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Creating Queensland: Creative Communities Partnership-Brisbane This may be the author’s version of a work that was submitted/accepted for publication in the following source: Gattenhof, Sandra& Hadley, Bree (2011) Creating Queensland: Creative communities partnership - Brisbane Fes- tival and Australia Council for the Arts 2010. Queensland University of Technology, Australia. This file was downloaded from: https://eprints.qut.edu.au/54833/ c Consult author(s) regarding copyright matters This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. 1 Executive Summary In March 2010, Brisbane Festival The Final Report finds that the Creating commissioned a Research Team, led by Queensland events concentrate on Dr Bree Hadley and Dr Sandra Gattenhof, developing specific experiences for those Creative Industries Faculty, Queensland involved – usually associated with University of Technology, to conduct an storytelling, showcasing, and the evaluation of the Creating Queensland valorisation or re-valorisation of program, a new Creative Communities neglected or forgotten cultural forms – in partnership between Brisbane Festival order to give communities a voice. It and the Australia Council for the Arts. finds that the events prioritise accessibility – usually associated with This Final Report reviews and reports on allowing specific local communities or the effectiveness of the program local artists to present material that is gathered during three phases throughout meaningful to them – and inclusivity – 2010: Phase 1, in which the research team usually associated with using connections analysed Brisbane Festival’s pre-existing with producing partners (such as the data on the Creating Queensland events in Multicultural Development Association) 2009; Phase 2, in which the research to bring more and more people into the team designed a new suite of program. It finds that the events have a instruments to gather data from capacity-building effect, which allows producers, producing partners, artists local communities to increase their and attendees involved in the Creating capacity to launch their own ideas, Queensland events in 2010; and Phase 3, initiatives or events, allows individuals to in which the research team used content increase their employability, or allows analysis of the narratives emerging in the communities and individuals to increase data to establish how Brisbane Festival their visibility within mainstream cultural has adopted processes, activities or practices and infrastructure. The Final engagement protocols to operate as Report further finds that Brisbane catalysts that produce experiences with Festival has, throughout its years of specific impacts on individuals and commitment to community communities. programming, developed specific techniques to enable events in the Creating Queensland program to have these effects, that these can be tracked, Creating Queensland Report 2 and, as a result, deployed or redeployed excellence relate to Brisbane Festival’s both by Brisbane Festival and other longstanding commitment to community community arts organisations in the arts, and active community participation development of effective community arts in the arts, as well as its ability to create programs. well-known and loved programs that use effective techniques to have a positive The data demonstrates that Creating impact on communities. Areas for Queensland is, by and large, having the improvement relate to Brisbane Festival’s desired effect on communities – people potential to benefit from the following: are actually participating, presenting clarifying relationships between work, and increasing their personal, community participants and professional and social skills in various professionals; increasing mentoring ways, and this is valued by all relationships between these groups; stakeholders. consolidating the discourses it uses to describe event aims across strategic, The data also demonstrates that, as production, and publicity documents would be expected with any community across the years; and re-considering the arts program – particularly programs of number of small events inside the larger this size and complexity – there are areas Creating Queensland program. in which Creating Queensland is functioning exceptionally well and areas in which continuous improvement processes should be continued. Areas of Creating Queensland Report 3 Table of Contents Abbreviations .......................................................................................................................................... 6 1.0 The Creating Queensland Evaluation ................................................................................................ 7 1.1 The Creating Queensland Evaluation .................................................................................... 7 1.2 The Creating Queensland Evaluation Framework ............................................................... 7 1.3 The Creating Queensland Evaluation – Phases, Timelines and Deliverables ...................... 8 1.4 The Creating Queensland Final Report ............................................................................... 9 2.0 The Creating Queensland Evaluation – Final Report ..................................................................... 10 3.0 Results & Recommendations .......................................................................................................... 12 3.1 The Aims and Agendas of Creating Queensland ................................................................. 12 3.2 The Enablers of Impact in Creating Queensland Events ................................................... 14 3.3 Recommendations for Improvement of Creating Queensland Events ............................ 16 4.0 The Creating Queensland Evaluation – Phase 1 .............................................................................. 19 5.0 The Creating Queensland Evaluation – Phase 2 ............................................................................. 22 5.1 Transferability of Data Collection Instruments ................................................................ 25 6.0 The Creating Queensland Program - Aims and Agendas .............................................................. 27 6.1 History ................................................................................................................................ 27 6.2 Artistic Director Narratives ............................................................................................... 28 6.3 Conclusions ........................................................................................................................ 32 7.0 West End … Live .............................................................................................................................. 33 7.1 History, Aims & Activities ................................................................................................... 33 7.2 Activities Presented, Participation & Partnerships .......................................................... 33 7.3 Producer, Producing Partner and Artist Narratives ......................................................... 36 7.4 Attendee Narratives .......................................................................................................... 39 7.5 Conclusions ........................................................................................................................ 44 8.0 Into Africa ........................................................................................................................................ 45 8.1 History, Aims & Activities .................................................................................................. 45 8.2 Activities Presented, Participation & Partnerships .......................................................... 46 8.3 Producer, Producing Partner and Artist Narratives ........................................................ 48 8.4 Attendee Narratives ......................................................................................................... 52 8.5 Conclusions ........................................................................................................................ 56 9.0 Barambah to Boundary (The Next Stage of The Cherbourg Walk) ............................................... 58 9.1 History, Aims & Activities .................................................................................................. 58 9.2 Activities Presented, Participation & Partnerships .......................................................... 59 9.3 Producer, Producing Partner and Artist Narratives .......................................................
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