the arts
appeared to reflect personal whim, preconceived views, ad hoc decision-making, a
lack of openness and communication. This was often seen to be combined with
slow, unresponsive and an overly bureaucratic processes of decision-making.
4. The public also are an important component of the arts scene in Canberra as
audiences as well as participants. They have strong views on a range of issues as
audiences.
5. Some of the issues raised by the public as audiences included:
• the importance of access to arts facilities, including parking, public transport,

Indigenous and disability access, and access for people who may be socially
and economically disadvantaged.
• there does not appear to be any plan for arts facilities and there seem to be
gaps in venues such as a lyric theatre, venues suitable for dance and opera,
and community-based facilities in some areas which could be met in part by
more creative thinking about multi-function spaces such as in schools.
• they don’t usually separate their opportunities and experiences as arts

consumers between ACT Government, NCIs and venues in other cities. It is
all part of what is available to them, though there is some disappointment that
for some events like the Australian Ballet and Opera and particular shows it is
necessary to travel to see them.
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6. Another vitally important role for the public is as volunteers. As in so many other
areas of life, volunteers make a vital contribution to the arts. Passion for the arts
and for participation in the arts motivates many to volunteer. Many areas of the
arts would either operate far less effectively, or in some cases, would not operate
at all without the input of volunteers.
For at least two reasons, the contribution of volunteers should receive

encouragement and recognition from Government. The first is that without current
levels of support from volunteers, Government would either be faced with
additional costs, or would see priority areas of the arts under-resourced and hence
unable to perform as expected in the wider public interest. The second is that if
‘increasing participation in the arts’ is one of the Government’s priority goals,
volunteering is an important way of achieving this.
As in many areas of volunteering, the risk should be noted that the average age of
volunteers is increasing. Government leadership and encouragement of new
generations of volunteers will be an important component of Government action to
at least retain current levels of volunteering.
1. The ACT public are actively supportive of and engaged with the arts and obviously
appreciated being consulted extensively in this review. The public and arts
audiences should be a key focal point of improved communication for artsACT,
including through its new website. They should be kept advised of developments in
future arts policies and strategies. Volunteers need to be highly valued in all areas
including the arts and should receive recognition through Awards for outstanding
contributions to the arts.
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7. Funding
The ACT Government makes a substantial financial and resource contribution to the
arts. As a result there appears to be a higher level of expectation of and dependence
on Government arts funding support than in other jurisdictions.
The level of funding, as well as interest in the arts from the Chief Minister, is generally
appreciated in the ACT. Arts funding delivers a range of programs, projects, activities,
facilities and other support that are mostly highly valued.
However, there is widespread recognition that funding is currently spread too thinly to
be fully effective and is ‘gridlocked’. This situation needs to be addressed quite
urgently and strategically, including reviewing how the current funding model might
more effectively reflect policy priorities.
Funding models for the arts have continued to evolve across jurisdictions, and it is
timely to review current funding arrangements and models in the ACT. While such
reviews are not easy, and can generate arts sector and public concern, they are
important to ensure that funding continues to take account of recent and likely future
developments, as well as reflecting Government arts priorities.
An important trend over recent years, which is seen by the Australian Government and
other Governments as requiring attention, is the fact that funding for individual artists
has fallen relative to funding for major institutions and arts organisations. The Australia
Council’s consideration of the evolution of funding models is accompanied by a
reframed view of the role of the arts and of artists who create art.
The Australian Government Minister for the Arts, in launching his discussion about a
National Cultural Policy, indicated that he saw a need to reestablish a balance in
funding between organisations and artists. He said his focus was on providing greater
support for more artists, as well as building audiences and participation, and
developing new national and overseas markets for the arts. He called for a “greater
openness to new and emerging talent, to the pioneers and experimenters in the digital
era as well as the more traditional art forms…. to incubate and encourage the risky
and the innovative as well as focusing on success and excellence”.
The Minister also highlighted the need to recognise that “as well as a rising tide in the
numbers of Australians viewing and valuing the arts, audiences are changing,
participation rates are growing and flexibility of programming and diversity of content
are increasingly expected, particularly by younger audiences. The economic value of
the sector is also increasingly recognised. We need to take account of these changes
as we prioritise the use of public money and encourage greater community and
corporate support.”
The analysis, findings and recommendations about funding related issues in this
review are consistent with the approach of the Australian Government and several
other jurisdictions.
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7.1 Arts Budget Reflecting Policy Priorities
It is essential that the goals of Government are clear in their funding of the arts. This
should begin with the broadest goals of what Government wants the arts to deliver in
the ACT. Goals and priorities then become more specific in different aspects of arts
policy.
1. There is a pressing need to free up or unblock funding to enable appropriate

responses to meet current and emerging Budget priorities. All current funding
arrangements will need to be reviewed and adjusted to reflect Government and
arts policy priorities.
2. While some acknowledge recent improvements, most artists and arts

organisations consulted through this review are dissatisfied with current funding
arrangements, and the vast majority sees the need for change. A common view
was the desirability of Government funding to be based on clear and transparent
Government arts goals and policy priorities so that the reasons for funding
decisions could be better understood.
3. Other jurisdictions have been clarifying their goals and policy priorities for the arts.
The NSW Government for instance has a State Plan Priority within “Stronger
Communities” which is one of 44 Government priorities “to increase the number of
people participating in the arts and cultural activity” by 10% by 2016 as measured
by the ABS. Similarly specific overall goals for ACT Government would provide a
guide to funding priorities and decisions for the arts.
4. There are also a number of Australian and ACT Government policy priorities
beyond the arts that should be taken into account by artsACT in deciding strategic
priorities and activities. These higher-level priorities should also be considered in
setting Government priorities for arts funding. An example of such a priority for
both Governments is COAG’s commitment to “Closing the Gap” for Indigenous
people, and the ACT Government’s priority in the Canberra Plan to “Delivering a
better future for Indigenous Canberrans”. These kinds of priorities should also be
reflected in Arts Fund categories and funding priorities.
5. Many in the ACT arts community and public believe that because the arts make
such a valuable contribution, and funding is already so tight, that no areas should
have their funding reduced. In fact they argue quite strongly that the arts budget
should be increased. However, in the current budget climate in the ACT, there is
an expectation that it would be a challenge to increase overall funding for the arts
a great deal, if at all.
Focus Funding More on Quality Art and Professional Artists, rather than on
Organisations and Administration
6. It is suggested that policy clarification to guide funding priorities should begin with
key reasons why the ACT Government funds the arts, or in other words its key
goals, and what it expects in return.
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7. It is proposed these goals or overarching priorities should be:
The first goal has broad community benefit and the second would be expected to
benefit society and/or the economy in the ACT. Changes to achieve sustainability
of the arts is also very important, but is seen to be inherent in the above two goals.
8. There was a strong desire from most who were consulted for clarity and
consistency in funding arrangements. So Government funding should only be
directed towards delivering on these goals or overarching priorities, and other
specific arts policy priorities. Those seeking funding would need to demonstrate, in
applications and acquittals, real, preferably measurable, arts benefits.
9. Over recent years, as in many other jurisdictions, a growing proportion of the arts
budget has been directed to funding arts organisations. Artists certainly recognise
this trend. There was quite a strong view through consultations, and from other
jurisdictions, that there needs to be a higher proportion of the arts budget allocated
to artists and the production of quality art. This should include more funding for the
professional development of emerging artists and for innovative arts that appeal to
new and younger audiences and participants in the arts.
10. There is a real need and current opportunity to increase funding to artists. Areas of
new focus should include: new funding categories for emerging artists and
Indigenous artists; additional budget available throughout the year for Quick
Response Grants delivered promptly by artsACT; and a small proportion of the
Arts Fund set aside for allocation by the Minister and artsACT for great ideas or
initiatives, new art forms or innovation that deliver on the Government’s goals.
Reduce Government Funding of Duplication and Administration
11. In breaking open the current funding gridlock, an important challenge will be to
achieve sustainability. As it is expected that any significant funding increase would
be unlikely, there will need to be action taken to reallocate existing funding away
from arts organisations and towards artists. Even without the current very tight
funding, change is seen to be necessary.
12. Many of the 22 Key Arts Organisations (KAOs) struggle to operate effectively with
current levels of funding and funding arrangements. Continuing to separately fund
22 KAOs in the same way they are funded at present would appear to be
unsustainable. This is not the fault of either the ACT Government or the KAOs, but
rather the result of developments over time that now must be addressed. There will
need to be some form of consolidation of funding, provided to fewer arts
organisations, or clusters of organisations. It is also suggested that, with the
current number and variety of KAOs, there be a move away from the notion of
‘Key’ Arts Organisations’.
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13. It is not appropriate or possible for the ACT Government to force consolidation of
non-government organisations into new organisational structures. However, there
will need to be discussion and strong encouragement, supported by funding
arrangements, to achieve significant improvements in sustainability with greater
communication, cooperation, coordination and co-location.
14. Where national art form or similar bodies exist, it will be necessary to work with
these, at both national and local levels, to find new arrangements to streamline
funding allocation arrangements.
15. It will need to be made clear that in future the focus of funding will be on
Government goals and priorities of producing quality art and/or maximising
participation in arts activity.
16. Duplication and multiple administrative arrangements will not be able to be funded
in future. It will be necessary to allow reasonable time, perhaps one to two years,
for staged implementation of new arrangements such as consolidation around art
forms and/or precincts. Close consultation will be essential.
17. Government should also work with organisations to lead an initiative to shift its
funding for administration from individual organisations to professional, shared
corporate services outside the public sector which would in future provide support
for, and be responsive to, arts organisations.
18. Shared corporate or administrative services would include areas such as finance,
human resources, property, office services, and IT. At present organisations
struggle to find, attract and pay qualified, often part-time, people.
19. A single hub for coordinated information, communications and marketing of the
arts, which is seen by many in the ACT arts sector as a major issue and challenge,
should also be established. This important professional function would be distinct
from administrative functions, but may be a separate part of the shared services
structure, and they could be collocated to maximise cost efficiency.
20. In some elements of its operations, the Cultural Facilities Corporation (CFC)
provides an example of duplication of management and administration. While the
CFC adds significant value in some areas, it appears to add little value in others.
21. These consolidation actions would also allow some savings to be redirected from
administration to the Arts Fund to deliver more quality art and greater participation.
Differentiate Funding Needs of Professional Arts and Community Arts
22. There needs to be greater clarification of the differentiation between the ACT
Government’s funding priorities for, and expectations of, professional and
community arts and artists. There are important synergies and opportunities for
cooperation, some level of sharing, and in a small percentage of cases migration
from community to professional arts.
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However, the needs of professional artists are often distinctly different from people
involved in community arts activity and these differences should be recognised by
Government to maximise desired outcomes and efficiency.
An example was given by artists that multi-purpose facilities often work well for
community art, but specialised facilities are most often essential for professional
artists. The apparent lack of recognition of these real professional needs was also
given as a reason why some artists may decide to move away from Canberra.
23. Priorities and criteria for funding should reflect the different needs of professionals
and community. The major focus of Government arts funding should be on quality
and professional art, combined with a more clearly targeted focus on strategies to
increase participation in community arts.
24. Individual and community participation in the arts is a key priority to be encouraged
and assisted by Government, especially through the provision of appropriate,
reasonable-cost, multi-purpose, regional or local facilities.
25. There should not need to be a major cost to Government for community arts
support, where the primary focus should be on ensuring access to facilities.
26. However, there will also be some continuing need for funding for community arts
activities, where processes should be streamlined and decentralised.
27. In deciding community arts funding needs in the future for both facilities and
activities, Government should give clear priority to dynamic community
organisations and groups that are seen to be valued and that clearly contribute to
the key goal of increased public participation in the arts.
28. There should be a central booking facility to make greater use of under-utilised
school facilities. The Chief Executive of Education would be supportive of this
initiative which would extend the availability of facilities for community arts with
minimal additional costs.
29. With priority support for essential community arts facilities and activities that deliver
increased participation, it will be quite reasonable for the ACT Government to
expect community organisations to be entrepreneurial in seeking other sources of
revenue, as many already do very successfully. Beyond essential elements of
Government support, it should be the aim of community arts organisations to be as
close as possible to being self-funding and independent of Government.
Next Steps
30. If recommendations are accepted, the ACT Government will need to clearly advise
all stakeholders about future funding policies and arrangements, as well as
discussing timing. Government could also advise that in focusing on new policies,
it will set out to be more responsive, less process-driven and ad hoc in its funding
decisions.
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In future, it would be totally focused on achieving its arts priorities of supporting
professional artists, delivering the highest quality art and increasing participation in
the arts. In the future, arts proposals that do not recognise and respond to the
requirement for efficient consolidation, as well as contributing directly to these
priority goals and outcomes, will not be able to receive funding.
31. A genuine arts funding reform process would involve a fresh look at everything
Government currently funds to ensure that in the future there are real and
measurable improvements in outcomes from the ACT Government’s investment in
the arts. It will be necessary to allow a reasonable time for individuals and
organisations to be made aware of and to adjust to new priorities and
arrangements. During this time of staged transition, Government would
communicate fully and effectively, consult genuinely, and work closely with all
stakeholders about implementation.
32. If there is agreement to establish a new ACT Arts Fund Panel, this Panel would be
clearly guided in all its considerations and recommendations by Government arts
policy priorities.
33. This report also includes comments and recommendations on the funding of arts
venues and facilities. Relevant issues include: ownership and management
responsibilities, requirements for specialist, multi-purpose and community arts
facilities, decision-making in capital investment, the need for more consistent and
appropriate rental arrangements, access to facilities, heritage buildings and assets,
repairs and maintenance, and arts facilities planning. In all these issues, funding
decisions should be clearly guided by the ACT Government’s goals, policy
priorities, or, if agreed an ACT Cultural Facilities Plan.
7.1 Recommendations
1. Current funding for the arts in the ACT is ‘gridlocked’. There is considerable
dissatisfaction with current funding levels and arrangements, widespread
recognition of the need for change, and a pressing need to free up funding to
respond to current and emerging arts priorities. The ACT Government needs to
clearly articulate its expectations from arts funding, including clear and transparent
goals and policies, to guide future funding and resourcing priorities.
2. ACT Government should have two key arts goals: to increase participation in the
arts, and to attract and develop artists and quality art. Funding should consistently
be directed towards achieving these goals or overarching priorities, which would
be supported by other more specific arts policies. All those seeking funding would
need to demonstrate real arts benefits against policy priorities.
3. Over recent years a growing proportion of most arts budgets around Australia have
been directed to funding arts organisations. There needs to be a shift in budget
priority towards professional artists, leading to the production of quality art. This
should include more funding for the professional development of emerging artists
and for innovative arts that appeal to new and younger audiences and arts
participants.
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current levels of funding and funding arrangements, and continuing to separately
fund 22 KAOs is not unsustainable. Government will need to strongly encourage
consolidation through consultation and funding for fewer arts organisations or
clusters of organisations to reduce administrative duplication and improve
sustainability with greater cooperation, coordination and co-location. Government
should also move away from the notion of ‘Key’ Arts Organisations.
5. As well as having costs associated with duplication, many organisations struggle to

attract and pay qualified people. ACT Government should work with organisations
to establish a professional, shared corporate services unit outside the public sector
to provide cost-effective, responsive support to arts organisations. In the future
Government would only fund administration through this shared administrative
services unit, which would include finance, human resources, office services, and
IT. A hub for communications and marketing of the arts should also be established,
and could be collocated with this. These initiatives would allow arts organisations
to give greater focus to the arts.

community arts and artists. The major focus of ACT Government’s arts funding in
the future should be on the support for and development of professional artists and
quality art. Increased participation in community arts should remain a high priority,
to be encouraged and assisted with more clearly targeted strategies, and
especially through the provision of reasonable-cost, multipurpose facilities.
7. New ACT Government arts policies and funding priorities, including the need for
efficient and effective consolidation, would need to be clearly communicated to all
stakeholders. There would need to be a fresh and open look at all current funding
arrangements in light of new policies. At the same time, there should be a
commitment giving greater emphasis to communication, transparency, flexibility,
simplicity and responsiveness from Government. Extensive consultation and a
reasonable timeframe for implementation of changes will be essential.
8. The arts are highly valued by a large number of people in the ACT, and the ACT
Government should give serious consideration to a modest increase in arts
funding. While there will be some opportunities to reallocate some elements of
existing funding, there are a number of significant policy changes recommended in
this report, and a modest increase in funding at this time would demonstrate that
the arts are also highly valued by Government.
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7.2 Funding Categories, Processes and Decisions
1. There have been real improvements in recent years in various aspects of the
scope, presentation and operations of the ACT Arts Fund that reflect the
commitment of dedicated artsACT staff, the Cultural Council and the ACT
Government. These efforts and improvements should be properly acknowledged.
2. However, strong and widespread perceptions remain that the ACT’s arts funding
decisions are overly process driven, bureaucratic, slow, unresponsive, inflexible,
difficult to understand and generally not well geared to the needs of artists or arts
organisations. It is possible that to some extent these perceptions and criticisms
are based on a history of funding decisions and ongoing frustrations with funding
levels, but dissatisfaction with funding arrangements are prevalent and real.
3. Concerns were expressed through the review, especially from artists and arts
organisations, about what is seen to be inadequate funding overall for artists, as
well as some ‘gaps’ in funding categories for artists. The lack of availability of
relatively small amounts of funding during the year for pressing needs was
identified as another problem needing to be addressed.
4. It was expressed that it can be difficult for some groups of artists, including young
and Indigenous artists, to ‘break in’ to win funding support. This may be because of
lack of expertise or required technique in writing applications successfully, or
because of perceptions about differences in interpretations, relating to issues such
as age and culture, and about what constitutes ‘quality’.
5. Government arts funding processes should be consistent with principles including:

being accessible to all potential applicants; decisions made on merit and advised
as quickly as possible; having appropriate levels of risk management taking
account of levels of funding and risk to Government; and ensuring necessary
governance, probity and independence.
6. The extent and depth of concern expressed by artists, arts organisations and even
the public about various aspects of funding in the ACT clearly indicated a need for
changes to current funding structures and processes to address concerns about
gaps, delays, unresponsiveness, communication mechanisms, and the balance of
funding to professional artists, community arts and arts organisations.
Peer Assessment through an ACT Arts Fund Panel
7. There was found to be extensive support from both those providing input in the
ACT and from other jurisdictions to retain the principle of a peer panel approach.
However, there were varying views about what might work best for the ACT. The
review process, including research and discussions with other jurisdictions, has
indicated that while changes are needed, some form of peer assessment should
be retained as an important component of decision making about funding
allocations to demonstrate that significant decisions are both informed and
independent.
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8. It is proposed to continue with a peer assessment approach for higher levels and
longer terms of program and project funding in the ACT. Other jurisdictions,
including the Australian Government, are committed to peer assessment:
“Peer assessment and decisions at arm’s length from the Australian Government
are fundamental tenets of the Australia Council’s structure and decision-making
process.” Ensuring that the principle of informed, independent, merit-based
decision-making about funding is important in every jurisdiction, but is particularly
important with a smaller population, such as in the ACT.
9. Independence in funding decisions through a peer panel approach would be

further reinforced in the ACT, where there are fewer specialist professional artists
than in most jurisdictions, by establishing decision making at a higher level to
operate across the arts sector. A proposed peer panel would draw on a range of
arts and other relevant expertise and would reflect the ACT community.
10. Retaining a peer panel does not need to add to costs or delays, in fact there would
be fewer ‘steps’ in the proposed new funding process, with Panel meetings held
over two to three days and recommendations from the ACT Arts Fund Panel going
directly through artsACT to the Chief Minister. Panel assessment would be
combined with direct decision-making for lower level, responsive decisions such as
Quick Response Grants, which would be decided promptly by artsACT.
11. As noted in section 6.4.1, while the Cultural Council has played a very valuable
role in funding recommendations and decisions, it is proposed that it should not
continue to be the major body making funding recommendations. This would in
future be the role of the ACT Arts Panel. In future the Council should become
focused on a primary role as a Ministerial Advisory Committee, meeting quarterly,
and providing independent policy advice and arts sector feedback on a range of
issues.
12. While most Cultural Council members see the provision of policy advice as their
main purpose, the Council currently spends the great majority of its time
considering funding applications. This results in the Council becoming somewhat
distanced from the arts, because of concerns about possible probity issues in
relation to funding decisions, and therefore limiting their value in providing current,
informed advice. It is suggested that the Cultural Council should in future focus its
advice on the overall effectiveness of funding arrangements in delivering
Government priorities and on the review of any arts policies if and when required.
13. A broadly based ACT Arts Fund Panel should be established, to be appointed by
the Chief Minister, that would be able to call on other art form specialists if and
when required to provide further advice on grant applications. The Panel would in
future make all Arts Fund funding recommendations. It would include: respected
artist and art organisation representatives from the main art forms and from across
the arts; one representative from other relevant areas such as finance or law; one
from artsACT; and possibly one or two from interstate. This would ensure quality
advice based on a range and depth of knowledge and judgement.
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The Panel would be expected to have approximately nine members, who should
also broadly reflect the ACT community in gender balance, and should include
voices for youth, Indigenous and other cultural backgrounds, and preferably also
for disability.
14. There could be consideration given to establishing two Panels, with one focused
on individuals and the other on organisations. However, the numbers of
applications are not considerably large (190 in ‘11), and the benefits of having a
single Panel are believed to be substantial in having a single view of funding
priorities and applications for all of the arts in the ACT; developing a broader view
of potential linkages, partnerships and opportunities; and maximising operational
efficiencies.
15. Discussions with the Director of Arts Tasmania about Panel arrangements were
found to be interesting and very relevant to the ACT, taking account of similar
issues of population size, some level of isolation and her experience of working in
the arts in Canberra. There are two Panels in Tasmania, one for individuals and
one for organisations, each with nine members, but the Director saw the proposal
for a single Panel for the ACT to achieve the above benefits as “really interesting”.
Other approaches in Tasmania that are worthy of note in the ACT include:
1. Because of the size of population, there was a move away from art form panels
to a broader-based peer panel for all the arts.
2. The inclusion on the Tasmanian Arts Advisory Board, which oversees funding
recommendations, of three people from interstate to help provide fresh
perspectives and avoid any perceptions of conflicts of interest.
3. The Advisory Board and funding Panels are made clearly aware of the necessity
of a Government policy overlay to guide funding decisions.
16. The ACT’s Arts Fund Panel’s decisions should be strongly based on Government
priorities of supporting professional artists and quality art, delivering positive arts
outcomes and/or increasing the widest public participation in the arts.
17. It is entirely reasonable to suggest that when funding is provided by ACT

Government through artsACT, a condition of funding should be that all funded
organisations must display the artsACT logo to raise public awareness of support.
ACT Arts Fund Categories
18. The ACT Arts Fund is a very significant, direct form of funding by ACT Government
for the arts. It supports a diversity of art forms, through a variety of funding categories
across the full spectrum of the arts from community arts to the fine arts, as well as
individuals, groups and organisations. The Fund sets out to focus on arts
development through activities and programs and also on maximising opportunities
for audience engagement.
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19. The 2010 ACT Arts Fund Booklet was the document discussed throughout the
majority of consultations. It was a well-written, well-produced and thorough
document, providing extensive, detailed information for potential applicants and
providing information on accessibility commitments and options.
There was information on Key Arts Organisations (KAOs) (for up to five years);
Program (for up to two years); Project (for one-off projects in 2010); Community Arts
(for one-off projects) and funding; as well as Creative Arts Fellowships (up to two);
the Book of the Year Award (one award) and the Poetry Prize (four prizes). There
was also information about funding for Out of Round, Festivals, Facilities and Public
Art on the artsACT website.
20. During the process of the review there was considerable feedback given to the
Steering Committee about likely directions of proposed changes to artsACT and to
the Cultural Council. It is very pleasing to note that some of the review’s proposed
changes in relation to governance, Fellowships, and young and emerging artists have
already been adopted and included in the recently released 2011 ACT Arts Fund.
This followed an annual evaluation of the previous 2010 booklet by artsACT and the
Cultural Council.
21. The key changes in the 2011 Arts Fund were: refined governance procedures; a
refocused community arts category targeting community organisations wanting to
work with professional artists; a focus on audience engagement; a requirement for
applicants to the Creative Arts Fellowships category to propose public engagement
activities that would be undertaken as part of their Fellowship year; separating the
literature awards from the grants process; and ‘start up’ grants for young and/or
emerging artists.
22. The 2011 ACT Arts Fund opened on 7 April 2010, and closed on 31 May for all
categories except Key Arts Organisation Funding, which closed on 18 June. All
applications to the ACT Arts Fund (except Out of Round Funding and the forthcoming
‘start up’ grants) are assessed by the ACT Cultural Council and its peer panels. All
announcements are expected to be made by October.
The 2011 ACT Arts Fund has seven categories:
1. Project Funding: for one-off arts projects undertaken
2. Communities Working With Artists: for one-off community-initiated arts projects

that engage professional artists.
3. ACT Creative Arts Fellowships: up to two Fellowships in any art form for
individual artists that has achieved a level of expertise and excellence in their arts
practice.
4. Program Funding: for not-for-profit incorporated arts organisations, for up to two

years of funding, for significant programs of activity.
5. Key Arts Organisations Funding: for key arts organisations that provide
significant infrastructure, services and/or programs of activity, for up to five years
of funding.
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6. Out of Round Funding: for artists that have an unexpected professional
development opportunities that arises outside the timing of the main funding
rounds within the 2010/2011 financial year.
7. Commencing 1 July, the ACT Arts Fund will offer ‘start up’ grants of up to $500
for young and/or emerging ACT artists.
In parallel to the ACT Arts Fund are the literature awards, which remain largely
unchanged from 2010, were opened on 26 February 2010 and closed on 26
March, with the Minister to be briefed in September.
23. During the review process, detailed discussions were held on issues including
funding arrangements, processes and categories with the heads of Government Arts
agencies with the Australian Government (Secretary DEWHA), Australia Council
(CEO and Executive), NSW, Queensland, South Australia and Tasmania. This was
particularly useful in knowledge of policy directions, what works and what does not
work, as well as being able to test options for funding arrangements in the ACT.
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7.2 Recommendations
1. There should be acknowledgement of real improvements in recent years in the

scope and administration of the ACT Arts Fund reflecting the commitment of
artsACT staff, the Cultural Council and the ACT Government. However, there need
to be responses to widespread, serious concerns about current funding structures
and convoluted processes to address issues including category gaps, delays,
unresponsiveness, definitions (eg ‘quality’), communication mechanisms, and the
balance of funding allocations. As a broad checklist, Government arts funding
processes must be: accessible to all potential applicants; merit based; decided and
advised as promptly as possible; have appropriate risk management; and ensure
necessary governance, probity and independence. It is very pleasing to see that
some areas highlighted over some months through this review in relation to
governance, Fellowships, and young and emerging artists have already been
included in the 2011 Arts Fund, but further change will be needed.
2. Peer assessment should be retained as this ensures informed, independent, merit-

based decision-making about funding. Independence should be further reinforced
in the ACT, where there are fewer specialist professional artists than in most
jurisdictions, by establishing one assessment panel at a higher level to operate
across art forms and the arts sector. This would be combined with direct decision-
making for lower level, responsive decisions such as Quick Response Grants,
which would be decided by artsACT.
3. A single new ACT Arts Fund Panel should be established with about 9 members,
who would be appointed by the Chief Minister, and this would replace the roles of
individual panels and the Cultural Council. The Panel would in future make all Arts
Fund funding recommendations. It would include respected artist and art
organisation representatives from the main art forms and from across the arts
industry; one representative from other relevant areas such as finance or law; one
from artsACT; and possibly one or two experienced people from interstate.
The Panel should also broadly reflect the ACT community and would be able to
call on art form specialists if required to provide advice on grant applications. This
would ensure quality advice based on a range and depth of knowledge and
judgement.
4. There should be fewer ‘steps’ in the proposed new funding process with
significantly reduced delays. The ACT Arts Fund Panel meetings could be held
over about three days, and recommendations from the Panel would go directly
through artsACT to the Chief Minister for approval. With the same closing dates for
applications, the Minister should in future be in a position to make most
announcements months earlier, in June, rather than having applicants required to
wait for decisions until as late as October.
5. The ACT’s Arts Fund Panel should be made fully aware of Government’s arts
goals and policy priorities. The Panel’s decisions should be strongly guided by
these goals, policies and priorities.
6. It should be a condition of funding that all funded organisations use the artsACT
logo and artists acknowledge funding support.
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7.3 Future Funding Priorities
1. It is proposed to shift funding focus more towards professional arts and artists and
away from duplication and administration in organisations. It will be highly desirable
to simplify funding processes wherever possible.
2. Take steps to increase funding to artists, with new areas of focus including new
funding categories for:
2.1 Emerging artists
2.2 Indigenous artists
2.3 Additional budget should be made available throughout the year for Quick
Response Grants of up to $3,000, decided by artsACT within four weeks with a
target turnaround of two weeks. This would be based on real, demonstrable
needs leading to real outcomes, such as being accepted for a professional
development course.
2.4 Approximately 10 percent of the Arts Fund should be set aside for allocation by
the Minister and artsACT for great ideas or initiatives, new art forms or innovation
that deliver on the Government’s goals but may not fit established categories or
funding rounds.
3. It will be important in establishing new categories for Indigenous and emerging artists
to be aware of the importance of capacity building, encouragement and support,
including working with artists to raise awareness and develop skills to meet
requirements for Grant applications. It is also likely to be desirable to have input to
decision-making from additional Indigenous and young artists, possibly from outside
the ACT. Mentoring is also desirable for many artists, but especially for these groups.
4. It is proposed to move away from the current situation of funding 22 ‘Key’ Arts
Organisations to funding for priority arts activities in arts organisations that
demonstrate: appropriate governance arrangements; recognition of the need to work
cooperatively with other organisations in the same precincts or with interests in the
same art form; and are prepared to give maximum focus to arts activity rather than
administration by working towards a sharing of corporate services. It would be
expected that with necessary consolidation, and a strong focus on improved arts
outcomes, a smaller number of organisations would be funded.
5. Seriously consider adopting a policy of not continuing to separately fund

administration in arts organisations. Replace this with a shared corporate services
unit that would be likely to receive the majority of its funding from Government. At
least the core of this unit would be collocated as a non-government business unit
providing services to approved arts organisations. The combined services would
include finance, human resources, ICT and office services, property and
procurement.
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6. It will be necessary to undertake a business and financial analysis of the best way to
structure shared corporate services and to determine accurately the expected
savings that would be redirected to new arts priorities through the Arts Fund. The
main two options are expected to be to have a core of management and essential
consistent points of contact and to outsource functions that make financial and
operational sense, such as payroll. Alternatively, a largely fully staffed operation
could be established. Government could either fund the shared services operation
directly or by payments though arts organisations, so they continue to have a sense
of ownership and control. Government and arts organisations would work together to
establish these new arrangements, and there would be expected to be standard
service level agreements with organisations.
7. It is suggested that a future funding priority should be ‘centres of excellence’, where

Canberra has current or potential capability to be a leader on the national or global
stage. The Glassworks is one clear example of an excellent initiative deserving
specific support. The Glassworks also requires special recognition of its role as the
focal point of an exciting new Kingston arts precinct which should be the subject of
appropriate master planning, in the context of both the local area and a future
Canberra Cultural Facilities Plan.
8. A funding initiative in Tasmania, which is so far unique within Australia, should also
be considered for the ACT to encourage the local and Australian public to buy or
commission artworks from living ACT artists. The scheme called ‘Collect’ in
Tasmania, (the Collect arts purchase scheme) is based on the UK Arts Council’s
successful ‘Own Art scheme’.
In Tasmania, ‘Collect’ involves providing interest free loans of between $750 and
$7,500 for up to 12 months to buy artworks ranging in price from $400 to $10,000
through about a dozen participating commercial galleries which take part in the
scheme. Where artists are commissioned, a 25 per cent deposit is paid and 75 per
cent can be borrowed interest free up to the limit payable.
If adopted in the ACT, such a low cost scheme would provide strong promotion for
the purchase of local artworks, support career development of visual artists, stimulate
the economy, encourage new art collectors, provide important support for commercial
galleries and extend ACT visual art across the nation. In a similar situation to
Tasmania, where there is a smaller population, a level of isolation, strong local arts
interest, and many visitors, it would be expected to work well.
9. There is also an innovative system of low interest loans in Tasmania at 2.16 per cent
for up to 10 years for artists, arts organisations and small museums for any purpose
that delivers an arts outcome. Applications are assessed on merit and capacity to
repay. Merit criteria are based on the quality of the proposal, including: strength of
concept; creativity and innovative nature of the work; capacity to manage and deliver
the project; benefit to the artist’s creative development, professional practice and/or
the community. Indigenous and disability benefits are given positive weighting, and
this weighting could be extended in the ACT to contributions to arts policy priorities.
This loan scheme warrants serious consideration in the ACT to assist artists and
organisations without placing significant additional stress on the Arts Fund.
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10. Three linked initiatives that take account of the population and location circumstances
of the ACT are proposed for serious consideration for future funding:
1. As mentioned in section 6.6.3, Artists in Residence programs attract artists from

around the nation and the world to either come to or return to Canberra to work and
share their experience and ideas.
2. Mentoring was raised a number of times during the review and was seen as a
highly desirable component of professional development, especially for emerging
artists
3. Cultural Exchange Programs, if properly established and targeted can also be very
positive to exchange cultural and artistic experiences with artists from elsewhere in
Australia or from overseas.
These initiatives do not need to be particularly expensive, and in the case of

mentoring may only require organisation, but could add significantly to enriching the
cultural life of Canberra and could be influential in retaining artists in Canberra or
attracting them to live in the ACT.
11. The ACT has provided up to two Creative Arts Fellowships valued at $45,000 each.
From research through the review, it would appear that while some of these have
provided real benefits, others have seemed to be of doubtful value when compared to
other funding priorities. There do not appear to be clear expectations of how the
funds from Fellowships will be used, and in some cases people receiving them
already had full-time, non-arts positions. Compared to other priorities, Fellowships in
their current form are very costly and of unclear value. It is suggested that if one is to
be retained, it should be for full time artists, and there should be a requirement for
engagement or reporting back on outcomes to the arts community and the public.
12. The ACT has a Book of the Year Award and four Poetry Prizes which appear to be
valued. However, there were some concerns that ‘strongly demonstrating an ACT-
based practice’ was not as strong and clear as a requirement for the applicant to be
living and working in the ACT.
13. While greater funding certainty with longer-term funding arrangements have been
generally welcomed, they have not been universally welcomed. They are often seen
as inflexible and blocking innovation and opportunity based on ideas that emerge
during the funding cycle. Organisations should be able to apply for limited project
funding in certain circumstances. Government should also be very cautious about
being ‘locked in’ for several years as this reduces funding flexibility. Discussions with
other jurisdictions indicated a very firm view that three years should be an absolute
maximum for funding, and even this duration should only be considered in very
specific circumstances.
14. Reduction of processing time and costs through long term funding arrangements was
seen to carry real risks. There needs to be confidence that organisations will continue
to evolve and perform against more firm future performance criteria. ‘Sunset clauses’
can be useful in maintaining flexibility, focus, performance and value for Government
investment.
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Improving Process
15. Maximising simple and easy access for all who wish to apply for grants should be a
priority, including the earliest possible introduction of online applications and
acquittals. This may need to be part of a wider reform process of Grants
Administration in the ACT Government so that online funding processes do not result
in paper-based log-jams within Government agencies.
In any case, as recommended in section 6.3, there is now a pressing need for a
major overhaul of the artsACT website to: streamline funding and other processes;
provide quick and relatively inexpensive survey information and feedback; improve
communication, engagement and interaction with the entire arts sector and the public
in the ACT; and to provide essential information in a highly accessible way to all
including business and other potential arts sponsors and other Government agencies.
16. With greater funding emphasis on quality professional arts, it is suggested that the
ACT Government considers streamlining the funding process for community arts
activities. It is highly desirable to minimise administrative processes, delays and costs
associated with the provision of relatively small grants to communities.
It is suggested that the ACT Government should in future decentralise funding

arrangements by allocating funds through regional hubs at Tuggeranong and
Belconnen. This would place decision-making closer to community activity for
allocation to appropriate community groups to achieve the Government goal of
increasing public participation.
17. Conditional upon governance and accountability arrangements, funding could be

provided to representatives of clusters, based on art form or precinct, for distribution
to organisations and artists.
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7.3 Recommendations
1. Increase the overall percentage and quantum of funding to artists, with new areas of
focus including two new funding categories for:
1. Emerging artists
2. Indigenous artists
These new categories will require a commitment to communication, capacity building,

mentoring, encouragement and support, including working with artists to raise
awareness and skills to meet requirements for Grant applications. It may be desirable
to have input to decision-making about Grants from Indigenous and young artists,
from outside the ACT.
2. Additional budget should be provided throughout the year for Quick Response Grants
of up to $3,000, decided by artsACT within four weeks with a target turnaround of two
weeks. This would be based on real, demonstrable needs leading to real outcomes,
such as being accepted for a professional development course.
3. Approximately 10 percent of the Arts Fund budget should be set aside for allocation
by the Minister and artsACT for great ideas or initiatives, new art forms or innovation
funding rounds.
4. ACT Government should encourage consolidation of Key Arts Organisations and

other arts organisations by funding a smaller number of about 8 clusters of
organisations or Arts Hubs built around art forms and/or arts precincts. These may be
new organisations or groupings of current organisations, but they will need to
cooperatively with others in the same art forms and precincts; and be prepared to
give maximum focus to arts activity rather than administration by sharing corporate
services. There should be a strong and clear funding focus for organisations on
consolidation, reducing administrative duplication, and particularly on improving arts
outcomes against Government goals and policy priorities.
5. In establishing a new non-Government shared corporate services unit, it will be

necessary to undertake a business and financial analysis of the best way to structure
this and to determine accurately the expected savings that would be redirected to
new arts priorities through the Arts Fund. The main two options are: a core of
management and essential consistent points of contact with outsourced functions
such as payroll; or a largely fully staffed operation. Government would either fund the
shared services operation directly or by payments though arts organisations, so they
continue to have a sense of ownership and control. Government and arts
organisations would work together to establish these new arrangements, and there
would be expected to be standard service level agreements with organisations.
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6. A future funding priority should be ‘centres of excellence’, where Canberra has
current or potential capability to be a leader on the national or global stage. The
Glassworks is one clear example of an excellent initiative that should receive specific
support in its own right, and special recognition of its role as the focal point of an
exciting new Kingston arts precinct.
7. Apply a UK and Tasmanian funding initiative to the ACT to encourage the ACT and
Australian public to buy or commission artworks from living ACT artists. The scheme
would involve providing interest free loans of between $750 and $7,500 for up to 12
months to buy artworks ranging in price from $400 to $10,000 through participating
commercial galleries. Where artists are commissioned, a 25 per cent deposit would
be paid, and 75 per cent could be borrowed interest free up to the limit payable. This
low cost scheme would provide strong promotion for the purchase of local artworks,
support career development of visual artists, support local commercial galleries,
stimulate the economy, encourage new art collectors, provide important support for
commercial galleries and further enable ACT visual art to be collected and shown
across the nation. It would be expected to work well in the ACT where there is a
smaller population, strong local arts interest, and a large number of visitors.
8. Introduce loans for up to 10 years for artists and arts organisations for any purpose
that delivers an arts outcome. Applications would be assessed on capacity to repay
and merit criteria including: quality of the proposal including strength of concept;
creativity and innovative nature of the work; capacity to manage and deliver the
project; benefit to the artist’s creative development and/or to the community.
Contributing to ACT arts policy priorities would be an essential component and
Indigenous and disability benefits would be given positive weighting.
9. Funding should be provided for the professional development of artists through

mentoring and cultural exchange programs. Mentoring is highly desirable, especially
for emerging artists; and properly established cultural exchange programs with artists
from around Australia or overseas can deliver very positive cultural and artistic
experiences for ACT artists, and add to the benefits of Artist in Residence programs.
These initiatives do not need to be particularly expensive, and would: significantly
enrich the cultural life of Canberra; promote the ACT internationally as an arts centre;
and be influential in retaining artists in Canberra or attracting them to live in the ACT.
10. The ACT has previously provided up to two Creative Arts Fellowships valued at
$45,000 each, but there have not been clear expectations of how the funds from
Fellowships will be used. In future this prestigious Fellowship should only be awarded
to full-time professional ACT artists, and should be based on nomination or direct
recommendation by the Panel and decision by the Chief Minister, rather than on
application. It is suggested that there should only be one Fellowship each year valued
at $60,000, to enable an outstanding full time artist to be able to live with minimal
financial concerns and to concentrate on their art. There should be a requirement for
minimum levels of engagement or reporting back on outcomes to the Government,
the arts community and the public, and an expectation that there would be a resulting
body of work. The Fellowship would have considerable visibility and status and could
be awarded by the Chief Minister at new annual Canberra Arts Awards.
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11. Long-term funding for organisations have been generally welcomed, but can be
inflexible and stifle innovation and opportunity with ideas that may emerge during the
funding cycle. In future three years should be an absolute maximum for funding.
Government needs to be confident that organisations will continue to evolve and
perform against more clear and firm performance criteria. Organisations should be
able to apply for project funding in certain clear circumstances, including
demonstrating innovation and initiative consistent with new Government priorities.
12. Government should maximise simple and easy access for all who wish to apply for
Grants, including the earliest possible introduction of online applications and
Administration in the ACT Government, so that online funding processes do not lead
to or result in paper-based log-jams within Government agencies.
13. There should be an overall commitment from ACT Government and artsACT to
improve and streamline all administrative processes by cutting red tape, including any
requirements for written information, forms, processes, reporting or other
requirements that are not absolutely essential in contemporary administration. This
would be a relief for the arts sector, and would minimise administrative workloads in
Government, in a similar way to what Government will be expecting from arts
organisations. Delays between all arts applications and decisions should be cut to a
minimum. The new ACT Arts Panel should operate with these commitments from the
outset.
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7.4 Funding Sources
There is currently a particularly heavy reliance on Government sources of funding for

the arts in the ACT. It is important for the sustainability of the arts in the ACT to actively
pursue greater independence from Government, new partnerships and more diverse
sources of funding.
1. There was a strong impression from all stakeholders that the ACT did not receive
the level of Australian Government support for arts activity that it should in
proportionate terms, and in relation to the level of arts interest and activity in the
ACT. Analysis of funding trends from the Australia Council to jurisdictions
reinforces the validity of this view. This tends to unfairly increase pressure on the
ACT Government, with its limited funding capacity, to fill the gaps.
2. There needs to be a greater recognition, led by Government, of the need for

private sector sponsorship, philanthropy as well as personal and community
responsibility. Government could encourage other sources of funding for the arts,
including by leveraging funding support from other sources and using data to
demonstrate the benefits of supporting the arts to business.
3. In discussions with other jurisdictions it was clear that all are facing similar
Government funding challenges and encouraging greater self-reliance, a more
entrepreneurial approach and further diversification of funding sources. There were
a number of examples of changes in Government priorities leading to the inability
to continue to fund all organisations that had previously been funded. While the
reviewers were told that this was quite challenging for a number of arts
organisations and community groups at the time, many had since reported that no
longer being dependent on Government funding had been liberating and had led to
new and creative ways of continuing to operate, and in a number of cases to
flourish.
4. The Australian Government Minister for the Arts recently listed “the partner role,
namely private sector support” as one of his four new highest priorities for the arts,
alongside keeping culture strong, engaging the community, and powering the
young.
Minister Garrett went on to say: “Over the past decade, our nation has seen
considerable growth of private sector support through business sponsorships and
private giving. We are a generous nation and we are increasingly recognising the
role that the arts play in developing our communities, shaping our culture and
supporting our economy. Whether through the human equity of volunteering,
workplace giving or private trusts and larger foundations, there is great potential to
enlarge the pie and broaden the reach of the arts through increased private sector
connections.”
It is suggested that this is a sensible and realistic approach which is already being
pursued in many jurisdictions and should be actively pursued in the ACT.
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5. In most cases, recipients of Government funding, including community, should be
expected to generate some revenue from: membership fees, sale of art, ticket
sales, tutoring, facilities rental, foundations, philanthropy, or sponsorship. ACT
Government should not be the sole source of funding for any organisation. There
needs to be encouragement of a culture shift away from the view that if
Government does not fund something in the arts, it is unlikely to be able to
happen.
6. Business sponsorship of the arts will be a crucial area for further development in
the future in the ACT. The ACT Government will have an important leadership and
promotional role to play in this strategy.
7. The Australian Business Arts Foundation (ABAF), which has now had a part-time
representative in the ACT, is quite active in raising business’ awareness of the
potential benefits of partnerships with and sponsorship of the arts. The ACT
Government should seriously consider supporting the conversion of this position
from part-time to full-time.
8. Philanthropy, and the establishment and development of Arts Foundations should

not be overlooked. It has been the experience with the National Cultural
Institutions and in other jurisdictions that there is real potential interest from people
with strong interests in the arts to provide money both during their lives and in their
wills to specific areas of the arts. Indigenous, young and emerging artists, and arts
in education and disability are some areas where there could be interest from both
sponsorship and philanthropy.
9. Another aspect of funding vulnerability is funding from other areas of ACT

Government, where there have been varying levels of investment in education,
health, disability, Indigenous, criminal justice, and early intervention and prevention
for areas like youth at risk. There is concern from artists and arts organisations
about the way in which funding challenges for agencies can quickly result in major
reductions or the ceasing of funding arrangements. There does not appear to be a
clear understanding of the ACT Government’s overall contribution to the arts, or
effective whole-of-Government coordination which could be led by artsACT.
10. There is some level of sponsorship of the arts in the ACT, but there is very heavy
reliance on support from ActewAGL. Without the vision, awareness and strong
support from the current senior management of ActewAGL, there would be some
vulnerability for the arts. Diversification of sponsorship sources, preferably with the
assistance of ActewAGL, will be an essential element of risk management.
11. There are also new dynamics at work in the arts. These include the further
development of cultural industries, including aspects of innovation and emerging
arts industries, as well as new ideas and motivations from a new generation of
artists. Young people are pursuing education and training, wanting greater
independence from Government, and connecting with other aspiring and emerging
artists directly and through online social networking. They are in pursuit of full-time
employment on the local and global stage as artists in traditional arts and in areas
of huge opportunity such as digital art in industries including screen, games and
Defence.
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Young artists want creative satisfaction and jobs, so Governments will need to
adapt to the changing funding realities and changing needs of artists. While
targeted funding to achieve clear outcomes will remain important, new approaches
and skills will be required from Government to meet needs beyond the allocation of
funds.
12. It is increasingly the experience in many jurisdictions that the greatest value from
Government for the arts is to provide what artists and arts related organisations
are unable to provide for themselves. This includes: being in active communication
with the arts sector; brokering and delivering support and connection with
Government and industries; demonstrating initiative about potential opportunities
(for example Arts Tasmania’s work with stakeholders on a Cultural Tourism
Policy); providing facilitation in areas such as identifying emerging industry needs
for artists and bridging skills gaps.
These changes are consistent with a greater emphasis on independence, initiative,

creativity and a more entrepreneurial approach to funding in the arts.
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7.4 Recommendations
1. There needs to be a greater recognition, led by Government, of the benefits from

increased private sector sponsorship, philanthropy, and personal and community
responsibility. The ACT Government should encourage less financial dependence
on government and encourage a diversity of funding sources for the arts. This
should include leveraging funding support from other sources by joint funding
initiatives, including for arts infrastructure and facilities. Data should also be
collected and used to demonstrate to business the benefits of supporting the arts.
2. The ACT Government should encourage greater cross-promotion between arts

organisations and precincts, as well as wider, more dynamic audience
engagement and development. artsACT should initiate opportunities for arts
organisations to come together at quarterly meetings to discuss experiences,
partnerships, ideas, potential revenue sources and possible joint ventures.
3. The activities of the Australian Business Arts Foundation (ABAF) should be

actively supported. It has potential, with ACT Government support, to attract
engagement and revenue from business. There should be strong encouragement,
including funding support, to convert the part-time ABAF position to full-time.
4. There should be recognition and acknowledgement of the extremely valuable

vision, awareness and strong support provided to the arts by ActewAGL as a
model sponsor. The senior leadership could be called upon to highlight benefits
and to encourage other potential sponsors, assisting diversification of sponsorship
from other sources and reducing the risk of high-level dependence on ActewAGL.
5. Targeted funding to support the arts and achieve clear Government outcomes will
continue to be vitally important, but new approaches and skills are now required
from Government to meet more needs in the arts beyond the allocation of funds.
What artists and arts organisations need most is what they are unable to provide
for themselves, including: communication with the arts sector; brokering and
delivering support and connection with Government and business; providing
facilitation to identify emerging industry needs for artists; and bridging skills gaps.
This will certainly require a new outlook from Government. It is also likely to require
a change of culture and skills, away from process, distributing funding responsibly,
and enforcing rules and guidelines, and towards an entrepreneurial, proactive,
collaborative and supportive approach aimed at delivering positive arts outcomes.
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8. Recommendations
Recommendations should generally be read in conjunction with issues and analysis

provided in each section of the report.
6.1.1 Arts, Culture and Heritage - What Role for Government?
1. The ACT Government must provide clear policy direction on the arts. New goals,
policies and strategic priorities need to be established, based on the extensive
consultation, and wide ranging feedback, analysis and recommendations provided
through this review.
2. The ACT Government needs to promote a wider recognition of the intrinsic value
of the arts, as well as the importance of the arts and culture in education, health,
social well-being, and as an important component of economic development.
3. Undertake an audit of all the areas across Government where the ACT
Government makes a contribution to the arts through funding, resources and
facilities. Pursue opportunities for better coordination, greater efficiency and more
integrated planning to achieve clear policy goals and outcomes.
4. There is a high level of dependence on Government funding for the arts in the
ACT. Government leadership is required to actively investigate alternate sources
of funding and revenue. This should include encouraging greater business interest
in sponsorship as well as philanthropy.
6.1.2 Australian Government, Other Jurisdictions and Policy Alignment
5. A new ACT Arts Policy should be aligned with policy principles, developments and
priorities in the Australian Government and in other jurisdictions. It will be
necessary to continually review policy developments and funding initiatives in other
jurisdictions and to actively investigate sharing arrangements to minimise costs
and increase alignment.
6.1.3 Chief Minister, Minister for the Arts and Heritage
6. The Chief Minister should consider establishing annual ACT Arts Awards for all
areas of the arts in Canberra. As part of these Awards, there should be a Chief
Minister’s Arts Achievement Award.
6.1.4 Chief Minister’s Department, Other Agencies and Whole-of-Government
7. Having taken positive initiatives on structural change by bringing Australian Capital

Tourism, Special Events and the Centenary of Canberra together with the ACT
Heritage Unit and artsACT in CMD, opportunities should now be actively pursued
for closer connection, cooperation and coordination between each of these areas.
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8. CMD should drive and support improved communication and better coordinated
whole-of-Government responses to the arts to be led by artsACT. This needs to
ensure improved, more responsive service delivery, greater efficiency and
performance measurement against Government arts priorities.
9. There should be strong encouragement from CMD for agencies to work together,
with the support of artsACT, on developing and promoting arts initiatives such as
Poetry in ACTION, which is excellent, and should continue to receive support.
CMD and other agencies should seek policy and strategic advice from artsACT on
any arts or cultural issues or proposals relating to their agencies.
6.2 ACT Government Arts Policy Overview
10. A new ACT Arts Policy should set clear goals and priorities to transparently guide
ACT Government decisions about all areas of future funding and support. New
ACT Government Goals for the Arts should be: Increasing participation in the arts;
and attracting and developing artists and quality art.
11. In writing a new ACT Arts Policy, there are several ideas and proposals in this
section of the report including comments on vision, principles and priority areas,
which should be given careful consideration for inclusion.
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6.3 artsACT
12. The new ACT Arts Policy should guide artsACT’s future roles, functions,
structures, systems, priorities for decisions and actions, and enable them to
provide effective policy advice and leadership in the arts.
13. There needs to be a significant shift in focus for artsACT, particularly including
much stronger capability in policy, data collection and communication. This will
require some changes to functions and culture, and a review of current skill sets
and structures to deliver on new Government priorities.
14. artsACT should be the ACT Government’s focal point for policy. Its advice must be
both proactive and quickly reactive to emerging circumstances and challenges.
artsACT must demonstrate leadership, communicate and consult widely with the
arts sector, have access to research, and be aware of arts issues so they are able
to offer informed, evidence based advice to other agencies as well as to the Chief
Minister.
15. The artsACT website should be upgraded to improve the flow of information to and
engagement with, artists, arts organisations and the public. Improvements should
include: streamlining funding and other processes; providing quick and relatively
inexpensive survey information and feedback; improving communication,
engagement and interaction with the entire arts sector and the public in the ACT;
and to provide essential information in a highly accessible way to all stakeholders,
including business and other potential arts sponsors and other Government
agencies.
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16. Streamline all processes and minimise administration, while retaining appropriate
management of risk. This should include the areas of funding and grants
allocation.
6.4.1 Cultural Council
17. The Cultural Council should have its role refocused to become a Ministerial Arts
Advisory Council which would become the principle source of advice from the arts
sector reporting directly to the Chief Minister. The new Council would generally
meet quarterly to respond to specific issues raised by the Minister as well as
providing its own ideas and initiatives.
18. The new Ministerial Arts Advisory Council would not have a role in assessing
funding as this could limit the members’ ability to remain closely connected to the
arts community without any perceived probity issues. Funding would become the
responsibility of a new advisory body.
6.4.2 Cultural Facilities Corporation (CFC)
19. The CFC has provided effective administration and has added particular value in
relation to historic properties. In future the CFC would be relieved of other areas of
its current responsibilities.
20. A reconstituted CFC would in future be called the Historic Places Trust (HPT) and
would become the single focus of management for all ACT heritage properties and
assets, as well as for appropriate properties and places.
21. The Canberra Theatre Centre should operate in future as a separate, fully ACT
Government owned entity, directed by a Board and reporting to the Chief Minister,
with a clear statement of purpose and performance expectations.
22. There would be significant changes, to be overseen by artsACT, to the structure

separate, with each function having different management and partnership
arrangements. On behalf of the Chief Minister, artsACT would continue to oversee
the operations of a new Canberra Gallery, and those museum arrangements that
would in future be managed by other Institutions. The HPT would take over
responsibility for an exciting and unusual new Canberra Museum.
23. The Museum aspect of CMAG would in future have two components of operation.
The first component would involve a negotiated partnership, similar to that with the
ANU, preferably with two National Institutions with strong museum curatorial
expertise to feature objects and documents reflecting Canberra’s history. The
second component would be a dynamic, non-collecting, curated, living, non-static
Canberra Museum which would not be located in any one place and would reflect
the social history, people and culture of Canberra. The new Canberra Museum
would be the responsibility of the HPT and would make use of its properties,
places and assets.
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24. The new Canberra Gallery would be the ACT Government’s visual arts gallery,
would be located in the current CMAG building, and would focus on all aspects of
visual arts in the ACT including an Indigenous component.
25. Civic Square would become the policy and strategic responsibility of CMD, with
TAMS having day-to-day management responsibility. It will be essential for CMD to
work with all key stakeholders in the precinct and the city to enliven the Square
and the area and to make it an attractive place for all Canberrans.
26. Any savings resulting from reduced administration costs associated with the
reduced scope of responsibilities for the CFC should be directed to the ACT Arts
Fund to fund new arts priorities, such as emerging and Indigenous artists and
additional quick response grants.
6.4.3 Heritage and Proposed Historic Places Trust (HPT)
27. A new ACT Historic Places Trust (HPT) would take responsibility for, and bring
together, all ACT Government heritage assets and buildings (other than by
exception) as well as appropriate historic and significant properties and places.
There would be clear policies and protocols to guide priorities and acquisitions. The
HPT would ensure protection of all assets, manage the new Canberra Museum, be
entrepreneurial to maximise public access and tourism potential, and provide
information and interaction through publications and a website. The NSW Historic
Houses Trust (HHT) would be the model.
28. The HPT would have a Board of Trustees including: the Chair of the ACT Heritage
Council to ensure effective linkages, at least one person with knowledge of history,
and at least one with experience in architecture. It would be expected that some
current members of the CFC Board may be offered trusteeships on the HPT, and
there would be at least some level of senior management continuity. While there
would be significant changes to administer requiring genuine commitment, these
arrangements would provide useful continuity.
29. An early audit of ACT heritage properties and assets and of historic and significant
properties and places is likely to be required to assist in determining which should
become the responsibility of the HPT. Policies and protocols would need to be
developed as soon as possible to guide the HPT in making decisions about what
should be included in either their direct or overview responsibility.

30. Government should support all art forms including emerging art forms such as new
media and digital arts. However, it should also identify art forms, organisations,
facilities and activities that demonstrate clear potential as a national or
international area of excellence, such as the Canberra Glassworks, and provide
additional support.
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31. All funded arts organisations should be encouraged to develop strong
partnerships. Cross art form collaboration is also important in any jurisdiction but is
particularly important in a smaller arts environment such as the ACT. Collaboration
and partnerships between arts organisations and art forms need to be encouraged
through communication and funding support for creative joint ventures.
32. There are currently too many Key Arts Organisations (KAOs) and a lack of clarity
about what constitutes a KAO. Government should significantly reduce funding for
duplication and administration by funding a smaller number of clusters of
organisations. The aim would be for seven or eight ‘arts hubs’ to emerge based on
art form and/or precinct. Government should also discontinue use of the term ‘Key
Arts Organisations’.
33. A non-Government, shared corporate services system should be established to

minimise duplication of administration, and maximise the focus of funding on
achieving priority Government arts goals and outcomes. Government would then
only provide funding for administration to this shared services entity which would
need to be responsive to the needs of both arts organisations and Government.
34. Government needs to require all funded arts organisations to maximise sources of
revenue through a variety of means such as ticket sales, merchandising, paid
courses and the sale of artistic materials.
35. Government should only fund organisations that can demonstrate strategies for the
delivery of outcomes that support Government policy priorities of increased
6.6 Professional Artists
36. As part of establishing a clear arts policy focus to frame Government funding and
other support for the arts, there must be a consistent understanding of key terms,
including alignment as far as possible with other jurisdictions. This should include
definitions of both emerging and established professional artists, amateur artists,
people participating in community arts and hobbyists. These terms are currently
confused by governments, arts organisations, the media, arts audiences, the
public and many in the arts sector.
37. There needs to be a shift in ACT Government arts policy priorities to give greater
focus to practising professional artists, including both established and emerging
professionals, as well as encouraging the production of quality art. In future this
should be at the centre of Government funding and support priorities.
38. In focusing greater support on professional artists, there should be stronger

recognition of the importance of identifying the needs of, and giving additional
support to, emerging artists and younger artists to ensure the long-term strength of
the ACT arts sector. Associated with this, is the need to identify and support new
and emerging art forms, as well as being aware of potential future arts audiences
who may want to access, engage with, and participate in the creation of the arts
through a range of technologies and media.
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39. There is a need to generate and support mentoring programs for Canberra artists,
especially emerging artists. This would include initially identifying interested,
suitably qualified, established ACT artists, and also attracting professional artists of
all ages and from many art forms from interstate and overseas.
40. The issue of affordable accommodation for artists in the ACT needs to be
investigated. This should include the impact of public housing requirements, and
the relationship and potential connections between accommodation and working
spaces for artists.
6.6.1 Established Artists
41. Future Government grants application and commissioning processes for artists
need to be as simple, quick and flexible as possible while properly meeting
essential probity and risk management requirements. Artists see current processes
as inflexible, difficult to deal with, and not well geared to art and artists, and
therefore artists should be consulted in developing these processes in future.
42. Identify, welcome and provide any necessary connections or support to new and
returning professional artists to the ACT so that Canberra’s commitment to
professional artists and quality art is clearly demonstrated. Work with professional
artists to promote the extensive value of the arts to the ACT.
6.6.2 Emerging Artists
43. Emerging artists are particularly important to the future of the arts in the ACT. A
specific funding category for ‘Emerging Artists’ should be included in the ACT Arts
Fund. This should be promoted widely along with information about new, simplified
application processes.
44. ACT Government support for emerging professional artists should extend beyond
funding to include proactive engagement, assistance and advice in areas such as:
availability of arts facilities, arts organisations and connecting with other artists,
administrative and financial planning, preparing business cases, applying for
grants, marketing and promotion, and professional skills development including
mentoring and training. Ensure that a new artsACT website has separate
information geared to the needs of professional artists, with specific information for
emerging artists, and perhaps an ‘artist’s hotline’.
6.6.3 Artists In Residence
45. There should be a significant suite of ongoing ACT Government funded Artists in
Residence programs in the ACT. This would provide major benefits to professional
artists, the arts community, education and the public. Canberra is ideally placed to
promote these programs as part of the national capital’s commitment to the arts
and should seek funding support from the Australia Council.
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46. A comprehensive strategy and action plan will be essential if a major commitment
to Artist in Residence programs is to be fully successful. This would include:
priority artist and art form needs; interested partners in arts organisations, National
Cultural Institutions, schools, training institutions, universities and other agencies;
planning for suitable artist studios or other facilities; accommodation; opportunities
for innovation; marketing and promotion; standard agreements so that all
resources and costs are known, and the expectations (such as mentoring,
workshops, art exhibitions, etc) and entitlements of artists are clearly spelt out.
47. A commitment to direct participation in residency and mentoring programs should

be a requirement of any future ACT Government investment in arts facilities such
as the new studios for the Canberra Potters Society.
6.7 Community Participation in the Arts
48. The ACT Government’s primary goal in support for community arts should be to
increase participation in the arts, rather than to achieve artistic quality or
excellence.
49. The main focus of funding for community arts should be the provision of
appropriate, accessible facilities.

membership fees, workshops, the sale of art, and support from local businesses,
with the aim of becoming as self-sufficient and independent as possible.
51. Community artists who have outstanding talent and interests in becoming
professional artists should be identified and supported. Effective consultation and
communication mechanisms need to be established with community arts
organisations.
52. The ACT Government should test community opinion before becoming directly
involved in community arts activities, festivals or events, to ensure that
Government involvement would be needed, beneficial and welcomed.
53. Government should give priority funding to dynamic organisations and groups that
are open, connected and welcoming to their communities and share the
Government’s commitment to increasing public participation in the arts.
54. Funding for community arts should, as far as possible, be allocated at the regional
level through Tuggeranong and Belconnen Arts Centres, with oversight from
artsACT. In this way, decisions about community arts priorities would be
decentralised and administrative costs minimised.
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6.8 Public Art
55. There have been real public concerns about some aspects of Public Art, but the
initiative has had significant, widely recognised benefits for the ACT. Concerns
about the need for a clearer policy on selection and placement should be
addressed, but the vast majority of people through this review strongly pressed to
retain Public Art, preferably with the percent for art scheme, and to extend the
initiative beyond sculpture to incorporate other arts. This view is supported and
recommended because Public Art has generally been an excellent initiative with
major current and future benefits to the arts and particularly to the image and
amenity of ACT.
56. Public Art needs a clear policy framework to set direction and address concerns.
A future Cultural Facilities Plan should indicate future placement of Public Art, as
well as associated consultation and decision-making processes. The Public Art
policy would include funding arrangements, who recommends and decides what is
bought, commissioned or received as a gift, when, where and from whom. artsACT
would have a policy role including ensuring ongoing curatorial oversight, with
another appropriate organisation handling installation. After the Public Art Panel’s
term expires, the Arts Fund Panel should make recommendations, with any
appropriate specialist Public Art advice.
6.9 Venues and Facilities
57. A full audit of arts and cultural facilities in the ACT is needed across all agencies to
develop a consolidated list of community, amateur and professional venues and
facilities including the number, location, nature, repairs and maintenance issues,
ownership and rental arrangements.
58. artsACT should retain ownership and control of all non-heritage arts facilities, but
responsibility for repairs and maintenance should be transferred or outsourced with
a realistic budget from the small, dedicated team to external specialists in this
area.
59. Rental rates for arts organisations and access to arts studios and facilities for
artists are based on a variety of ad hoc and historical arrangements. There is an
important and pressing need to review all rents and access arrangements to
ensure clarity and consistency, reflecting Government arts goals and priorities.
6.10 Cultural Facilities Planning
60. The ACT Government should develop an ACT Cultural Facilities Plan, to be led by
Chief Minister’s Department, consistent with the new arts policy, with plans for
professional and community arts venues and facilities for the next 20 to 30 years.
The Plan would include: core cultural facilities, future arts precincts, heritage
buildings, regional and multiple use facilities, and any new major developments of
cultural facilities for Canberra. The Plan should be developed in an open and
collaborative process with input from all key stakeholders.
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6.11 Governance
61. Principles of good governance and risk management in arts organisations should
be developed, communicated and promoted in a positive and collaborative way
with arts organisations and the arts sector, and information should be provided on
where useful governance advice can be accessed, such as through the Australia
Council and the Australia Business Arts Foundation.
6.12 Data and Research
62. Consistent collection of quantitative and qualitative data and research is essential
to inform policy development, enable evidence based decision-making, and assist
in tracking performance, which in turn should inform funding and resourcing
decisions. There needs to be a commitment to developing a data and research
resource and capability in artsACT.
63. Undertake an audit of currently available data, and identify gaps in data and useful
and reliable data sources that have been used by other jurisdictions, organisations,
agencies, universities or institutions. Develop systems to simplify data collection
and analysis, and partnerships to minimise costs in gathering data and research.
Coordinated, computerised ticketing arrangements could provide very prompt and
useful audience information with minimal additional cost. Maximise the use of cost-
efficient online surveys, including through a new artsACT website.
6.13 Communication, Marketing and Promotion
64. A cost-effective, centralised and coordinated communication and information unit

overseen by arts organisations and artsACT should be established outside
Government for artists, arts organisations and the public. There is a need for an
arts diary which could be built around an existing initiative. There is also a need for
better-coordinated, less expensive advertising, promotion and marketing, which
could be part of the unit’s responsibilities.
65. The ACT Government through artsACT should provide leadership on

communication and engagement with the arts community. artsACT should discuss
with the sector facilitating an annual or biennial Artists Forum, and regular
meetings with arts organisations, with half of these including invitations to senior
representatives of the National Cultural Institutions.
6.14.1 Australian National University (ANU)
66. The ACT Government should fully acknowledge the vital contribution of the major
universities, and particularly the ANU, to the arts and the professional development
of artists in the ACT. This should be used as a basis to further develop trusted
relationships and new partnerships including with additional parties such as the
Canberra Symphony Orchestra and the National Cultural Institutions.
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67. The ACT Government provides substantial arts funding to the ANU which is one of
its largest recipients of funding. There must be clear performance expectations
attached to the funding regarding specific social and arts benefits to the ACT. The
ACT Government should work with ANU to attempt to increase Australian
Government funding. In this way, funding can increase for ANU’s valuable
contributions to arts and education, and ACT can redirect some of its large pool of
funding from ANU to new areas of funding priority.
68. Llewellyn Hall is a very important ANU-owned Canberra arts facility. The ACT
Government provides $200,000 each year to ANU specifically in recognition of the
value of Llewellyn Hall. With such significant funding support, the ACT
Government should leverage considerably greater benefits for the ACT arts and
public, based more on a sharing arrangement, with extended and more affordable
access. If this is not possible, it may necessary to consider whether ACT public
arts funding could be more productively invested in the arts and music elsewhere.
6.14.2 University of Canberra (UC)
69. ArtsACT should work proactively to improve communication and relationships

between the ACT Government and the University of Canberra (UC) and jointly
investigate opportunities for new partnerships in relation to arts activities, facilities,
skills development and training in traditional and new art forms, creative industries
and innovation.
6.15 National Cultural Institutions (NCIs)
70. The National Cultural Institutions (NCIs) are such an important component of
Canberra’s arts and cultural environment that stronger bilateral and multilateral
connections should be created and developed with them. artsACT should build
relationships, establish regular meetings involving the NCIs and ACT arts
organisations, and be a broker and facilitator for possible opportunities and
partnerships for NCIs with ACT arts organisations and artists, as well as with other
ACT Government agencies.
6.16 Diversity
71. Diversity is a very important issue that needs to become a broader shared
responsibility of not only the ACT Government but also of all those that receive arts
funding. A condition of future artsACT funding should be a requirement for all arts
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72. The ACT Community Arts Office should be outposted to provide significant local
Belconnen Arts Centres, to cover all the ACT. Existing staff should be given the
opportunity to take up the roles which would be focused on ensuring increased
participation in the arts, including all diversity target groups. Their responsibilities
would include: providing support to community arts organisations; assisting with
designing programs; providing advice on local arts facilities and improving access;
assisting community organisations with inclusion and diversity strategies; and very
importantly, providing advice to artsACT about community arts funding priorities.
73. Commitment to all aspects of diversity needs to be demonstrated, and the

inclusion of people with Indigenous and disability perspectives would deliver
significant benefits to artsACT. As soon as possible, artsACT should have a
designated staff position to be filled by an Indigenous person who would work in
the policy area as an Indigenous Arts Officer, but would not be restricted only to
Indigenous issues. artsACT should also attempt to ensure there is always a person
with a disability on staff.
6.17 Indigenous Arts
74. There should be an Indigenous specific funding category in the ACT Arts Fund.
Within this category, it would be highly desirable to have separate allocations: one
for individual Indigenous artists and one for Indigenous groups or organisations.
An Indigenous grant category must not diminish opportunities for Indigenous artists
and organisations to apply for any area of the Fund. artsACT should work closely
and collaboratively with Indigenous people to ensure that all decisions about an
Indigenous category are informed and that implementation is successful. Capacity
building initiatives, including assistance with application and reporting
requirements are strongly encouraged.
75. The recommendations of the Strategic Indigenous Arts Development Initiative

should generally be supported and acted upon. In particular, expanding skills
development programs in identified areas of high interest for Indigenous artists;
programs aimed at long-term professional development; and support for Inter-
generational projects; and a youth music project. There should be a collaborative
process aimed at setting priorities for action within available resources. There is a
real opportunity with these important initiatives for artsACT to actively pursue and
develop partnerships with other agencies and external parties.
76. The ACT Government may wish to consider testing feasibility and interest in a joint
venture with the Australian Government, possibly National Cultural Institutions and
with Aboriginal people to create a significant Aboriginal Arts and Cultural Centre in
the national capital which would include input and art from local Indigenous people.
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77. It is highly desirable for ACT Government to build on existing Indigenous
infrastructure as it has done recently with the Burringiri Association. It should
support successful community arts initiatives such as the Billabong Aboriginal
Development Organisation which has undertaken several positive initiatives. It is
an established Indigenous community focal point with support from Aboriginal
artists, Government funding support through a range of agencies, and other
potential sponsors or partners. It would be likely to deliver increased Indigenous
community participation in the arts, leading in turn to significant social benefits.
78. The establishment of a centrally-located Indigenous gallery and retail outlet for
ACT Indigenous artists was seen as an important priority as it would bring artists
together and could help create some economic sustainability for Indigenous artists
in the ACT. This view is supported, and the ACT Government through artsACT
should actively investigate options, with the preferred option being to provide a
space in a future Canberra Gallery in Civic for local Indigenous art.
6.18 Accessibility
79. There needs to be clarification of policy on all aspects of access and accessibility.
Many of these, such as transport and disability access, should be included in the
development of a Cultural Facilities Plan. There is a requirement for improved
awareness of and access to arts facilities that should be addressed through better
information and communication about what is available.
6.19 Arts and Education
80. There needs to be a clear articulation of the very valuable contributions that the
arts, culture, and creativity can make to all aspects of education in the ACT.
Stronger communication and coordination across the arts and education sectors,
as well as with communities and across governments, should be encouraged, such
as the initiative last year to establish the Arts and Education Consultative
Committee. This important initiative should be built upon with an agenda of shared
interests, and there should be early consideration of establishing an Arts Education
81. There are many excellent arts in education initiatives in the ACT and in other
jurisdictions that could be adopted or extended. artsACT and Education should
work together to identify, along with potential partners, what might be adapted to
meet the needs of the ACT. Also, Artist in Residence school programs, including
the Artists-In-Schools (Early Childhood) initiative, have demonstrated real value in
the ACT and these should be retained and extended, with support expected from
the Australia Council.
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6.20 Arts, Health and Social Development
82. While there are a variety of positive initiatives in the ACT, there should be a wider
appreciation of the benefits of arts and culture to health and social development,
including early intervention and prevention of a multitude of issues such as
reducing the risk of alienated youth entering the criminal justice system. There
needs to be greater awareness and coordination, including from artsACT, of arts
initiatives across agencies so that connection with and investment in arts
organisations is more visible and strategic, and there is less fragility and
uncertainty for the arts sector.
6.21 Arts Innovation and Economic Development
83. While there have been excellent recent initiatives including ACT Government
investment in screen industries and ‘Masterpieces’, there needs to be a clearer
recognition and promotion by all stakeholders of the strong connections between
the arts, creativity, innovation and economic development. There is need for a
more strategic approach to achieve the ACT’s full potential through the
collaborative development of ACT Creative Industries, Digital Economy and
Cultural Tourism Strategies. Business, the arts community, universities and the
National Cultural Institutions should all be included. These facets of life and work in
the ACT should also be integrated into Canberra’s image and identity through
‘Brand Canberra’.
6.22 Arts, the Environment and Sustainability
84. The ACT Government and artsACT should embed commitments to environmental
sustainability into all aspects of its arts policies and activities. There is great
awareness of the importance of the environment in the arts and in the ACT and
there is an opportunity to provide leadership in linking positive arts and
environmental outcomes. Any new or redeveloped arts facilities should be built to
the highest environmental standards, and there should be a commitment that
funded organisations, events, festivals and activities should be aware of the need
to be environmentally responsible and to aim to be carbon neutral.
85. The Arboretum is a wonderful initiative with great potential that was recognised
from the outset to connect with and enrich the arts. There should be discussions
with the Arboretum about the possibility of establishing some form of Arboretum
arts and cultural group, including input from ACT and Australian Governments,
business/sponsors, arts organisations and artists to consider design and
infrastructure requirements and opportunities for appropriate arts-related and
cultural events.
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6.23 The Public
86. The ACT public are actively supportive of and engaged with the arts and obviously
appreciated being consulted extensively in this review. The public and arts
audiences should be a key focal point of improved communication for artsACT,
including through its new website. They should be kept advised of developments in
future arts policies and strategies. Volunteers need to be highly valued in all areas
including the arts and should receive recognition through Awards for outstanding
contributions to the arts.
7.1 Arts Budget Reflecting Policy Priorities
87. Current funding for the arts in the ACT is ‘gridlocked’. There is considerable
dissatisfaction with current funding levels and arrangements, widespread
recognition of the need for change, and a pressing need to free up funding to
respond to current and emerging arts priorities. The ACT Government needs to
clearly articulate its expectations from arts funding, including clear and transparent
goals and policies, to guide future funding and resourcing priorities.
88. ACT Government should have two key arts goals: to increase participation in the
arts, and to attract and develop artists and quality art. Funding should consistently
be directed towards achieving these goals or overarching priorities, which would
be supported by other more specific arts policies. All those seeking funding would
need to demonstrate real arts benefits against policy priorities.
89. Over recent years a growing proportion of most arts budgets around Australia have
been directed to funding arts organisations. There needs to be a shift in budget
priority towards professional artists, leading to the production of quality art. This
should include more funding for the professional development of emerging artists
and for innovative arts that appeal to new and younger audiences and arts
participants.
current levels of funding and funding arrangements, and continuing to separately
fund 22 KAOs is not unsustainable. Government will need to strongly encourage
consolidation through consultation and funding for fewer arts organisations or
clusters of organisations to reduce administrative duplication and improve
sustainability with greater cooperation, coordination and co-location. Government
should also move away from the notion of ‘Key’ Arts Organisations.
91. As well as having costs associated with duplication, many organisations struggle to
attract and pay qualified people. ACT Government should work with organisations
to establish a professional, shared corporate services unit outside the public sector
to provide cost-effective, responsive support to arts organisations. In the future
Government would only fund administration through this shared administrative
services unit, which would include finance, human resources, office services, and
IT. A hub for communications and marketing of the arts should also be established,
and could be collocated with this. These initiatives would allow arts organisations
to give greater focus to the arts.
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community arts and artists. The major focus of ACT Government’s arts funding in
the future should be on the support for and development of professional artists and
quality art. Increased participation in community arts should remain a high priority,
to be encouraged and assisted with more clearly targeted strategies, and
especially through the provision of reasonable-cost, multipurpose facilities.
93. New ACT Government arts policies and funding priorities, including the need for
efficient and effective consolidation, would need to be clearly communicated to all
stakeholders. There would need to be a fresh and open look at all current funding
arrangements in light of new policies. At the same time, there should be a
commitment giving greater emphasis to communication, transparency, flexibility,
simplicity and responsiveness from Government. Extensive consultation and a
reasonable timeframe for implementation of changes will be essential.
94. The arts are highly valued by a large number of people in the ACT, and the ACT
Government should give serious consideration to a modest increase in arts
funding. While there will be some opportunities to reallocate some elements of
existing funding, there are a number of significant policy changes recommended in
this report, and a modest increase in funding at this time would demonstrate that
the arts are also highly valued by Government.
7.2 Funding Categories, Processes and Decisions
95. There should be acknowledgement of real improvements in recent years in the

scope and administration of the ACT Arts Fund reflecting the commitment of
artsACT staff, the Cultural Council the ACT Government. However, there need to
be responses to widespread, serious concerns about current funding structures
and convoluted processes to address issues including category gaps, delays,
unresponsiveness, definitions (eg ‘quality’), communication mechanisms, and the
balance of funding allocations. As a broad checklist, Government arts funding
processes must be: accessible to all potential applicants; merit based; decided and
advised as promptly as possible; have appropriate risk management; and ensure
necessary governance, probity and independence. It is very pleasing to see that
some areas highlighted over some months through this review in relation to
governance, Fellowships, and young and emerging artists have already been
included in the 2011 Arts Fund, but further change will be needed.
96. Peer assessment should be retained as this ensures informed, independent, merit-
based decision-making about funding. Independence should be further reinforced
in the ACT, where there are fewer specialist professional artists than in most
jurisdictions, by establishing one assessment panel at a higher level to operate
across art forms and the arts sector. This would be combined with direct decision-
making for lower level, responsive decisions such as Quick Response Grants,
which would be decided by artsACT.
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97. A single new ACT Arts Fund Panel should be established with about 9 members,
who would be appointed by the Chief Minister, and this would replace the roles of
individual panels and the Cultural Council. The Panel would in future make all Arts
Fund funding recommendations. It would include respected artist and art
organisation representatives from the main art forms and from across the arts
industry; one representative from other relevant areas such as finance or law; one
from artsACT; and possibly one or two experienced people from interstate. The
Panel should also broadly reflect the ACT community and would be able to call on
art form specialists if required to provide advice on grant applications. This would
ensure quality advice based on a range and depth of knowledge and judgement.
98. There should be fewer ‘steps’ in the proposed new funding process with
significantly reduced delays. The ACT Arts Fund Panel meetings could be held
over about three days, and recommendations from the Panel would go directly
through artsACT to the Chief Minister for approval. With the same closing dates for
applications, the Minister should in future be in a position to make most
announcements months earlier, in June, rather than having applicants required to
wait for decisions until as late as October.
99. The ACT’s Arts Fund Panel should be made fully aware of Government’s arts
goals and policy priorities. The Panel’s decisions should be strongly guided by
these goals, policies and priorities.
100. It should be a condition of funding that all funded organisations use the artsACT
logo and artists acknowledge funding support.
7.3 Future Funding Priorities
101. Increase the overall percentage and quantum of funding to artists, with new areas of
focus including two new funding categories for:
1. Emerging artists
2. Indigenous artists
These new categories will require a commitment to communication, capacity building,

mentoring, encouragement and support, including working with artists to raise
awareness and skills to meet requirements for Grant applications. It may be desirable
to have input to decision-making about Grants from Indigenous and young artists,
from outside the ACT.
102. Additional budget should be provided throughout the year for Quick Response Grants
of up to $3,000, decided by artsACT within four weeks with a target turnaround of two
weeks. This would be based on real, demonstrable needs leading to real outcomes,
such as being accepted for a professional development course.
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103. Approximately 10 percent of the Arts Fund budget should be set aside for allocation
by the Minister and artsACT for great ideas or initiatives, new art forms or innovation
funding rounds.
104. ACT Government should encourage consolidation of Key Arts Organisations and
other arts organisations by funding a smaller number of about 8 clusters of
organisations or Arts Hubs built around art forms and/or arts precincts. These may be
new organisations or groupings of current organisations, but they will need to
cooperatively with others in the same art forms and precincts; and be prepared to
give maximum focus to arts activity rather than administration by sharing corporate
services. There should be a strong and clear funding focus for organisations on
consolidation, reducing administrative duplication, and particularly on improving arts
outcomes against Government goals and policy priorities.
105. In establishing a new non-Government shared corporate services unit, it will be

necessary to undertake a business and financial analysis of the best way to structure
this and to determine accurately the expected savings that would be redirected to
new arts priorities through the Arts Fund. The main two options are: a core of
management and essential consistent points of contact with outsourced functions
such as payroll; or a largely fully staffed operation. Government would either fund the
shared services operation directly or by payments though arts organisations, so they
continue to have a sense of ownership and control. Government and arts
organisations would work together to establish these new arrangements, and there
would be expected to be standard service level agreements with organisations.
106. A future funding priority should be ‘centres of excellence’, where Canberra has
current or potential capability to be a leader on the national or global stage. The
Glassworks is one clear example of an excellent initiative that should receive specific
support in its own right, and special recognition of its role as the focal point of an
exciting new Kingston arts precinct.
107. Apply a UK and Tasmanian funding initiative to the ACT to encourage the ACT and
Australian public to buy or commission artworks from living ACT artists. The scheme
would involve providing interest free loans of between $750 and $7,500 for up to 12
months to buy artworks ranging in price from $400 to $10,000 through participating
commercial galleries. Where artists are commissioned, a 25 per cent deposit would
be paid, and 75 per cent could be borrowed interest free up to the limit payable. This
low cost scheme would provide strong promotion for the purchase of local artworks,
support career development of visual artists, support local commercial galleries,
stimulate the economy, encourage new art collectors, provide important support for
commercial galleries and further enable ACT visual art to be collected and shown
across the nation. It would be expected to work well in the ACT where there is a
smaller population, strong local arts interest, and a large number of visitors.
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108. Introduce loans for up to 10 years for artists and arts organisations for any purpose
that delivers an arts outcome. Applications would be assessed on capacity to repay
and merit criteria including: quality of the proposal including strength of concept;
creativity and innovative nature of the work; capacity to manage and deliver the
project; benefit to the artist’s creative development and/or to the community.
Contributing to ACT arts policy priorities would be an essential component and
Indigenous and disability benefits would be given positive weighting.
109. Funding should be provided for the professional development of artists through
mentoring and cultural exchange programs. Mentoring is highly desirable, especially
for emerging artists; and properly established cultural exchange programs with artists
from around Australia or overseas can deliver very positive cultural and artistic
experiences for ACT artists, and add to the benefits of Artist in Residence programs.
These initiatives do not need to be particularly expensive, and would: significantly
enrich the cultural life of Canberra; promote the ACT internationally as an arts centre;
and be influential in retaining artists in Canberra or attracting them to live in the ACT.
110. The ACT has previously provided up to two Creative Arts Fellowships valued at
$45,000 each, but there have not been clear expectations of how the funds from
Fellowships will be used. In future this prestigious Fellowship should only be awarded
to full-time professional ACT artists, and should be based on nomination or direct
recommendation by the Panel and decision by the Chief Minister, rather than on
application. It is suggested that there should only be one Fellowship each year valued
at $60,000, to enable an outstanding full time artist to be able to live with minimal
financial concerns and to concentrate on their art. There should be a requirement for
minimum levels of engagement or reporting back on outcomes to the Government,
the arts community and the public, and an expectation that there would be a resulting
body of work. The Fellowship would have considerable visibility and status and could
be awarded by the Chief Minister at new annual Canberra Arts Awards.
111. Long-term funding for organisations have been generally welcomed, but can be
inflexible and stifle innovation and opportunity with ideas that may emerge during the
funding cycle. In future three years should be an absolute maximum for funding.
Government needs to be confident that organisations will continue to evolve and
perform against more clear and firm performance criteria. Organisations should be
able to apply for project funding in certain clear circumstances, including
demonstrating innovation and initiative consistent with new Government priorities.
112. Government should maximise simple and easy access for all who wish to apply for
Grants, including the earliest possible introduction of online applications and
Administration in the ACT Government, so that online funding processes do not lead
to or result in paper-based log-jams within Government agencies.
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113. There should be an overall commitment from ACT Government and artsACT to
improve and streamline all administrative processes by cutting red tape, including any
requirements for written information, forms, processes, reporting or other
requirements that are not absolutely essential in contemporary administration. This
would be a relief for the arts sector, and would minimise administrative workloads in
Government, in a similar way to what Government will be expecting from arts
organisations. Delays between all arts applications and decisions should be cut to a
minimum. The new ACT Arts Panel should operate with these commitments from the
outset.
7.4 Funding Sources
114. There needs to be a greater recognition, led by Government, of the benefits from
increased private sector sponsorship, philanthropy, and personal and community
responsibility. The ACT Government should encourage less financial dependence
on government and encourage a diversity of funding sources for the arts. This
should include leveraging funding support from other sources by joint funding
initiatives, including for arts infrastructure and facilities. Data should also be
collected and used to demonstrate to business the benefits of supporting the arts.
115. The ACT Government should encourage greater cross-promotion between arts
organisations and precincts, as well as wider, more dynamic audience
engagement and development. artsACT should initiate opportunities for arts
organisations to come together at quarterly meetings to discuss experiences,
partnerships, ideas, potential revenue sources and possible joint ventures.
116. The activities of the Australian Business Arts Foundation (ABAF) should be
actively supported. It has potential, with ACT Government support, to attract
engagement and revenue from business. There should be strong encouragement,
including funding support, to convert the part-time ABAF position to full-time.
117. There should be recognition and acknowledgement of the extremely valuable

vision, awareness and strong support provided to the arts by ActewAGL as a
model sponsor. The senior leadership could be called upon to highlight benefits
and to encourage other potential sponsors, assisting diversification of sponsorship
from other sources and reducing the risk of high-level dependence on ActewAGL.
118. Targeted funding to support the arts and achieve clear Government outcomes will
continue to be vitally important, but new approaches and skills are now required
from Government to meet more needs in the arts beyond the allocation of funds.
What artists and arts organisations need most is what they are unable to provide
for themselves, including: communication with the arts sector; brokering and
delivering support and connection with Government and business; providing
facilitation to identify emerging industry needs for artists; and bridging skills gaps.
This will certainly require a new outlook from Government. It is also likely to require
a change of culture and skills, away from process, distributing funding responsibly,
and enforcing rules and guidelines, and towards an entrepreneurial, proactive,
collaborative and supportive approach aimed at delivering positive arts outcomes.
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9. Appendices
9.1 Appendix 1: Public Submissions Summary
Review of the forum in Canberra: Summary of Public Submissions

Please note that the views contained in this document are not the views of the ACT
Government or Peter Loxton and Associates Pty Ltd, rather a summary of information
provided by hardcopy and electronic written submissions.
Arts Landscape
• Canberra is blessed with an abundance of arts and cultural activities.
• Promote the growth of Canberra as a cultural capital.
• It is necessary to ask: “What ‘arts landscape’ do we want to create for
Canberra?” What are the city’s strengths and how well are these supported by
government priorities, funding and action?
• The School of Art and Music at ANU play a valued role in strengthening
professional practice.
• The appearance and vitality of Civic needs to be prioritised – make it a
destination.
• Canberra has a negative stigma interstate and the arts provide a vital way to
change this perception.
• The ACT needs a vision for developing arts and culture, and cultural tourism.
Community and Access

• Broad participation in the arts should be encouraged as it helps to build a critical
mass of artists and arts activity.
• Arts organisations that work with children are critical infrastructure for building
cultural understanding, self-confidence and many other life skills.
• Volunteers are vital to arts organisations and need more recognition and
support.
• Volunteers working in community arts organisations are generally not trained to
apply for and acquit grants, so there should be only minimal, essential process.
• Community arts organisations don’t have a voice that is heard by government.
• Arts organisations that encourage and facilitate community participation and
engagement are highly valued.
• Community arts officers should be valued and funding should continue.
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• There should be cheaper ticket categories to aid access for financially
disadvantaged groups.
Communication, Coordination, Partnerships and Promotion

• The creation of an online forum, perhaps run by artsACT, would be a very
useful resource for ACT artists and organisations to communicate.
• Prioritise the development of a service/services for the communication,
coordination and promotion of arts activities.
• There needs to be more market research about audience needs and wants.
• There must be stronger partnerships between arts organisations, artsACT and
Australian Capital Tourism.
• A focus on audience development would improve the arts landscape and artist
income.
• Canberra Arts Marketing was not a good model. It is problematic funding a non-
arts organisation that runs under a corporate model charging funded arts
organisations for services.
• There should not be laws against postering and other arts promotions activities.
Artists and Professionalism

• There needs to be a professional orchestra in the ACT.
• Nicholas Milton’s contribution to the Canberra Symphony Orchestra has been
outstanding.
• The lack of professional performing arts companies is a concern.
• There should be greater investment in artist training and mentoring.
• The cost of public liability insurance is debilitating for artists.
• It is very difficult for professional artists to find full-time work, so most leave
Canberra.
• Professional dance should be supported more.
• Not enough support for young and emerging artists, particularly in the
performing arts. Maybe more thinking around the role of the Street Theatre
could improve support levels.
• An arts funding body needs to recognise professional practice in the arts and
support the professional development of emerging artists through workshops
and the creation of centres of professional arts practice. The ANU School of
Music and the School of Art provide a focus for such training and development,
but theatre does not have such a resource.
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• Professional artists often have to move interstate to progress artistically and to
make a living.
Government
• The Arts Action Statement should contain measurable objectives.
Funding
• When an artistic endeavour emerges sufficiently, it is forced to comply with the
institutional funding structures that marginalise new and innovative work. In the
Netherlands, there is a right to draw the dole as an arts subsidy.
• There should be more support for publishing of literature.

• There should be more money for grants, where funding has decreased, and
less for arts organisations.
• Recognise the intrinsic value of the arts in its value to society. There should not
always need to be some other benefit including return on investment.
• Funded organisations are reluctant to express dissent too vigorously, in case
this affects their funding. The peer assessment model always acts to protect the
status quo.
• There should be a policy to support artists and arts organisations to gain
funding from the Australia Council.
• Funding is biased towards institutions rather than artists.
• Funding for youth and professional development is inadequate.
• Arts funding in Canberra should demonstrate value and require a cost benefit
analysis.
• There doesn’t seem to be any accountability or process for review of funding
decisions.
• Identify, support and promote excellence in the arts.
• There should be less spending on public art and on struggling artists, and more
money for arts education in schools.
• Funding allocations should be decided by a panel of arts industry experts.
• Arts funding is spread too thin. Would like more money spent on fewer, quality
artists and organisations
• There should be more targeted funding for the different art forms.
• It is problematic to have artsACT managing funding when they can not have
detailed knowledge of each of the art forms which have such different needs.
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Maybe funding should be decentralised to specialist art form
panels/organisations?
• Too much funding for community projects, not enough for professional practice.
• Longer term funding would be welcomed.
• There should be more support for environmental and ethical arts.
• Funding for community arts should be administered separately to professional
arts funding as they have such different needs.
• The private sector needs to get behind local arts organisations.
• Visual arts seem to get a disproportionately large amount of funding compared
to other art forms.
• There should be more support for Indigenous art and artists.
Public Art
• Decisions on commissions and purchases should occur at arms-length from the
Arts Minister.
• New pieces should be determined by a panel with specific expertise in public
art.
• Public sculpture is highly valued.
• Public art funding should be put towards commissioning work from ACT artists.
• The ‘percent for art’ scheme should be restored to continue funding of public art.
• No more money should be spent on public art.
Venues/Facilities
• Some groups find the cost of certain venues prohibitive. This could be alleviated
by a rental subsidy, especially for emerging artists who often work without
resources.
• Former school sites would be ideal arts venues for groups with a strong
community base. A partnership between the Department of Education and
artsACT might make some of these venues available.
• Licensed commercial venues that support live music and the arts suffer from
noise restrictions. Live music should be supported by Government by reducing
unnecessary regulations.
• ACT galleries and art spaces support the production of new, experimental and
challenging work.
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• Support for key infrastructure should be a long-term commitment. This requires
proper planning for the future.
• Large affordable studio spaces are needed for practising artists.
• Belconnen Arts Centre is not inclusive or welcoming.
• Public institutions like the library and the Canberra Museum and Gallery are
valued.
Festivals
• Canberra has given up two noteworthy performing arts festivals that deserved
continuing support.
• There should be more Government support for quality arts festival/s.
• The defunding of the Fringe Festival in favour of the Folk Festival is
disappointing and the reasons behind the funding shift don’t seem to be very
clear or transparent.
• Major festivals can effectively stimulate creative industries, tourism and the
economy.
• The Folk Festival is a major contributor to the ACT economy.
• Restore a professionally curated Multicultural Festival.
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9.2 Appendix 2: Public Consultations Summary
Public Consultations Summary
Arts Landscape
• There is a strong arts sector in Canberra, with most art forms well supported.
This is helped by the presence of the National Cultural Institutions (NCIs).
However, the arts sector in the ACT is fragile. The city has lost a number of high
quality arts institutions and professionals, particularly in the performing arts.
Arts in the ACT should do more to leverage off NCIs.
• The Canberra public display a high level of passion for, participation in and
consumption of the arts. However, the same people tend to participate a lot
rather than new people coming through.
• Visual arts sector is particularly strong.
• More support needed for film and emerging digital arts.
• Youth arts is a great strength in Canberra.
• Young people may participate actively in the arts while at schools or university
but they don’t tend to become professional artists or even audiences. Peer
pressure and finances are issues for young people.
• Canberra has an image problem. It is regarded by the rest of the country and by
youth in particular as boring. The Fringe Festival had the potential to make
Canberra more “cool”.
• Need to foster pride in the arts. e.g. Victoria promotes the arts very strongly
even/particularly in their regional areas.
• Canberra has a history of promoting the arts in the mid-80s and 90s. Since then
there has been a bureaucratisation of the arts. The sector is missing the
spontaneity, creativity and communication of the 80s. Being an artist is now
more like being a business person.
• Government needs to acknowledge the work of volunteers and foster growth
within arts volunteering through pragmatic incentives for individuals and
businesses to volunteer.
• Recommend an in depth, mass survey of the ACT public to find out what they
want in the arts.
• Arts organisations lose good people due to inequitable salaries.
• Government should invest in best practice in the arts.
• There is excessive promotion of sport on prime-time media: Government and
the arts community should encourage more promotion of the arts through the
media
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• The broadening of ‘Arts’ to ‘Culture’ is very relevant to Canberra
• ANU School of Art and School of Music; the Community Arts Office; and CSO
are highly valued.
Community and Access

• Community centres are very important, particularly in regional areas. They
foster an appreciation of the arts and bring out creativity and purpose in life.
• Need more support for community practice in line with local government
councils in NSW.
• Belconnen Arts Centre is an excellent facility but is seems to be better aligned
with amateur and semi-professional arts than with the needs of a community
arts centre and parking is inadequate.
• It is difficult to find out about arts activities for community or semi-professional
artists.
• Impression that Community Arts Officers aren’t recognised adequately for their
contribution.
• Equal access is vital particularly in community arts – disability, Indigenous,
minority communities, etc should be encouraged and enabled to have access
• Perceived gaps in disability support, particularly when they leave the school
system.
• Participation is more important than quality of arts produced for community arts.
• Not enough emphasis on the arts in Southern Canberra.
• Professional arts should be centrally located near transport hubs.
• Perception of a lack of adequate parking around arts venues.
• Many people in the Aboriginal Community don’t have a drivers’ license, so there
are practical obstacles to accessing the arts as both participants and audiences.
• Limited public transport options around arts venues at night create access
issues for low-income and disadvantaged groups.
Communication, Coordination, Partnerships and Promotion

• Better communication is needed between Government Departments; arts
organisations; and with the public.
• Need to improve marketing and communication to help artists reach their
audiences. The demise of Canberra Arts Marketing, Muse, and the artsACT
mail-out left a huge gap.
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• Collaboration across art forms should be encouraged. Share resources such as
a marketing person, technical production professionals, etc. Collaboration
requires connection – forums (maybe including online) for artists. It is unusual to
get different arts sectors in the room together but this would open up a lot of
exciting opportunities if it can be organised.
• Creative funding models could encourage partnerships rather than competition
between artists
• There should be more consideration of the impact of NCIs and possible benefits
of closer collaboration with the ACT arts community.
• Artists would love to have access to some of the materials that get discarded
after use by the NCIs. Maybe the ACT Government could help to arrange this.
• Maximise collaboration with universities at least in research, data and statistics.
• Encourage collaboration, partnerships and sponsorship with private industries.
• Consider the Australia Council example of grants rounds for residencies.
• A full-time AbaF position would be very useful for the arts community in
Canberra.
Artists and Professionalism

• There is a tension between professional and amateur artistic activity in
Canberra.
• Need to support and encourage professional practice. Envisage career
pathways and work out how to support these.
• We shouldn’t try to stop artists leaving Canberra but we should be very
proactive in maintaining strong ties and encourage professional artists to visit as
mentors or in residencies.
• But the ACT does need to develop/retain some critical mass of professional
artists (less of an issue for music and visual arts which are stronger and are
supported by ANU)
• More leadership from eminent artists should be encouraged. Maybe develop a
funded program to encourage leading professionals to mentor emerging artists.
• There should be more Government support for sustainable, environmentally
aware, ethical art practices.
• Public Liability insurance is a big issue because the cost discourages arts
activity.
• Recognise that Trade Unions can provide important support for artists.
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Government
• Government should be a facilitator and an advocate rather than a directive
force.
• Would like more transparency in Government decisions. Ensure decisions are
evidence based.
• There is a real connection between arts and health. Encourage consumer
spending on arts rather than pokies or cigarettes. Government money from
gambling could be reinvested in the arts.
• Government should ensure every child is exposed to and participates in music
at school.
• Tourism awareness of and engagement with the arts in the ACT seems to be
quite low.
• Need to promote ACT Arts interstate beyond the National Cultural Institutions
(NCIs). People will travel to Canberra for arts activities. Arts in the ACT could
piggyback off NCI promotions.
• There are world-class arts events in Canberra (e.g. consulate shows as well as
ACT arts) but they are not promoted well which affects the branding and image
of Canberra nationally, which could and should be stronger.
• Low cost housing is vital for artists who generally live on low incomes. This is
one of the strengths of the Newcastle arts scene. Housing ACT doesn’t seem
to understand the real needs of artists, particularly in relation to capital
expenditure. Maybe artsACT could play more of an advocacy role across
Government as well as with external partners.
• The Canberra business community is not well connected to the arts. Maybe tax
deductions for sponsorship of local ACT arts organisations would encourage a
more philanthropic culture?
• Need to measure the economic and other impacts of the creative industries in
the ACT.
Funding
• The ACT is very fortunate to have artsACT supporting project funding.
• With the new program funding model, artists and arts orgnisations would
potentially only have to apply every few years, which is a good thing because,
particularly in an amateur/volunteer run organisation, writing funding
applications takes a lot of time, effort and cost. Less emphasis on return on
investment would be welcome in arts funding.
• artsACTs peer review program works well because it helps to avoid issues with
government and arts organisations boards that may have their own agendas.
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• Peer review and Key Arts Organisations (KAOs) reinforce the status quo and
the skew towards the community/amateur scene rather than professional.
• Too much focus on administration and governance rather than creativity and
responsiveness in funding guidelines.
• Not enough small grants, the funding application process takes too long and is
inflexible to artists’ needs. It is also difficult to get funding for cross art form
projects.
• If artists don’t get funding there should be a second tier offering non-monetary
support such as mentoring or support through facilities, etc.
• Impression that inter-state artists sometimes get funded by the ACT
Government at the expense of local artists. Understand the importance of
encouraging Bell Shakespeare and Musica Viva to come to Canberra but some
of that program funding could go to local artists.
• ACT Government should better fund local arts scene rather than contributing to
NCI programs.
• Why does Artsound get funded but not Radio 2XX?
Public Art
• Public art fund seems to favour international and interstate artists.
• The ACT Arts community should have supported the ‘percent for art’ scheme in
the face of public criticism. Maybe ‘percent for art’ should go beyond public art
to performing arts, etc.
• Public art pieces are too expensive. This is an opportunity cost for rest of the
arts in the ACT.
• Public art gives the city vibrancy and enriches the cultural landscape of
Canberra by displaying the work of world-renowned artists.
Venues/Facilities
• More arts facilities charging community rents would be appreciated.
• Purpose-built venues and performance spaces are too expensive to hire.
• A new lyric theatre could pose challenges to the local arts sector as they would
only show interstate blockbusters, would be expensive and may take audiences
away from local artists.
• Shortage of purpose built venues for dancers.
• Easy access to venues is important.
• Need more galleries in central and accessible areas of Canberra.
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• Canberra lacks long-term industrial art spaces. Affordability of studio spaces is
a problem as is tenure.
• There are many closed schools that artists and community arts groups could
use.
• Contemporary gallery settings don’t provide affordable and accessible spaces
for young artists. There are a number of unused shop-fronts that could be
accessed through low-cost, short-term leases similar to ‘Renew Newcastle’..
• Canberra doesn’t have enough good venues for live music. Bureaucracy and
regulations discourage live music. This needs to change.
• Fund the infrastructure and facilities which give artists an opportunity to earn an
income.
• KAOs and availability of arts facilities often provide employment for artists,
particularly as tutors, etc which is important to enable them to continue to
survive as artists.
• The Cultural Facilities Corporation (CFC) should be encouraged to give a
certain percentage of access to local artists and organisations to show their
work. e.g. the CMaG Fishtank Gallery has three month exhibitions which could
be shortened to allow space and time for local artists.
• There needs to be planning for the future for venues and facilities for
professional and community arts. This planning should include Queanbeyan
venues.
Festivals
• There are too many festivals and they have become formulaic.
• Festivals don’t currently satisfy community need.
• Better management of festivals is needed and artists should be invited to
contribute.
• There should be a Canberra Arts Festival.
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9.3 Appendix 3: Online Public Survey Summary
COMMUNITY CONSULTATION
SUMMARY OF SURVEY RESULTS
Introduction
On the 4 September 2009 the Chief Minister and Minister for the Arts and Heritage, Jon
Stanhope, announced the appointment of consultants Peter Loxton and Associates Pty Ltd to
undertake a review of the arts in the ACT.
Funding was provided in the 2008-09 Budget for the review as Arts Canberra, the ACT
Government’s current action statement for the arts, expired at the end of 2008. The timeframe
for this statement has been extended until a new arts strategy is released following the review.
The approach to the review included research into best-practice arts policy from around
Australia and overseas, as well as working with the local ACT arts community and the broader
community to review the current policy and its implementation to date. A new arts strategy will
be released in mid to late 2010 and will continue to reflect the ACT Government’s commitment
to and investment in the arts in Canberra.
Community Consultations and Survey
A number of different consultation mechanisms are being included in the review process and
community consultations are an integral part of the review. People living in the ACT were
invited to have their say on the arts in the ACT by completing a community survey or attending
one of the community forums held in Civic, Tuggeranong and Belconnen.
This document provides a summary of the results of the online component of the survey.
The community survey was available online and in hardcopy at Canberra Connect Shopfronts
and ACT Public Libraries. Submissions to the survey closed on Friday 13 November 2009.
There were 220 responses in total (207 online and 13 hardcopy). Responses and feedback
obtained from the survey will help to provide a way forward.
The survey asked for community responses about priorities, opportunities, issues, program
delivery, and funding methods and included the following areas: !
• Participation in the arts in the ACT;!

• Arts events attended and how often;!
• Most valued arts organisations;!
• Whether ACT Government spending on the arts is effectively allocated;
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• Changes to the way the arts operate and are funded;
• Whether the ACT Government spends too much in some arts areas and not enough
in others;
• Arts venues used in the ACT and whether they could be more effectively used;
• The importance of the arts to creative industries, tourism and the ACT economy.
Summary of Online Survey Responses
There were 207 responses to the online survey from a range of age groups and interests in the
arts. The majority of respondents (170) indicated that they participated in the arts, either
directly or as a consumer. Most participated in music events, visual arts, and performance, but
other art forms were well represented in the survey, including textile, design and print making,
pottery, photography, film, writing and craft. The mix of art genres was seen as important to
maintaining and encouraging diversity and creativity and a general cultural well being in the
ACT, and all art forms were valued by the majority of respondents.
Responses were largely from ACT residents, although a few were received from people living
in the region, and two from Sydney. A significant proportion of respondents were resident in
Canberra’s inner north and south, and all other areas of Canberra were represented.
Most respondents were in the 41 to 60 age cohort (105), with 78 being between 21 and 40, 3
under 20 and 23 over 61. Although young people under 20 were not well represented as
survey respondents, a significant proportion of parents responding to the survey provided
information and priorities for their children.
Priorities for the Arts in the ACT
Most respondents felt that the ACT Government was not allocating arts funding effectively
(141). A number believed that more support should be given to local and emerging artists and
innovative art forms, others felt that venue access and hire costs were often discouraging. Arts
education and promotion were seen as important as access to the arts in creating demand.
Priorities for supporting various art forms attracted a diverse range of views, often reflecting
the area a respondent either practiced in or preferred as an arts consumer. Some
respondents felt funding was unequally allocated and, for instance, the visual arts needed
more support. Others felt that performance, such as dance, theatre and music, particularly for
young people, needed more focus in terms of funding and promotion.
Some considered that there needed to be broader representation on grants selection panels to
reflect a greater diversity of arts expertise, including informed consumers. Some felt less
should be spent at the “high end” of art and more provided for local, community and emerging
artists. Others felt that the ACT needed to present itself as a city of high-quality, nationally
competitive arts and funding should be focussed more on those who have a proven track
record and/or were more likely to attract larger audiences.
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However, it should be noted that a significant number of respondents felt that the ACT
Government was allocating arts funding appropriately (70). There were a few who felt that the
arts should be self supporting and funds presently allocated to the arts should be redirected to
areas such as health.
Others felt that there should be more accountability and transparency in the allocation of funds,
and what art forms are supported, particularly in relation to the outcomes expected.
Spaces, Venues and Facilities
Respondents generally valued existing art spaces in Canberra, including Megalo, Canberra
Contemporary Art Space, ANCA, QL2, M16, Strathnairn, Street Theatre, Corinbank, Craft
ACT, Hand-made markets, and assets like Canberra Theatre and Playhouse, Llewellyn Hall
and the ANU School of Arts. Tuggeranong and Belconnen Art Centres were seen to have
provided considerable opportunity to local artists and were generally appreciated by local arts
practitioners and consumers.
Some respondents pointed to the importance of CCAS because it strengthened the art scene
in Canberra with a mix of local and national artists involved in exhibition programs. There was
also support for other organisations and venues, such as the Canberra Musicians Club,
PhotoAccess, and the Watson Pottery Centre.
These local facilities were considered to be important in fostering an involvement in and

appreciation for art, and gave the community opportunities for learning and networking. A
number of respondents also considered that community art spaces were places where local
artists were able to find advice, encouragement and assistance in relation to the arts.
A significant number of practising artist respondents felt that the hire costs and availability of
venues for exhibitions and events were often discouraging, particularly in relation to emerging
artists, innovative art forms, and community amateur groups. As one respondent put it
“creative industries need space”.
There were suggestions that existing public community space, such as schools, could be used
more effectively to provide affordable art space, including space for exhibitions, dance and
music. It was also felt that larger community and professional organisations receiving funding
could share their premises by hiring them at a nominal rent to community and local amateur
groups. A number of respondents noted the high cost of hiring venues from professional
organisations.
On the other hand, a significant proportion of respondents were concerned about Government
funding support and the viability of significant organisations such as CSO, given their high-
quality professionalism and importance to Canberra.
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The lack of affordable, appropriate venues for amateur classical, choral and opera
performances is of concern to some local musicians and music audiences, including young
and emerging performers.
Contemporary musicians and audiences equally felt a need for more accessible performance
spaces. Some suggested providing non-traditional venues, such as street and other public
spaces and, for instance, opening up places like the Manuka Arts Centre to performances.
Commercial galleries were appreciated by respondents as they were seen as providing a

valuable mix to the art scene, strengthening it with interesting exhibitions, a varied range of
artists’ work and providing an opportunity to buy works of art. Some respondents visited private
art galleries regularly.
Some respondents would like to see existing art spaces expanded to include a dedicated
photography gallery and a dedicated dance and acting space. A few considered that Albert
Hall could be returned to the performing and visual arts. There was also some concern about
the need for appropriate space for chamber music.
A few respondents felt that most arts facilities were concentrated on the north side, particularly
the inner north, and felt the south side would benefit from more art space. However, others felt
that location was not so important if venues were properly marketed to the general public and
were centrally accessible for innovative and emerging art and artists
Public Art and Public Art Selection Processes
There was a range of views on public art, particularly in relation to large roadside sculptures.
However, most respondents who discussed public art were strongly supportive of the concept,
and valued the existing public art (applauded it as one respondent put it).
On the other hand, there were some who indicated they did not support the existing public art
or the concept of public art, as they thought it was too expensive, thus draining money from
other areas of art and from public expenditure generally. Several respondents who supported
public art found some of the existing public art work ugly, inappropriate and/or out of place,
while others liked it.
Many respondents felt that there needed to be more transparency in the selection processes
for public art. Some suggested reviewing selection panels to ensure greater input from a
broader mix of community and professional artists and informed art consumers. A few
respondents felt that the current selection process had resulted in hasty decisions and
inappropriate and expensive public artworks in a number of locations.
There was a view from some that the selection process appeared to be weighted to reflect the
views of “the bureaucracy” too heavily. Also, politicians should not be involved in the selection
of public art or artists. Some indicated that they would like to see public art created by artists
with a strong local connection. Selection of artists and public art should be facilitated through
an open tender process so it is transparent.
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There were several respondents who wanted to see the 1% levy for public art reintroduced and
a considerable number of others who expressed disappointment that the public art program
might have effectively ceased and encouraged its continuation.
Some respondents felt that public art should be considered in the context of its location and
within the context of a cohesive vision for Canberra (eg. themes for suburbs). Other
respondents felt that public art should be smaller and more easily accessible in public spaces
(such as Garema Place, community shops and parks) so that people could get near and touch
them. These respondents felt that accessible public art should receive priority over large-scale
roadside public art. Others felt that the current public art program was too traditional
(“conservative and boring”) and should be more innovative to fit with Canberra’s defined
spaces, such as sound/performance/video installation that could “capture the public’s
imagination”.
A significant number appreciated the existing public art and wanted it to continue in the same
vein.
Emerging Artists and Innovative Art
A significant number of respondents indicated that they would like to see more support for
emerging artists and innovative art forms. Some felt this could best be achieved by providing
less expensive access to exhibition and performance spaces. A number of respondents
discussed the recently increased costs of performance venues, particularly those managed by
professional organisations. There were suggestions that public spaces, including open spaces,
could be offered to emerging artists, and more funding provided for those emerging artists who
were not eligible for youth funding.
Some felt that there was too much spent on expensive imported art, such as roadside and park
sculptures, rather than on developing local emerging and innovative artists. One respondent
mentioned that professional companies also needed more funding to be innovative. Some felt
that more attention should be given to local amateur theatre and acting while others expressed
appreciation for organisations like Impro Theatre ACT/Ickle Pickle Productions which offered
innovative improvisation classes for all ages and abilities. Street Theatre was also noted for its
innovative programming. There was also a concern that innovative music and emerging
musicians were not supported well enough.
Some respondents felt that a focus on traditional arts discouraged emerging and innovative art
forms. Others referred to a reluctance to encourage innovation from more established areas of
the arts. It was suggested, for instance, that there should be more funding for innovative
public art and support for emerging artists to contribute to this. One respondent discussed the
predictable nature of the current standard arts mix within facilities which discouraged
interesting collaborations that can arise from having, for instance, environmental education and
sculptors in the same space. The Toronto Artscape Inc was mentioned as an example. Others
mentioned the need for more innovative architecture to make Canberra a more interesting and
185
attractive city. Many believed that innovation was critical to the development of a healthy art
scene and more support should be given to it to ensure the vibrancy of Canberra’s arts.
It was felt that there could be a multi-tiered funding system set up to maintain professional
organisations and on the other hand to foster the development of emerging artists and
innovative art. This would address concerns about how emerging artists and innovation were
supported. It was also suggested that other funding mixes could be examined that would
spread the existing funding dollar further, such as matching funds for the arts where an
organisation receives 50% from Government and the other 50% is from sponsorship.
Arts Education and Promotion
A significant proportion of respondents were involved in art education as teachers, either

professionally or at a community level, as well as being arts consumers. There were a variety
of views about how arts education and promotion of the arts should be pursued. Many felt that
there were critical aspects to creating demand and an appreciation of the arts, and giving
young people an important “tool for life” through the arts.
A significant number of respondents felt that more funding should be directed to arts education
in community art spaces and at schools. It was also felt that some funding should be available
for promoting emerging arts, in particular for costs of advertising for local amateur artists and
performers. Others felt that some education and guidance should be given to emerging artists
to assist with issues like grant applications and self promotion. It was also considered by
some that stronger links should be created between the arts and educational institutions in the
ACT and between all levels of government departments. One respondent suggested that well-
known performing or visual artists visiting the ACT could, for instance, be asked by the
government to spend a day at schools promoting the importance of the arts. This, it was said,
could create general awareness and publicity across Canberra for the arts, as well as inspiring
young people in their appreciation of the arts and its role in maintaining a “healthy” society.
It was also considered that local media could assist the community in terms of art education
and promotion. A number of respondents felt that local commercial media should be
encouraged to increase its attention to the arts.
A number of respondents felt that if there were more funds to support exhibition and
performance costs, including street performances, it could encourage those not traditionally
involved in the arts to attend. This would have an important educational benefit.
Respondents who were strong supporters of the arts generally felt that the ACT was fortunate
to have one of the best art schools in Australia at the ANU, as well as an excellent music
school. Some believed that these and other local and national organisations and institutions,
such as Continuing Education, CIT, UC and CMAG created a good learning environment. It
186
was felt that CMAG, for instance, provided an outstanding education program and it should be
supported in this area.
A number of respondents pointed to the importance of funding and resourcing developing arts
education facilities to make Canberra a city of choice for young creative/artistic people. This
could include boosting the learning environments in existing organisations and institutions,
particularly at local art spaces such as CCAS. Several respondents believed that there were
opportunities in arts education to raise people’s consciousness about environmentally
conscious “green art”.
A smaller number of respondents felt that developing more art education was not necessarily
important for Canberra.
Arts Events and Festivals
A majority of respondents felt that arts events and festivals provided a sense of community and
an occasion to celebrate the arts generally. They also support cultural heritage and diversity
as well as giving Canberra an improved image and economic opportunities. Most indicated that
they attended or participated in one or more of Canberra’s arts events and festivals, including
festivals like NAIDOC, outdoor arts events such as opera, the CSO at Government House,
choral music, band events and contemporary music. The importance of the Canberra short
film festival/Troppfest and the international film festival was also discussed and appreciated as
accessible and reasonably priced events that helped broaden people’s perspectives and
promoted social inclusion.
The National Folk Festival was a highlight for many, as was the Multicultural Festival and
Floriade. There were some who felt the Multicultural Festival was declining in its
attractiveness, and some disappointment that the Fringe Festival had been moved.
There was a general feeling that local arts events and festivals should be well supported by the
government and that support and assistance with promotion should also be provided to the
lesser known festivals and events such as Vivid, the photography festival, craft events, and
amateur classical, contemporary and band music and visual art events.
A number of respondents mentioned the need for festivals to be better marketed and more
dynamic. There was support for more fringe style festivals and arts events outside galleries to
make them more broadly accessible.
While there was strong appreciation of Canberra’s festivals and outdoor arts events from a
large majority of respondents, a few indicated that they were not supportive of them and didn’t
attend any. Some felt that too much money was spent on festivals and not enough spent on
arts promotion. However, others appreciated local arts events and the “many excellent
festivals that had started in Canberra in the last few years”, believing that they “help cement
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Canberra as a great place for young people to live, and offering cultural experiences relevant
to young people”.
Economic, Social and Tourism Benefits
Some respondents felt that more status should be given to the importance of arts to human
well-being and a healthy society rather than to economic benefit or return on investment.. It
was further considered that creative thinking was critical to equipping people to adapt to
today’s rapid changes and demands. Several respondents discussed the importance of arts to
individuals and to society’s health, where the “benefits are enormous” for mental and emotional
health, which in turn impact on the ACT economy.
Generally, most respondents believed that arts were indispensable to a vital and vibrant
economy, and that it was not possible to just create and sustain “high end” arts without building
them up from the community, Community-based arts therefore needed to be supported. A
number of examples of arts events and festivals providing considerable economic benefit were
given, including the Edinburgh Festival, the Tamworth Festival, the ACT’s Floriade and
National Folk Festival. It was considered that these and other events in Canberra, contributed
significantly to tourism and subsequently financially to the ACT economy.
There was acknowledgement by a number of respondents that “blockbusters” at national

cultural institutions were responsible for large visitor numbers. However, local festivals and art
events, particularly outdoor arts events, CMAG exhibitions, Canberra Theatre and ANU School
of Music and School of Art exhibitions and performances also attracted visitors. Several
respondents talked about their experience of these local events and facilities attracting visitors
from interstate and overseas.
There was a widespread belief amongst respondents that a vibrant local art scene also
attracted and retained younger residents and creative industries which provided important
economic and social benefits. It was strongly felt that a vibrant arts community, as well as
public art, made cities more attractive places in which to live and work and contributed both
directly and indirectly to the economy. It was considered that a strong arts sector attracts
creative people and creative industries and “generally nourishes people”. It was pointed out
that a strong arts sector also employs a range of people in different industries, including trades
people, and provides a positive outlet for young people in a range of circumstances.
However, there was a view that Canberra needed to move away from the image of a “small”,
“unimportant” and culturally weak place to which people moved as a last resort. It was felt that
this was because the strong, local art movement in Canberra was a little “underground”, and
needed to be supported and promoted more effectively both within the ACT and nationally.
This was particularly true, according to a number of respondents, in relation to lesser known
events. In this respect, one respondent referred to the Vivid national photography festival as a
case in point, and another referred to Conflux, the Canberra speculative fiction convention
188
which “draws more than four times the number of its Sydney equivalent and about the same
number as Melbourne”.
Others felt that some of the better known festivals were not what they used to be and could be
better supported to ensure continued tourism, economic and social benefits.
Some respondents felt that local arts organisations, like the Canberra Musicians Club, could
be a “fantastic tourist draw” if they were supported to extend their events and integrated into
more public spaces.
A number of respondents felt that local arts needed to structure themselves within the
framework of the major national cultural institutions, which are the lifeblood of ACT tourism. In
this way local arts could gain strength from the national institutions.
There was also a view from a few that local arts contributed little to the economy and could in
fact be a drain on the economy.
Conclusion
There was a wide range of very divergent views expressed by survey respondents, making it
difficult to quantify responses. As one respondent put it; “At end of day, the problem is that the
perception of balance is driven by people's particular taste and preferences”.
Many people felt that not enough was being spent in a number of areas of the arts. However,
there were of course differing priority areas for expenditure depending on interests.
A number of issues emerged as being of great interest to the public, including the vital role of
the arts in community engagement, education, social and economic development. The arts
are highly valued in Canberra and appropriate venues for community and professional arts are
recognised as important . The arts should be accessible and public art is appreciated.
A majority of respondents supported emerging and innovative arts, more local arts spaces,
professional and amateur arts, and strongly valued arts events and festivals.
The public generally recognise the value of the arts and that Government has an important
leadership role to support the arts through funding, promotion and positive partnerships.
It was felt that to address people’s perceptions about priorities “the Government needed a
transparent process that showed that activities had been funded according to demand/need
and opportunity for improvement”.
Contributions to the survey have provided very useful and valued ideas for the review team,
and will become an important contribution to the ACT Government’s future arts strategy.
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Review of The Arts in Canberra - Community Consultation - Final Report by Peter Loxton

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3.1 Canberra: Brief History, Location and Population .................................................... 13

3.2 ACT Government - Territory and Local Responsibilities .......................................... 13

4. CURRENT ARTS LANDSCAPE ........................................................................14

4.1 Arts Activities............................................................................................................ 14

4.2 Arts Organisations.................................................................................................... 16

4.3 Arts Facilities............................................................................................................ 17

4.4 Funding .................................................................................................................... 19

5. CONSULTATIONS SUMMARY .........................................................................20

6. ISSUES, POLICY DIRECTIONS AND DELIVERY ............................................25

6.1 Government ............................................................................................................. 25

6.1.1 Arts, Culture and Heritage – What Role for Government?................................ 25

6.1.2 Australian Government, Other Jurisdictions and Policy Alignment ................... 28

6.1.4 Chief Minister’s Department (CMD), Other ACT Agencies

6.2 ACT Government Arts Policy Review ...................................................................... 36

6.3 artsACT .................................................................................................................... 43

6.4 Major ACT Arts Bodies............................................................................................. 47

6.4.1 Cultural Council (CC) ........................................................................................ 47

6.4.2 Cultural Facilities Corporation (CFC) ................................................................ 49

6.4.3 Heritage and Proposed Historic Properties Trust (HPT) .................................. 54

6.5 Arts Organisations.................................................................................................... 57

6.6.1 Established Artists............................................................................................. 67

6.6.2 Emerging Artists ................................................................................................ 69

6.6.3 Artists in Residence .......................................................................................... 73

6.7 Community Participation in the Arts ......................................................................... 76

6.8 Public Art ................................................................................................................. 80

6.9 Venues and Facilities .............................................................................................. 83

6.10 Cultural Facilities Planning..................................................................................... 88

6.12 Data and Research ................................................................................................ 94

6.13 Communication, Marketing and Promotion ............................................................ 96

6.14.1 Australian National University (ANU) .............................................................. 98

6.14.2 University of Canberra (UC) .......................................................................... 101

6.15 National Cultural Institutions ............................................................................... 103

6.16 Diversity .............................................................................................................. 105

6.17 Indigenous Arts .................................................................................................... 108

6.18 Accessibility.......................................................................................................... 113

6.19 Arts and Education .............................................................................................. 115

6.20 Arts, Health and Social Development .................................................................. 118

6.21 Arts Innovation and Economic Development ...................................................... 120

6.22 Arts and Environmental Sustainability.................................................................. 123

6.23 The Public ........................................................................................................... 125

7.1 Arts Budget Reflecting Policy Priorities.................................................................. 128

7.2 Funding Categories, Processes and Decisions ..................................................... 134

7.3 Future Funding Priorities........................................................................................ 140

7.4 Funding Sources – Partnerships, Sponsorship and Philanthropy.......................... 147

9.1 Public Submissions Summary................................................................................ 170

9.2 Public Consultations Summary .............................................................................. 175

9.3 Online Public Survey Summary ............................................................................. 181

Issues and Learnings

Future Policy Directions

1. Increasing participation in the arts

Summary of Key Issues, Analysis and Recommendations

artsACT should be encouraged to broaden its policy scope to build capacity,

Cultural Facilities Corporation

The Cultural Facilities Corporation (CFC) demonstrates effective administration with

There is strong evidence to support a Government funded Artists in Residence

Community Participation in the Arts

Facilities and Planning

Access and rental arrangements need to be reviewed to ensure clarity and

Communication, Marketing and Promotion

Diversity, Indigenous Arts and Accessibility

Diversity is a very important issue that needs to become a broader shared