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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.

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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 ...... 60 9.4 Attendee Narratives ...... 67 9.5 Conclusions ...... 71 10.0 ‘Where We From’ … Banners Project ...... 72 10.1 History, Aims & Activities ...... 72 10.2 Activities Presented, Participation & Partnerships ...... 72 10.3 Producer, Producing Partner and Artist Narratives ...... 74 10.4 Attendee Narratives ...... 78 10.5 Conclusions ...... 81

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11.0 A Close Knit ...... 82 11.1 History, Aims & Activities ...... 82 11.2 Activities Presented, Participation & Partnerships ...... 82 11.3 Producer, Producing Partner and Artist Narratives ...... 83 11.4 Attendee Narratives ...... 87 11.5 Conclusions ...... 88 12.0 Art from the Margins ...... 89 12.1 History, Aims & Activities ...... 89 12.2 Activities Presented, Participation & Partnerships ...... 89 12.3 Producer, Producing Partner and Artist Narratives ...... 90 12.4 Attendee Narratives ...... 93 12.5 Conclusions ...... 95 13.0 Conclusion ...... 97 14.0 List of Source Documents ...... 98 15.0 Research Team Contacts ...... 100

Creating Queensland Report 5

Abbreviations The following abbreviations are used in the document to identify events:

ACK – A Close Knit

AFTM – Art from the Margins

B2B – Barambah to Boundary

Banners - Where We From … Banners

CQ – Creating Queensland

IA – Into Africa

WEL – West End … Live.

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TheCreatingQueensland Evaluation

1.1 The Creating Queensland 1.2 The Creating Queensland Evaluation Evaluation Framework

In March 2010, Brisbane Festival The evaluation of the Creating commissioned a Research Team led by Dr Queensland program was designed to Bree Hadley and Dr Sandra Gattenhof, establish the impact of eight events, Creative Industries Faculty, Queensland exhibitions and activities Brisbane University of Technology, to conduct an Festival is producing under the Creating evaluation of the Creating Queensland Queensland banner in 2009 and 2010, the program, a new Creative Communities communities they engage, and more partnership between Brisbane Festival specifically the way the processes, and the Australia Council for the Arts. activities and engagement protocols adopted by Brisbane Festival function as The Creating Queensland program is a two enablers of this impact. year program designed to respond to the changing culture of communities in The eight programs addressed in the Queensland’s suburbs, regional and rural evaluation included West End … Live, Into centres. In particular, the Creating Africa, The Cherbourg Walk, Barambah to Queensland program is designed to Boundary (The Next Stage of the support the development of the Cherbourg Walk), “where we from” – communities it engages by enabling Banners Project, A Close Knit and Art from people to participate in events which the Margins. embody the culture of the local area, in the local area, and enable people to The evaluation operated within a access arts of excellence, and access community cultural development opportunities to produce their own art of paradigm, and was holistic insofar as it excellence, in their local area. Brisbane captured quantitative, qualitative and Festival is committed to tracking and performative data on the aesthetic, social recording its impact on communities. and cultural impact of the Creating Queensland program. The evaluation provided data on who is participating in

the programs, and the geographic, demographic, psychographic and

Creating Queensland Report 7

behavioural profile of participants participants’ experience of the Creating (including artists, artsworkers, Queensland program in 2010. The community participants and audiences). Research Team coded the data collected Moreover, it provided data on the way via these methods according to the participation in the programs has been established categories of impact. The effective in starting to create changes in research team then conducted a content the communities engaged by and textual analysis of the data to consolidating existing intra- or inter- identify the way specific processes, group relationships, creating new intra- activities or engagement protocols that or inter-group relations, leveraging Brisbane Festival has embedded in the relationships to build cultural capital for Creating Queensland program function as individuals and communities. Examples enablers of each category of impact. include starting to create new These categories include the way specific opportunities to access, experience or activities enable people to: access participate in arts of excellence, express cultural programs; experience cultural cultural identity, be creative, connect programs; participate in cultural with others in the community, and programs; express themselves via cultivate new skills and capacities. cultural programs; connect to themselves, their community or their culture via cultural programs; envisage 1.3 The Creating Queensland new possibilities for themselves or their Evaluation – Phases, community via cultural programs; or Timelines and Deliverables establish new skills / capacity for themselves or their community via The evaluation of the Creating cultural programs. Queensland program was designed to unfold in three phases – Phase 3: (November-December 2010) The research team evaluated and Phase 1: (March-May 2010) reported on the performance of the In Phase 1, the Research Team analysed Creating Queensland program. The Brisbane Festival’s existing quantitative evaluation reported on the anticipated data on who is participating in the and actual impact of the Creating Creating Queensland cultural programs, Queensland program in relation to the when, and how. established categories, including a summary of which processes, activities or Phase 2: Part A (June-July 2010) engagement protocols had been the In Phase 2: Part A, the Research Team most effective catalysts for specific types team consulted with stakeholders – of impact. It also reported on how impact including Brisbane Festival, artists, relates to past, present and intended artsworkers, and community groups – to future participation in the Creating establish categories of impact, and create Queensland program amongst target instruments to be used to collect data on groups such as young people, indigenous the categories of impact. communities and culturally diverse communities. In doing so, the evaluation Phase 2: Part B (August-September- provided evidence of the significance of October 2010) the Creating Queensland program in In Phase 2: Part B, the Research Team aesthetic, social and cultural terms for used instruments, including observations, communities in South-East Queensland. surveys, focus groups and still and moving images, to collect quantitative,

qualitative and performative data on the

Creating Queensland Report 8

1.4 The Creating Queensland Final Report

The Creating Queensland Final Report draws on all data gathered across the three phases of the Evaluation to provide comprehensive data on the program, the catalysts for individual and community impact embedded in the program, strengths, issues, and areas for ongoing improvement.

Creating Queensland Report 9

TheCreatingQueensland Evaluation– FinalReport

As indicated, this Final Report provides It then provides (Part 5) a summary of information on the actions the Research the overall aims, agendas and Team has taken in gathering, analysing approaches that characterise the Creating and articulating the significance of data Queensland program, from the point of on the Creating Queensland program view of current Artistic Director Noel throughout 2010. Staunton and immediate past Artistic Director Lyndon Terracini. This Final Report is presented in four main parts. It begins (Part 1) with a It then provides (Parts 6-12) a summary of summary of the purpose and processes data gathered on each event in the of the Creating Queensland evaluation. It Creating Queensland program – West End then (Part 2) provides a summary of the … Live, Into Africa, The Cherbourg Walk, contents of the Creating Queensland Barambah to Boundary (The Next Stage of evaluation Final Report, and the methods the Cherbourg Walk), “where we from” – used to develop the Final Report. Banners Project, A Close Knit and Art from the Margins – during Phase 2 of the It then moves to the main data on the project, completed in January 2011. Phase Creating Queensland program. It provides 2 concentrated on collecting, collating (Part 3) a summary of data gathered and analysing direct research data from during Phase 1 of the project, completed artists, artsworkers, partners and in July 2010, which concentrated on audiences participating in the events, collecting, collating and analysing exhibitions and activities operating as Brisbane Festival’s existing data on the part of the Creating Queensland program events, exhibitions and activities in 2010. The summary emphasises operating as part of the Creating information that emerged from a content Queensland program in 2009. It highlights analysis of the artists’, artsworkers’, the issues identified with the existing partners’ and audiences’ narratives about data, the development of research the Creating Queensland program. In measurement instruments to gather data particular, the content analysis enabled in 2010, and implementation of these the summaries for each event to instruments as part of Phase 2 (Part 4). highlight the way specific processes, activities or engagement protocols that Brisbane Festival has embedded in the

Creating Queensland Report 10

Creating Queensland program function as enablers of impact, and thus – in the view of the stakeholders – enhance the aesthetic, the accessibility, the inclusivity, or the capacity-building outcomes of the Creating Queensland program. In doing so, it not only provided evidence of the impact of the Creating Queensland program, but important new information on the processes, activities or engagement protocols that are the most effective catalysts for specific types of impact in a community arts context – information of interest to Brisbane Festival, and other arts organisations.

The Final Report concludes with commendations, affirmations and recommendations for the Creating Queensland program itself, and recommendations for Brisbane Festival about the processes, protocols and timelines likely to be most effective in continuing to evaluate the impact of the Creating Queensland program in the future.

Creating Queensland Report 11

Results& Recommendations

positioning events as part of the cultural 3.1 The Aims and Agendas of capacity building for and with communities” (Teresa Walters, Marketing Creating Queensland Director Brisbane Festival interview 2010).

The Creating Queensland program is a two The data indicates that Terracini is very year program designed to respond to the clear about how his programming choices changing culture of communities in are designed to have the greatest possible Queensland, and is designed to support impact on communities. In terms of the the development of the communities it aesthetic experience, Terracini took a engages by enabling people to deliberate decision to move the participate in events which embody the community programming away from culture of the local area, in the local area, traditional cultural venues, and out to the and enable people to access arts of people, both in its production leading up excellence, and access opportunities to to the festival (when consultations were produce their own art of excellence, in conducted), and during the festival itself. their local area. Though the Artistic In terms of accessibility, Terranci tried to Directors of Brisbane Festival – Tony ensure that events were proximate to the Gould, Lyndon Terracini and now Noel public, and free of charge to the public. In Staunton – have different articulations of terms of inclusivity, Terracini tried always community, the constant seems to be a to mix high art and grassroots cultural desire to create impactful events. This forms in line with his ‘Cultural Pyramid’ has matured under Terracini’s tenure at which proposed the high art should bleed which point the community programming down to the grassroots cultural forms, and was rebadged as Creating Queensland vice versa, to ensure maximum creativity, (CQ). The change in name was “a connections and impact. In terms of maturing of the community component capacity-building, Terracini emphasised (to of the festival. Brisbane Festival maintain the past tense already used) acknowledged that events contained in throughout his time with Brisbane Festival Across Brisbane no longer needed to be that his ultimate goal was to see the grouped under an alternative banner but communities reach the stage where they could stand alone as cultural events in had the capacity and confidence to take their own right. Creating Queensland also over the events, take flight from under the represents an ideological shift in festival’s wings, and become more

Creating Queensland Report 12

independent. The data shows that involved express a desire to continue Staunton will continue to make participating – even if it is clear that there improvements in the way programming will always be a proportion of people engages communities, and collapse high who are happy to participate as and community art silos, though it is likely spectators only. to be in a more streamlined and marketable form. Staunton has not yet had COMMENDATIONS a chance to put his ideas into action in the Creating Queensland program. 1. Brisbane Festival is to be commended for its ongoing commitment to develop and The data indicates that there has been an program community events as part of ongoing commitment at the highest level Brisbane Festival’s main program at the of the organisation to develop and highest level of the organisation; program community events as part of the 2. Brisbane Festival is to be commended for Brisbane Festival main program. The designing community events that align data collected also indicates that the well with current cultural interest in approaches adopted by the Brisbane positioning community members as Festival are, by and large, bearing fruit. active participants in, rather than passive The larger events – West End … Live and recipients of, cultural production Into Africa – have become recognised practices; components of the festival, enjoyed by 3. Brisbane Festival is to be commended for those involved. The smaller events – A developing, in many cases over years of Close Knit and Art From the Margins – do community consultation, engagement not have the same level of recognition, and capacity building, extremely but are also enjoyed by those involved. recognisable events such as West End … The events, together, engage a very wide Live and Into Africa; variety of Queenslanders – West End … 4. Brisbane Festival is to be commended for Live draws singles, friends and families its commitment to running these ongoing from throughout the local area. Into events in such a way that many Africa draws singles, friends and families individuals and communities engaged from the local area and further afield, reach the stage where they have the including a very strong representation of capacity and confidence to start African communities. A Close Knit draws producing on their own, take flight from children, marginalised communities and under the festival’s wings, and become seniors. Art from the Margins mainly more independent; draw Anglo-Australians, and mainly 5. Brisbane Festival is to be commended for people in the 30-50 age group. The creating specific experiences, creating difference in the demographics specific techniques to enable the notwithstanding, the majority of emergence of these experiences, and producers, producing partners, artists creating techniques that lead to specific and attendees feel good about the fact effects, which are well documented and that they are participating in these likely to be of interest to other programs in whatever capacity. community arts creators. Moreover, many who hope to pursue careers in the arts can cite training and AFFIRMATIONS employment opportunities they’ve had access to via Brisbane Festival, 1. Whilst it is acknowledged that some particularly in the West End … Live, A producers do occasionally raise issues Close Knit and Art From the Margins about strategic planning, scheduling and programs. In this context, it is perhaps timeframes for community events, it is not surprising that 60-90% of those affirmed that Brisbane Festival does its

Creating Queensland Report 13

best to bring events to fruition in the cultural product, engender conversation, economic and industrial conditions it and engender interactions, so that operates under; people will come away from them feeling 2. Whilst it is acknowledged that some more confident and more connected to attendees do occasionally raise issues others in the community. The producers about the representativeness of do this through a variety of mediums, community events, it is again affirmed including drama, dance, music, two- that Brisbane Festival does its best to dimensional and three-dimensional visual bring events to fruition in the economic arts, creative writing, craft, textiles and and industrial conditions in which it food. operates. The data indicated that producers use a 3.2 The Enablers of Impact in variety of strategies to create this sort of Creating Queensland Events aesthetic or experience – that is, to enable effects or impacts. There is a clear

emphasis on listening to the community, The data collected also provided letting the community get involved in the interesting new information on how the programming, providing constant Creating Queensland programs work to variations and additions to the programs, create positive effects, likely to be of and co-locating smaller or less recognised interest both to Brisbane Festival, and events – such as Art From the Margins or other organisations. A Close Knit – with larger Brisbane

Festival events that are likely to draw This information can be grouped bigger crowds, to increase the chance according to the aesthetic, accessibility, that people will be able to connect with inclusivity and capacity-building that the events. There is also a clear emphasis characterise each of the events, albeit in on getting as many people as possible slightly different ways from event to involved, providing different event. perspectives. While some events such as

West End … Live and Into Africa aim to CATEGORY 1 – The Aesthetic of Creating draw large numbers, others such as A Queensland Events Close Knit, Barambah to Boundary, and The data indicated that the emphasis for Where We From … Banners aim to remain producers across the Creating Queensland intimate. programs is not bound within a high-arts

aesthetic or experience. Rather, The data indicates that the effect of producers talk about community these approaches is often felt by storytelling, sharing of stories across producing partners, artists and cultures or community groups, sharing of communities to be a return to diverse stories, community showcasing, longstanding community traditions that validating community cultural practices have been lost in contemporary society, a (such as knitting), validating cultural renewal of community connections, and practices of all people in the community recognition of the capacity that (such as disabled people, homeless marginalised groups have to contribute people, African people, Indigenous to Brisbane, and to Australia. The Australian people), and creating events artifacts, objects and images produced that are both fun and informative. Whilst become talking points for engendering the languages shifts a little – for example, cross-cultural awareness, conversations, from showcasing to storytelling – across and further community building after the events, clearly producers want to create events. events that involve a combination

community and professional arts and

Creating Queensland Report 14

CATEGORY 2 – The Accessibility of The data indicates that the effect of this Creating Queensland Events approach varies slightly from event to The data indicated that the Creating event. It results in increased care in Queensland events do allow people to representation of community at events access arts and cultural programs – such as Barambah to Boundary, increased though the nature of that access differs a attendance, increased participation, and little from program to program. In events increased confidence at events such as like Into Africa, Art for the Margins, Into Africa, A Close Knit and Art from the Barambah to Boundary, Where We From Margins, and it can also result in a more … Banners and A Close Knit, there is a familiar, friendly, family-oriented clear emphasis on allowing local people – program people feel comfortable at for non-professionals – to participate as events like West End … Live, supporting artists, as producers of cultural product. the inclusivity of the Creating Queensland In this sense, these people are producers, events. not just spectators, in the cultural events. Their talents are acknowledged, or re- CATEGORY 3 – The Inclusivity of Creating acknowledged in the case of events that Queensland Events revive cultural traditions, and their skills The data indicated that the Creating are developed. In events like West End … Queensland producers do design their Live, there is an element of this sort of events to be inclusive of a range of access, but there is more attention to community members – though, again, as showcasing emerging professional was the case with accessibility, the artists, allowing them the opportunity to nature of that inclusion differs a little access the stages (Is this too narrow a from program to program. Into Africa term for the performance spaces?), aims to allow African people to have a improve, and pursue their professional voice in the wider community. Art from careers. the Margins aims to allow disabled or homeless people to have a voice in the The data indicates that the approach that wider community, and have their work enables Creating Queensland events to be recognised as aesthetically and effective in increasing access is almost emotionally powerful. A Close Knit aims always consultancy, in which the to do this too, with an even greater producer engages with community emphasis on the involvement of multiple groups, actively seeks out people who communities together. West End … Live might be interested in and benefit from aims, primarily, to include local artists in participating, and then works to create the program, to allow them a voice and a structures in which that participation can place to showcase their skills. Barambah happen. These may be larger or smaller to Boundary and Where We From … numbers of people – for example in Banners aim to bring the Brisbane and events such as Barambah to Boundary Cherbourg communities together. and Where We From… Banners, the producers deliberately draw people in The approach that enables Creating one by one and are happy to keep the Queensland events to do this, once again, experience small and intimate. In some often starts with the cultivation of events – for example, Into Africa and A connections with community groups Close Knit – bringing community who, in turn, allow Brisbane Festival to participants into the program as identify a lot of locals who can be used as producers or artists has a flow-on effect, artists at the events. For example, the as they feel empowered to bring even Multicultural Development Association more people into the program. serves this purpose for Brisbane Festival. Often producers will start with specific

Creating Queensland Report 15

target groups, to allow them to be and skill to share by placing community included, place them in contexts where programs at major cultural infrastructure, they will thrive, and then allow the to confirm their validity and value. groups involved to grow deliberately or organically as time unfolds. The effect of this approach is increased individual and community skills, capacity The effect of this approach is to increase and confidence, and a number of community ownership of the Creating participants can cite increased Queensland events, extend community professional opportunities they have now involvement, extend the sense of encountered as a result of participation in achievement amongst participants, and Creating Queensland events. Participants eventually make the events more can also cite increased connection with, recognised and sustainable. This can also capacity in, and ownership of cultural result in some of the producing partner production processes as a result of organisations’ aims and agendas around participation in the Creating Queensland community development being events. supported and developed further.

CATEGORY 4 – The Capacity-Building of 3.3 Recommendations for Creating Queensland Events Improvement of Creating The data indicated that community capacity-building is a clear focus for Queensland Events producers throughout many Creating Queensland events. The producers want Although the data does indicate that the to develop local capacity for the experience of Creating Queensland events generation of events. This includes the is mainly positive, and that Brisbane enhancement of local artists to be more Festival has via experimentation confident and to initiate and present identified enablers that do allow events their own events, initiatives, and to have the desired or anticipated impact programs. This is sometimes about re- which at present falls outside the scope connecting with old skills and capacities, of the project. and sometimes about connecting with new skills and capacities to engender a The data indicated there were six areas in feeling of pride and achievement. which approaches and / or potential for impact could be improved in the Creating The approach that enables the events to Queensland events. have these effects is inviting the same people to keep coming back so they can 1. The data indicated that the dual aim to develop over the years and share their develop local community members and learning with others. This allows people develop professional artists who live in to progress their skills, progress their the local community can be a source of skills at their own pace, and eventually tension and needs to be managed with share their skills with others. Though care. This tension emerged particularly mentorship is only mentioned in one with larger events such as Into Africa program – Into Africa – it is clear that event. At this event, there were networking and mentorship can, or can occasional community comments have the potential to, enable impact querying the inclusion of non-African across the events. Some events – for professional artists. These comments example, Barambah to Boundary and were matched by one professional artist Where We From … Banners – also try to querying the inclusion of community further the sense of achievement, skill, members if the quality of their work

Creating Queensland Report 16

could not be guaranteed. The mentorship events with which it was co-located. issue, explained below, points to a Brisbane Festival may need to further potential way of tackling and managing consider the pros and cons of this this tension. strategy, in light of the fact that this paradoxical status can limit some of the 2. The dual aim to develop local community showcasing effects, and in light of the members and develop professional issues regarding gaps between producer artists who live in the local community and participant expectations below. can be of benefit, insofar as people are afforded the opportunity to mentor or be 4. The placement of smaller events such as mentored by others. However, this A Close Knit, Barambah to Boundary, mentorship is a more explicit component Where We From…Banners and Art From of some events than of others. The data The Margins within larger events such as suggests that this is happening at most Into Africa or West End … Live or at large events. For example, people involved in A cultural institutions can create a clear gap Close Knit and Art From the Margins noted between producer and participant their increased networks, connections expectations. This emerged most clearly, and opportunities, indicating that they’d for example, with the Barambah to experienced benefit in their own capacity Boundary and Where We From… Banners to launch ideas, initiatives or events or programs. The producers were clearly of find work, just as people had at events the view that connecting ten or twenty where mentorship is a more explicit or thirty people is the important thing, component of the activities such as Into emphasising intimacy, engagement, and Africa. Using the mentorship language individual experience. They were not across all events could strengthen their concerned about low numbers of effect or impact further. It could also attendees, so long as those marginalised address tensions between local individuals who’d been asked to community members and professional participate experienced the value of the artists who live in the local community, event. The attendees did appreciate this by providing an opportunity for the to a degree, but they clearly thought the professionals to feel good about events should be advertised, and to be themselves and be recognised for their more visible in the Brisbane Festival ability to up-skill others. program, so that more people – and more diverse people – would come. This 3. The placement of smaller events such as gap has the potential to lead to A Close Knit, Barambah to Boundary, dissatisfaction and limit impact if people Where We From…Banners and Art From feel the events they’re involved in are not The Margins within larger events such as valued enough to draw attendees. Into Africa or West End … Live or at large cultural institutions has paradoxical 5. The multiple agendas for producers, effects. On the one hand, it does prove producing partners, artists and attendees effective in making people feel that at some events also demonstrated clear they’ve been brought into the potential to lead to conflicting – but co- professional arts community and valued. existing – narratives about the events. On the other hand, it does tend to make This emerged most clearly, for example, smaller events disappear – become with the Art from The Margins program. invisible – in the program. This emerged The event aimed – and certainly the most clearly, for example, with the A artists aimed – to emphasise Close Knit program, where attendees professionalism and quality. But some would not speak about it because they attendees still seemed to see it in a did not see it as distinct from the larger passive paradigm, a program giving

Creating Queensland Report 17

people who weren’t very productive in Festival is handling these tensions, at society something to do. This is largely at least to a degree, but would do well to be odds with the active engagement and aware of them, and foreground them in capacity building exercise Brisbane debates about how events are described, Festival is involved in with Creating so they do not become problems. In this Queensland. At present Brisbane Festival case, the issue seems to be about being appears to be managing these tensions clear that a showcase represents well, but they are worth being aware of, something, without having to be and bringing to the foreground in representative of absolutely everything debates about how events are described associated with that thing. Being clear so that they do not become problems. about this, and calling on producing Being clear about whether an event is partners to assist in clarifying this, could about community or professionals, about help make sure that some community engaging individual or attracting groups are not put off engaging with audience, or about excellence or therapy, Brisbane Festival by a (mis)perception particularly in discourses describing that they’ve claimed their showcase events to potential collaborators (during representations are fully representative, the production process) and attendees and felt left out of something they (during the publicity) could help to avoid (mis)perceived as designed to be fully dissatisfaction and disappointment. This representative. This requires consistent requires consistent discourses across discourses across strategic, production strategic, production and publicity and publicity documents, and across the documents, and across the years, which years, which is not presently the case. is not presently the case. Brisbane Festival may be able to call on strong The positioning of a large scale relationships with partners such as community arts program inside an arts Access Arts or Multicultural Development festival creates tensions in terms of the Association to assist in creating this strategies, schedules and timeframes for clarity. engaging with partners and other participants in producing work, and 6. The multiple agendas for the producers, debating the issues identified above. producing partners, artists and attendees Brisbane Festival’s most senior producers at some events also demonstrated a clear consistently highlighted a desire, and in potential to lead to conflicting – and in fact a need, to spend more time working this case controversial – narratives about with communities, to have a long-term the experience of the event. This plan for engagement with communities, emerged most clearly, for example, with and not disappear (or disappear then the Into Africa program. Producers, come back with new staff) when the producing partners and artists want this pulsating organisational structure of the event to be experienced as a showcase festival pulls back to skeleton staff over of Africa. However, one or two attendees the Christmas period. This is clearly a raised issues about the showcase not difficult thing to address given the being representative of all cultural economic reality of festivals in which they groups in Africa. Similar issues emerged must operate. The most common with Where We From … Banners, though suggestion from producers for dealing attendees tended to talk about this in with this was for Brisbane Festival to terms of the event being a good advocate to funding bodies to better representation of the people who did understand, and better support, the participate, rather than the event being realities of working in a community bad because it did not include all people program such as Creating Queensland. who identify as African. Again, Brisbane

Creating Queensland Report 18

TheCreatingQueensland Evaluation– Phase1

In the Phase 1 of the project, the Into Africa presented 17 performances Research Team collected, collated and and 35 workshops, involving a total of analysed Brisbane Festival’s pre-existing 340 artists, 311 of who were from data on the events, exhibitions and Queensland. Brisbane Festival liaised with activities operating as part of the Creating 4 community groups and collaborated Queensland program in 2009 and 2010. with 6 community groups and corporate The data analysed included Festival partners in producing the events. 8,000 Reports, Festival Production Reports, people attended the free events 91.47% Grant Applications, Grant Acquittals, of whom were locals. Brisbane Festival promotional materials, and Brisbane Festival Market Research The Cherbourg Walk passed through 22 Reports developed by Footprints Market communities and involved a total of 200 Research in 2009. Indigenous and non-Indigenous community members, artists and elders. Brisbane Festival’s pre-existing data Brisbane Festival liaised with its (2009) confirmed that the Creating Indigenous Advisory Committee and Queensland activities are engaging collaborated with 14 individuals, diverse metropolitan, regional and rural community groups and corporate communities throughout Queensland, partners in producing the events. 1043 and creating exchanges within and people attended the free events on the between communities. For example, the day, including 943 live and 100 via the report identified the following. Internet.

West End … Live, presented 15 events, The Banners Project engaged a total of 121 exhibitions and installations involving a Indigenous artists, artsworkers and total of 271 artists, 237 of whom were community members from thirteen from Queensland. Brisbane Festival centres in metropolitan, Far North and liaised with 4 community groups, and North Western Queensland, and more collaborated with 19 individuals, than 200 banners were created. Brisbane community groups and corporate Festival liaised with 28 individuals and partners in producing the events. 15,000 community groups and collaborated with people attended the free events, 87.45% 14 communities in producing the event. of whom were locals.

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Pre-existing data (2009) provided a provide a clear picture of the geographic picture of each program’s aims, each profile, demographic profile (age, life program’s activities, a general profile of stage, cultural identification, etc.), the artists, artsworkers and community psychographic profile and behavioural members who participated in these profile of attendees (tendency to attend programs and, in some cases – in cultural programs, motives for attending particular West End … Live, Into Africa cultural programs, satisfaction with this and “where we from” … Banners Project – cultural program, or impact of attending some geographic and demographic this cultural program, etc.). This was profile data on participants and / or because, although Market Research attendees. It indicated that the Creating Reports provided by Footprints Market Queensland program does engage diverse Research, together with Brisbane metropolitan, regional and rural Festival’s production data, allowed the communities in cultural programs, does research team to construct a partial engage communities in multiple roles in picture of who comes to Creating these programs through different sorts Queensland events, and – in the case of of consultation, collaboration and West End … Live a partial picture of why – partnership, does draw the local it had not been conducted in the same community to Creating Queensland way across all events in all years, did not events, and does facilitate exchange include raw data that could be cross- within and between communities. It thus referenced to generate a clearer picture confirmed that categories of impact of specific communities’ responses to the emphasising aesthetic quality, events, and did not include questions experience, access, participation, self- designed to gather in-depth information expression, connection, community, about the reception, results and impacts creativity and capacity are most of the program activities, or the overall appropriate in analysing the impact of impact of the program on the community the Creating Queensland activities, events in terms of building cultural participation, and exhibitions in 2010 and beyond. capacity and capital. As a result, there were also gaps in the data’s ability to There were, however, gaps and silences provide a clear picture of a particular in Brisbane Festival’s pre-existing data, group’s response to the Creating which hampered its ability to provide Queensland events, including impact on clear, coherent, longitudinal evidence of their past / present / intended future the wide-ranging impacts of the Creating participation in / attendance at cultural Queensland program on individuals and programs, as well as impact on communities. In other words, they consolidating existing intra- or inter- hamper its ability to provide information group relationships, creating new intra- about who is participating in cultural or inter-group relationships, leveraging programs in the these communities, who these relationships to build cultural is participating in the Creating Queensland capital for both individuals and cultural programs in these communities, communities – for example, new the geographic, demographic, opportunities to access the arts of psychographic and behavioural profile of excellence, experience arts of excellence, participants (including artists, participate in arts of excellence, express artsworkers, community participants and cultural identity, be creative, connect audiences), together with information on with other members of the community, the way in which the Creating Queensland and cultivate new skills and capacities. cultural programs have been successful in creating change in these communities. In this sense, Brisbane Festival’s pre- There were gaps in the data’s ability to existing data also confirmed the need for

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additional evaluation tools, techniques The data gathered offers a first step in and processes to track the impact of providing a more holistic and detailed Creating Queensland activities, events and picture of how Creating Queensland exhibitions across the years, and events are starting to create specific generate narratives about the desired, sorts of change for specific individuals anticipated and actual impact of these and communities engaged as part of the activities for the wide range of program. stakeholder groups Brisbane Festival is successfully engaging. In particular, the Research Team, in consultation with representatives from Brisbane Festival, identified three priorities for the new evaluation tools.

The first identified priority was to standardise the use of existing instruments used to gather information about the geographic, demographic, psychographic and behavioural profile of participants, motives for participation, modes of participation, across the Creating Queensland programs. The second identified priority was to use innovative new instruments to collect additional narrative data on the way the Creating Queensland program impacts on individuals and communities. The third identified priority was to develop protocols to ensure the instruments can be deployed annually to contribute to longitudinal analysis of programs that, due to their emphasis on active participation in events in the communities engaged, display different forms of impact in the short, medium and long term.

In light of these recommendations, at the end of Phase 1 the Research Team generated instruments, tools and techniques that would collect data in a uniform way, which could be cross- referenced across Creating Queensland events, both to capture more detailed information on how the events enabled people to experience cultural programs, access cultural programs, participate in cultural programs, and build their creativity and capacity, and to allow for comparison and cross-fertilisation of approaches across events (Appendix 1).

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TheCreatingQueensland Evaluation– Phase2

participation in the Creating Queensland In Phase 2 of the project, the Research program. In September and October Team developed a range of instruments 2010, the Research Team collected to more effectively evaluate the Creating interview, observation and still and Queensland program in 2010. These moving image data with artists, instruments included interview question artsworkers, community participants and sets for producers, focus group question audiences across each of the Creating sets for artists, artsworkers, community Queensland events, to gather information participants and producing partners, a on motives for participation, modes of Vox Pop style interview question set for participation, impact of participation, and audiences designed to gather narrative how this relates back to the desired, accounts of their experience of the anticipated and actual outcomes of Creating Queensland Events, and an participation expressed by participants. observation typology designed to gather additional narrative and photographic In November and December 2010, the data on the Creating Queensland events. emphasis shifted to collating and The instruments (Appendix 1) were analysing the data collected. These approved by the Queensland University instruments provided new narrative data of Technology Human Research Ethics on the way artsworkers, communities Committee (Ethics Application Approval and audiences experience the Creating Number 1000000727), and the Research Queensland programs. A content analysis Team contracted ten field researchers to of this narrative data, together with data do direct research with representative drawn from the Festival Reports, Festival samples of stakeholders involved in the Production Reports, Grant Applications, eight Creating Queensland programs – Grant Acquittals, promotional materials, including artists, artsworkers, community and Market Research Reports that participants and audiences – during Brisbane Festival has historically used to Brisbane Festival 2010. In August 2010, track its programs provides the basis for the Research Team conducted interviews the evaluation of the eight Creating with producers and focus groups with Queensland programs presented in this artists, artsworkers, community Report. participants and producing partners to gather information regarding desired, The content analysis process proceeded anticipated and actual outcomes of through five steps for each event.

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First, the research team read the narratives from artists, artsworkers, producers, producing partners and attendees involved with each event and placed them in a table indicating what they had to say about the event. This process revealed that the aesthetic of events in the Creating Queensland program, the accessibility of events in the Creating Queensland program, the Figure 1 inclusivity of events in the Creating Queensland program, and the capacity- CATEGORY EXPERIENCE ENABLERS EFFECT building that occurs as part of the Creating Queensland program, were Aesthetic dominant topics of discussion. Accordingly, the narratives were placed in the table in these four categories, in Accessibility order to identify the experience (of, for example, a specific aesthetic, or a specific Inclusivity type of accessibility) the events try to create, the approaches that enable them Capacity to create that experience, and the effect that experience has on people involved with the events.

Second, the research team used the data in the tables to clearly identify the experience, enabler of effect, and effect in each category, at each event. An example of this can be seen in figure 2.

Third, the research team placed the data from the tables into circular diagrams to represent the relationships operative in each event. An example of the diagram can be seen in figure 3, without data relating to a particular event. Completed analysis of each event can be found in Appendix 2.

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Figure 2

WEST END LIVE

CATEGORY EXPERIENCE ENABLERS EFFECT

The emphasis for WEL The approach that The effect of this Aesthetic producers, producing enables WEL producers, approach for WEL partners and artists, is on producing partners and producers, producing creating an event that is artists to succeed in this partners and artists, is a experienced as is seeking feedback from return to the original community storytelling, the community, listening values of the West End an opportunity to get to the community, and Festivals of the 1980s involved in conversations programming events and 1990s, and a about community that locals feel allow a sparking of stories. two-way conversation conversations between around the stories different community shared groups that don’t normally connect The emphasis for WEL The approach that The effect of this Accessibility producers, producing enables WEL producers, approach for WEL partners and artists, is on producing partners and producers, producing creating an event in artists to succeed in this partners and artists, is which West End locals is community familiar, comfortable, are willing and able to consultation and family friendly program participate not just as research during the spectators, but as programming of the performers. event.

The emphasis for WEL The approach that The effect of this Inclusivity producers, producing enables WEL producers, approach for WEL partners and artists, is producing partners and producers, producing providing local artists performers to succeed in partners and artists, is a with an opportunity to this is using all local more sustainable local show their work artists in the program, festival and providing the production resources to allow a lot of local artists to be part of the event

The emphasis for WEL The approach that The effect of this Capacity producers, producing enables WEL producers, approach for WEL partners and performers, producing partners and producers, producing is creating an event artists to succeed in this partners and artists, is developing local artists is by showing how artist career artists’work develops development over successive years

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Figure 3

Fourth, the research team used the 5.1 Transferability of Data information generated during the Collection Instruments content analysis to construct summaries of how each event operates, including The data collection instruments used to examples of the narratives that evidence obtain qualitative data on the events and this. possible impacts included interview

question sets for producers, focus group Fifth, the research team drew question sets for artists, artsworkers, conclusions about each event’s community participants and producing strengths, issues and areas for partners, a Vox Pop style interview improvement, and, as a result, also question set for audiences designed to identified common issues across the gather narrative accounts of their Creating Queensland program. experience of the Creating Queensland

events, and an observation typology This form of content analysis has designed to gather additional narrative provided more detailed, nuanced and photographic data on the Creating information on specific processes, Queensland events. activities and engagement protocols adopted by Brisbane Festival and how In designing the data collection these act as enablers of impact in and instruments it was envisioned that staff across the Creating Queensland program, from Brisbane Festival could implement than has previously been available. them in subsequent festivals to develop a

long-range approach to understanding

how the community events are enacted,

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perceived by participants and what outcomes are achieved through the events with communities and for communities. With minimal training in research methodology Brisbane Festival staff could implement the same interview question sets with event producers, event partners, event artists and artsworkers. The same could be said for focus group question sets for community participants. The Vox Pop style interview question set for audiences could also be undertaken in the same manner as it was undertaken in 2010. However, this would necessitate a greater number of Brisbane Festival staff to undertake this on the ground at each event to capture the maximum number of views from audience members. To undertake the Vox Pops, particularly at large events such as Into Africa and West End … Live five Brisbane Festival staff members would be needed to capture data. It would be recommended to undertake ten Vox Pops per hour through the life of the event to capture the detail of the event at a similar level to that undertaken in 2010. The implementation of the observation typology collection tool would require additional training on observation and ethnographic methods for Brisbane Festival staff members by experienced researchers for the data collection to be effective.

Analysis of all data from subsequent festivals would be best undertaken by contracting an external party to maintain objectivity in the reporting.

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TheCreatingQueensland Program– AimsandAgendas

In 2009, Brisbane Festival combined with the former Riverfestival to make it 6.1 History Brisbane’s annual festival. Brisbane

Festival currently operates under the Each capital city in Australia has an arts direction of the board of Major Brisbane festival. Brisbane Festival is positioned as Festivals Pty Ltd. “one of Australia’s premier festivals and Brisbane's annual arts cultural Since 1996 Brisbane Festival has had a event”(Brisbane Festival Website, History community outreach program. Artistic of Brisbane Festival). The festival director Tony Gould ensured that there “endeavours to include the entire community in its program of activities by was equity of access to festival events by having intellectual rigour, international providing tickets free of charge to artistic credibility and an extremely broad students in low socio-economic areas to grass-roots support base” (Australian ensure they could participate. Gould also Government Culture Portal, Festivals in made workshops available in communities to support performance Australia). events and to deepen their impact in communities. Established in 1996 by the Queensland Government Brisbane Festival was an initiative to foster the arts. “The Festival When Lyndon Terracini was appointed evolved from Brisbane’s Warana Festival, artistic director, he established a stand- first held in 1961. The theme of the alone community component to the Warana Festival was ‘entertainment for festival called Across Brisbane. This program was about creating events in the people, by the people’. Brisbane communities, for communities and with Festival was held as a biennial festival communities in parks, backyards, streets from 1996 to 2008 and an annual festival across the city and suburbs. Across from 2009" (Brisbane Festival Website, Brisbane also allowed Brisbane Festival to History of Brisbane Festival). Since its move the focus of activity beyond the inception there have been three artistic Brisbane city centre. To date there have directors - Tony Gould (1996-2004), been three Across Brisbane programs as Lyndon Terracini (2006-2009) and Noel part of Brisbane Festival – 2006, 2008 Staunton (2010). and 2009.

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In 2010 Across Brisbane has been Brisbane Festival from 2006 to end of rebadged as Creating Queensland (CQ). 2009. The change in name was “a maturing of the community component of the Category 1 – The Aesthetic of Brisbane festival. Brisbane Festival acknowledged Festival Community Events that events contained in Across Brisbane Lyndon was responsible for a shift and no longer needed to be grouped under regeneration of the community program an alternative banner but could stand called Across Brisbane (2006) inside the alone as cultural events in their own main festival program because he “felt right. Creating Queensland represents an that the festival was located at QPAC and ideological shift in the positioning of that most people in Brisbane weren’t events as part of the capacity building for going to QPAC and it was to … get into and with communities” (Teresa Walters, the culture of the different suburbs of Marketing Director Brisbane Festival, Brisbane” (Lyndon Terracini, Interview, Interview, 2010). 2010). The reason for calling the community program Across Brisbane was In 2010, both the past and present “that people would understand that it Brisbane Festival Artistic Directors were wasn’t just in the CBD - that it was across interviewed to gather perspectives on Brisbane” (Lyndon Terracini, Interview, what the community component of the 2010). To develop this program Lyndon festival aims to achieve, how the spent time in various suburbs community events were positioned in the “wandering around, going into pubs, festival and any future plans for the talking to car drivers or the local development of events for and with councillors (from Brisbane City Council communities. wards) and just the people in the street” (Lyndon Terracini, Interview, 2010) until To augment these perspectives the two he had a feel for the cultures and senior producers for Brisbane Festival identities of the suburbs. This type of 2010 were interviewed about the personal engagement then influenced planning and perceived impact of the programming decisions. community events for which they had responsibility. Category 2 – The Accessibility of Brisbane Festival Community Events The narratives of the artistic director and The majority of community events in the seniors producers are grouped into four Across Brisbane program were positioned categories: narratives about the in a radius of no more than 30 minutes “aesthetic” of Brisbane Festival from the Brisbane city centre. This type Community Events; narratives about the of programming was to enable “accessibility” Brisbane Festival communities to interact with Community Events; narratives about the communities so that “if you were sort of “inclusivity” of Brisbane Festival a city dweller and you wanted to go to Community Events; and narratives about Brookfield it wasn’t a big ask” (Lyndon community “capacity-building” of Terracini, Interview, 2010). The events in Brisbane Festival Community Events. Across Brisbane were free of charge to the public. Financially the events were supported by the Lord Mayor of 6.2 Artistic Director Narratives Brisbane.

LYNDON TERRACINI Category 3 – The Inclusivity of Brisbane Festival Community Events Lyndon Terracini was artistic director of The category of inclusivity can be

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approached from two angles - the all Brisbane residents to the festival. inclusivity of various cultural and artistic Terracini believes that “the festival has a forms in the community program, and social role to play and in terms of kids the inclusivity of differing socio-economic who are living in low income suburbs and realities of Brisbane residents. also under privileged kids it’s important that we include them in the cultural fabric Cultural and Artistic Inclusivity of the festival, and therefore within the Under Lyndon Terracini’s direction the society” (Lyndon Terracini, Interview, Across Brisbane contained a mixture of 2010). He also believes that groups that high art forms such as Opera at Brookfield have barriers that may prevent them and events that could be classified as from engaging in the festival as patrons grass roots activity with the street parties also have the right to have access to the at West End Live and Into Africa. This development of events. “We had this cross section of arts and cultural activity project Art from the Margins that we did is what Terracini believes to be the core with homeless people with the Wesley of inclusivity in festival programming. As he stated “everybody in the community Figure 4 should have access to the arts and cultural events” (Lyndon Terracini, Interview, 2010). To ensure that festival programming responds to the needs of all possible festival patrons Terracini enacted what he terms a ‘cultural pyramid’ so that at the bottom grass roots [free community events] absolutely connect[s] to as many people as possible. And the next section of the pyramid is doing the things that we do in bringing companies in from all over the world, most festivals do. And then at the pointy end it’s doing things that may not have a huge audience but are really important to do for artistic reasons” (Lyndon Terracini, Interview, 2010). Mission and that was really terrific Terracini articulates the three sections of actually and then again I think it’s the pyramid as being in dialogue and important for those disadvantage groups influencing both the community to be included in an arts festival. programming and audience Otherwise the arts festival becomes for development. “The idea is to get people people who can afford highly priced to come to the festival at grass roots entry and for no one else. I mean other level that haven’t been before. Most of people will disagree with me and I don’t the people that we connect with in all care if they do but my view is that a those big [community] events I would festival’s brief should be about including say most of them haven’t been to a as many people in the community as festival before” (Lyndon Terracini, possible. If people can afford to pay I Interview, 2010). think it’s great. For people who can’t afford it and for people who are severely Socio-economic inclusivity disadvantaged and marginalised then The “cultural pyramid” espoused by they should also have access to the Terracini also influences accessiblity for festival” (Lyndon Terracini, Interview,

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2010). NOEL STAUNTON Terracini noted that “the role of the festival in coming years is to provide as Noel Staunton is the current artistic much access as possible so that people director of Brisbane Festival. Noel’s get into the habit of coming. It’s about appointment began in 2010. Under offering it to them for nothing first and Staunton’s direction the community then building it. And they get into the events moved from being named Across habit then of going and then buying Brisbane to Creating Queensland. tickets” (Lyndon Terracini, Interview, 2010). Category 1 – The Aesthetic of Brisbane Festival Community Events Category 4 – The Capacity-Building that By the time Staunton took the role of comes from Brisbane Festival artistic director of Brisbane Festival the Community Events name change from Across Brisbane to It is Lyndon’s belief that “ultimately all of Creating Queensland had occurred as had [the community] events should run some of the community event themselves by the people who are programming. Staunton used 2010 to connected to them” and that sometime acquaint himself with Brisbane and its in the future “the festival can let them artistic and wider communities, and go” (Lyndon Terracini, Interview, 2010). investigate their responses to the events. To have a successful community program in a large public festival Lyndon suggests His position is that an arts festival should that communities and event leaders involve the communities and inspire the “may come to the festival for advice or community but he believes that there is a [that the festival operate as a] consultant perception that if something is labeled as … but it is the community that sustain[s] a “community event” [that] the quality the events, not the cultural infrastructure event doesn’t have to be as good as of a particular group or festival” (Lyndon something that might appear in QPAC. “I Terracini, Interview, 2010). This notion is have the view that it should be as good. supported by Senior Producer Nadine And it should be as good as any part of McDonald who states, “If we didn’t have the festival” (Noel Staunton, Interview the community’s voice then we wouldn’t 2010). have an arts and cultural community in Queensland. Arts and culture isn’t made Staunton also wanted to make sure the by the bureaucrats sitting in the building. community events were good value for It’s made by community out on the money and do not compete with existing ground so I think when the festival events stating, “There are a lot of continues to look at this as a part of its organisations in Brisbane that deal in the programming, they really need to community and I think the festival should consider that it’s great to have a team of come in on top of that rather than go creatives in house who logistically can into that level. … In the past in my view I create an event but it’s also essential to don’t think we necessarily got value for have the community that drive the money. So the aim this year was to try project as well. So if the community does and consolidate the money we spent on not have a sense of ownership over the art” (Noel Staunton, Interview 2010). what’s being created, they’re just going to walk away. So I think community is This financial consolidation extended into essential, especially to something like the way in which community events were this” (Nadine, CQ Senior Producer, delivered in 2010. “The first idea was to Interview 1, 2010). put the opera and the symphony

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together so we only have to build the of the city to be part of a community infrastructure once for two event, it can happen in a park near you. performances. We are also doing a For example the Racecourse [at Ascot] complete opera rather than bits of opera was an ideal space because it’s a with the Queensland Symphony controlled environment, it’s a very Orchestra which is the best orchestra in beautiful piece of land and it’s good for the city, so it’s a high quality event. And children and young people with families. then with Symphony at Sunset we It’s also got fantastic public transport.” balance that with the Brisbane Orchestra and so we get two very different types of Category 3 – The Inclusivity of Brisbane concerts [in the one location].” Festival Community Events Cultural and Artistic and Socio-economic The issue of aesthetic quality was Inclusivity tangibly translated into the Brisbane Staunton is interested in collapsing the Festival 2010 paper-based and online silos of high end art and community marketing materials. In the 2010 events. “I’m keen to do that because I marketing materials the community think it’s all about entertainment, it’s all based events were scattered throughout about people having fun and some things the program rather than having a you pay for and some things you don’t separate section for the community pay for. I also believe a festival has a role events. Staunton stated “that was a very to play in raising the value of arts within a conscious decision, we didn’t want the community. For example you’ll notice this community events to be bunched year the prices have increased and together at the tail end of the program” there’s more box office in there because I (Noel Staunton, Interview 2010). believe if everybody gets everything cheaply or for nothing they don’t respect Staunton’s approach in 2010 and into the it. And I think wherever you come from in future is based on the ideas that the community if you have to pay for it “Queensland is made up of many you will respect it more. However, I communities and each year we want to believe it should be a right that people highlight one of those communities. This can go see free opera or free concerts year we’re doing Into Africa, next year because I think that’s part of having a we’re looking at a different festival - there should be free elements community”(Noel Staunton, Interview and there should be large elements and 2010). For Staunton, 2010 was to gauge they should all be done well” (Noel the response from Queensland Staunton, Interview 2010). Senior communities. “Before I finalise next year Producer Nadine McDonald believes that I have to see what the response to this there needed to be a increased focus on year is. I’ve done what I think will work activating inclusivity of festival events, “I and what I can bring to it. But it’s a two think the one big thing was evident that way conversation, so it will continue to there are pockets of our community that evolve by adapting to the community’s are really interested in what the festival responses.” has to offer and I think there’s a core percentage of our community that see Category 2 – The Accessibility of the festival as a means of being able to Brisbane Festival Community Event tell their story, share a little bit about Like Terracini, Noel Staunton believes the who they are, either as a cultural group programming of community events or a social group or as a suburb in a should allow participants access outside Brisbane and not necessarily having to the bounds of city-based cultural venues. pay for a ticket to go into the theatre. “You don’t have to come into the middle There’s probably about eighty percent of

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the suburbs that we went into had no 6.3 Conclusions idea what the festival was, had no connection to the festival previously. An initial analysis of the nomenclature Didn’t understand why the festival had attributed to the community-based actually gone out to their background or events in Brisbane Festival highlights two worked with them to create the project possible interpretations. Across Brisbane but were very keen to learn a little bit may indicate a passive delivery model. more about the festival. I think there’s Creating Queensland may indicate an something to be said for ticketed active participation in developing cultural programs that create a certain audience infrastructure at a local level. but there’s also an audience that is particular to the free community event The data indicates that there has been an and quite often their families that are low ongoing commitment to develop and socio-economic backgrounds, they can’t program community events as part of afford it, have a fear of the theatre, don’t Brisbane Festival’s main program at the like going to big buildings or having to highest level of the organisation. This dress up and be involved. So I mean if a commitment resulted in a softening of part of Creating Queensland or the the delineation between what might be Creative Communities program is about perceived as high art and community- integrating community into the festival based art/cultural events in the and then widening their experience in the programming and marketing materials in art and I think it achieved that. There 2010. It is difficult to make a comparison were some hit and misses but I think that based on community event programming kind of comes through learning” (Nadine, between the two artistic directors. This CQ Producer, Interview 2). has resulted because of the shortness of tenure of the 2010 artistic director in Category 4 – The Capacity-Building that comparison with the previous artistic comes from Brisbane Festival director. Data points to consistency of Community Events attention to accessibility, inclusivity Noel Staunton believes that there is a (particularly as it relates to the role for Brisbane Festival in developing representation of art forms) and a capacity for engagement with a variety of growing discussion about quality of arts encounters “because doing artistic product in community events. something like Into Africa you inspire people by showing them that these groups exist. In a sense it is a casual meeting for the first time, somebody went there not knowing got a little interested and next year got more interested. The same people mightn’t know anything about opera but if one person goes to The Marriage of Figaro in the park, and then decides to go to see Opera Queensland, we will have succeeded. It’s about exposing people to other genres. So whether it’s African or classical, rock or whatever, it’s about the exposure” (Noel Staunton, Interview 2010).

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WestEnd… Live

Vulture Street to Mollison Street in West End. 7.1 History, Aims & Activities

West End … Live began under the name West End Street Party, and was presented 7.2 Activities Presented, as part of Brisbane Festival’s Across Participation & Brisbane program in 2006 and 2008, Partnerships continuing under the name West End…Live in 2009 and 2010. In 2010, West End…Live presented at total of 22 events, exhibitions and The West End … Live program aims to: installations, including: Celebrate the unique communities which Julius Schmidt (Accordion) form the culture of Brisbane’s most Jumboosh (Percussion) bohemian urban village, West End and, Bass Quartet Celebrate Indigenous people’s Roy Rattler (Banjo) contribution to these communities, by Local Eyes incorporating Indigenous walking tours, Sophie Chapman, The Living History storytelling, workshops and Project performances (including those presented goa Billboards as part of The Cherbourg Walk), and thus The Garden, Growing Communities increasing public awareness of Roller Derby Indigenous culture and enabling Tango Dancers Indigenous people of all ages to 17 Browning Street (Livable Space) celebrate and maintain their cultural Access Arts - sign language identity through creative arts. West End Library Gaming Space West End…Live achieves these aims via a West End State School free all-day event, which includes live Revolution Bicycles music on outdoor stages, site-specific Don't Tell Fanny clothing store installations, shopfront art installations, Ugees - venue storytelling, and outdoor cinema and BMX / Lock n Load roving performances in a precinct which Foodstalls - lI-Naa Pty Ltd, Vege Rama, stretches along Boundary Street from The Cupcake Parlour, Sweet Floz

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(churros), South American Delights, featuring stories about local West End Krazy Lemon, Stuffed Naan Sensations, people places and communities in the Chai Tent Shire Tea House Franklin Court Boarding House, which Art from the Margins (analysed included stories from Liz Jeffs, Carmel separately) Rosella, Mick Crocker, Sam Watson and A Close Knit (analysed separately). Ron Tompkins A multimedia art installation by Fleur Elise This represents an increase from 2009, Noble in the shopfront of Avid Reader, when West End…Live presented a total which allowed audiences to contribute of 15 events, exhibitions and installations, responses that were then connected into including: the installation on subsequent days of Live music from emerging, local and the event Indigenous acts on the Lizard Stage, A short film night at Browning Street including performances from Way Out Studios West, Rhiannon Hart and the Umm-Ahhs, A visit from the Total Nowhere Emotion Ngaiire, Laneous and the Family Yah, Expansion mobile media art exhibition, in Bralbin Bluewater Band, David Williams, which eight artists; Olaf Breuning, Brody Kev Carmody, West End School Choir, Condon, eteam, Grant Stevens, Darren Archie Roach, Fred Leone and the Sylvester, Nawapol Thamrongrattanarit, Impossible Odds, and LABJACD Ryan Trecartin, Jemima Wyman and Live music from emerging, local and Anamation by students of the Brisbane Indigenous acts on the Vulture Stage, Youth Education and Training Centre including performances from explored the internet as a human rather Brothablack, Curse ov Dialect, Kate than a technological phenomenon Bradley and the Goodbye Horses, West End Walking Tours presented by Andrew Morris, and DJ TR!P Hamish Sewell and Lindsay Pollack, Creative developments in two Lounge produced by ABC Radio National and the Rooms, which included the participation State Library of Queensland together of Madeleine Paige, Timothy Carroll, with the Brisbane Festival Danny Widdicombe, McKisko, Dan A magical children’s zone called ‘Open Parsons, Paste, Connie Choo, Mt House’ Augustus, and Rachael Brady (Lounge Storytelling, Indigenous Storytelling and Room 1), and Chris Mayer, Garry Nunn, music as part of the Garden of Stories, Parkour, DJ TR!P, Rio Rhythmics, Dujalia, featuring stories and performances from and Francis Kneebone (Lounge Room 2), Aunty Malanjarlie, Daryll Bellingham, and resulted in recordings, installations Emmanuel Hernaez, and DJ TR!P (Baby and performances Beats and DJ Workshop) An installation in the Franklin Court A music event called Blackstar Coffee Boarding House called ‘Ashville’, based Party on Liz Jeff’s research into real West End Roving performances by Cocoloco and people, events and experiences, which Polytoxic Dance Theatre was facilitated by ABC Radio National The PARKing event, in which artists Producer Hamish Sewell, and featured (TRACT, PLACE, Artshak, Suite Tree Watt local sound and performance artists and VOID), activists and the public turned including, Helen Statman, Barbara parking spots into temporary parks as Lowing, Leon Cain, Hannah Scanlan, part of international PARKing day Kaine Sultan-Babij, Trevor Stuart, Howard Multimedia installations in which visual Williams, artists from the Aboriginal artists Amanda Hayman, Warren Gracie, Centre for Performing Arts, and boarding Jan Van Dijk and Anthony Spinaze re- house residents interpreted local stories as part of Drawn Intergenerational conversations Together and

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Audiences sharing their own stories for Little Schout broadcast on a large screen as part of Bang Bang Boss Kelly Rebecca McIntosh’s Love TV Marshall and the Fro In 2009, the West End…Live program also Tin Can Radio celebrated Indigenous people’s Bassy-Lou contribution to West End communities as Rio Rhythmics the last leg of The Cherbourg Walk took Vulcana Women’s Circus place as a procession down Boundary Everybody Has A Dream Street on 3rd October, and event that was Ride On BMX also broadcast live via the internet to the Gear Brisbane International Academic of Environmental Sunstate Roller Girls Scientists World Forum in Venice. Industrie One Stories and Songs of Boundary Street In 2010, West End … Live a total of 400 Playabout Productions artists contributed to West End…Live, all West End State School. local. This represents a slight decrease from This represents an increase from 2009, 2009, when 19 individuals, community when West End…Live involved a total of groups and corporate partners 271 artists contributing to West End … collaborated with Brisbane Festival in Live, of which 237 were local Queensland producing or supporting the production artists, and 34 were national artists – in of West End … Live events, including: other words, 87.45% were local and 12.55% Queensland Government were national. 205 people participated in Brisbane City Council workshop activities in the lead up to the Translink, Queensland Government West End … Live events (including West End Community House activities associated with the Cherbourg West End Liquor Accord Walk- Kev Carmody conducted West End Traders Association workshops and performances with Councillor Helen Abrahams Cherbourg State School (11th Sept) and Channel 7 with West End State School (14th Sept). B magazine During these workshops students Brisbane Times rehearsed a song and a combinedgroup Australia Council came together at West End … Live and goa Billboards performed on the arrival of the Fairfax Radio Cherbourg Walk. ABC Radio National Liquid Interactive Digital Creative Agency In 2010, West End … Live a total of 25,000 State Library of Queensland people attended the free all day event. ABSOE Business Equipment Kultour This shows that attendance numbers are Footscray Community Arts Centre holding as 25,000 people also attended Aboriginal Centre for the Performing Arts the free events during the four days of Browning Street Studio West End … Live. PARK(ing) Polytoxic In 2010, 16 individuals, community groups QUT Creative Industries and corporate partners collaborated with Room40 Brisbane Festival in producing or Spiral Community Hub supporting the production of West End Teralba Park Commemorative Support … Live, including: West End Refugee Support. Charlie Mayfair

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In 2010, Brisbane Festival liaised with 4 opportunity for every-day Queenslanders community groups in producing the West or for everyday Brisbanites to have a part End … Live events. This figure was the of their history or their story told as a same as 2009 in which the following part of a large international festival is groups were included: kind of really significant and it kind of Brisbane Festival Indigenous Advisory says too that it’s not just the high arts of Group international dance, performance and West End Community House theatre that’s important. ...[I]t’s events West End Liquor Accord like West End … Live that tell stories. … West End Traders’ Association. Everything we kept hearing was, we want our story told. We’re a changing community, in ten years time we won’t have these people around. We want this 7.3 Producer, Producing recognised, we want these people Partner and Artist recognised … I would like to think that Narratives people would come to the Creating Queensland or the Creative Communities In 2010, producers, producing partners programs in 2010 and actually walk away and artists involved with West End … Live knowing just something a little bit more were interviewed to gather their about that part of Brisbane” (Nadine, CQ narratives about West End … Live – what Producer, Interview 1, 2010). “I really it aims to do, why, and how, who comes want the participants to gain in to the event, and who benefits. experience, and to tell a story. … I think with all the consultation and research The narratives of producers, producing that I’ve done in the community that’s partners and artists involved with West something they’ve really called out for. End … Live were grouped into four There was a large group of people within categories: narratives about the this area who said to me that they didn’t “aesthetic” of West End … Live; want to be seen as being behind glass. narratives about the “accessibility” of the They didn’t want other people from event”; narratives about the “inclusivity” Brisbane and the community to come of West End … Live; and narratives about into West End, have a look at the West the individual and community “capacity- Enders and then to wander away. They building” that occurs as part of West End really wanted to be involved and they … Live. The narratives within each really wanted their story to be told. So category were analysed to determine that’s a big thing for me is really making what producers and producing partners sure that their story has been told” are trying to do under each category (Tanya, WEL Producer, Interview 1, 2010). (experience), how they are doing it “They’ve sort of wandered through and (enablers of effect), and what resulted they’ve taken the experience and they’ve (effect). listened to a story and they’ve learned something, yeah I think that’s an Category 1 – The Aesthetic of West End indicator of success” (Tanya, WEL … Live Producer, Interview 1, 2010). “[I]f you The data indicated that the emphasis, for look at West End you’ve got all your West End … Live producers, producing different ethnic backgrounds in the West partners and artists is on creating an End area …. West End is unique for that event that is experienced as community because it’s all here and a lot of people storytelling, an opportunity to get don’t know about it” (Peter, WEL involved in conversations about Producing Partner, Focus Group, 2010). community stories. “I think the “I hope it will be a sharing of sort of

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artistic and creative abilities. You know way through it and what we’ve done is it’s a good chance for West End to show totally turn it, the focus away from the what it’s all about as well I mean in this businesses on West End and totally era of change and umm gentrification, focused on the stories” (Nadine, CQ you know West End for all its Producer, Interview 1, 2010). “Like last development has a really strong identity year people were saying they felt that it that it’s desperately fighting to preserve went parachuted effect. Like where they at the moment. And I think that a festival just sort of landed in West End and sort like this shows people what West End is of taken over a little bit without listening all about, it’s not just a suburb for people to people’s concerns” (Kath, WEL who can afford to buy a house here to Producing Partner, Focus Group, 2010). move into because they think it’s the “Brisbane Festival has worked really hard trendy thing to do. Like West End has got to change, you know, with feedback, the a very strong identity in this and I think it feedback that they got last year about comes through really strongly in a festival things that the community wasn’t so like this” (Kath, WEL Producing Partner, happy with” (Kath, WEL Producing Focus Group, 2010). “[T]hey appreciate Partner, Focus Group, 2010). “I’ve done when people from outside the area, not that through a number of different just locals, come into the area and see avenues, such as we’ve got a what they’ve achieved. I mean that’s a conversation series that’s happening on satisfaction to them and then also it’s the the day, really listening out for the story same as the actual participants who that wants to be told not the story that I come into the West End Live as well. think should be told” (Tanya, WEL ...it’s the satisfaction, the joy …. Because Producer, Interview 1, 2010). this is the chance for them to show not just West End but the whole of Brisbane The effect of this approach, for West and Queensland what they can do and End…Live producers, producing partners what they can achieve” (Peter, WEL and artists is a return to the original Producing Partner, Focus Group, 2010). values of the West End Festivals of the 1980s and 1990s, and a sparking of The approach that enables West conversations between different End…Live producers, producing partners community groups that don’t normally and artists to succeed in this is seeking connect. “So on that one day there’s feedback from the community, listening about nine to ten programs that are to the community, and programming happening all at the same time but events that locals feel allow a two-way they’re essentially all about telling conversation around the stories shared. stories. And so you know, there’s “You know we’ve got West Enders who different pockets of the West End were involved in the project this year community that really have an ownership who are falling over themselves now over that” (Nadine, CQ Producer, because one of the things we did in Interview 1, 2010). “[I]t’s going back to developing the program for West End … the roots of the original festivals [run in Live was actually go back to all the West End since 1984]. Like using all local businesses, all the traders, all the artists, getting a lot of the local community organisations, all the communities involved, you know, just independent artists that felt that they West End community, asking a lot of wanted to have a feedback. And some of different groups like the schools … the it wasn’t very nice at all, some of it wasn’t dance groups” (Peter, WEL Producing very positive but it was good, good Partner, Focus Group, 2010). “[It’s] a honest, critical feedback. So we were really inclusive festival … really local able to kind of sit down and siphon all the community focused, and it’s even

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brought other community groups So I really tried to actually take from the together. Like we’ve been working on community what they wanted to see; mix similar stuff with West End State School that really nicely with what the artistic and normally we probably wouldn’t have director here wants to see and then a huge amount to do with the school and develop an event from that. So I suppose the Musgrave Park Cultural Centre. So it’s that is my process of consultation, it been really good in bringing the different really has been talking with people community organisations in the area around here and also trying to engage together as well. … [T]he local inclusive with the local artists and performers as feel has been what’s matched the ideals much as I possibly can and from that and principles I think” (Kath, WEL another level of consultation has come Producing Partner, Focus Group, 2010). about in chatting with these people” (Tanya, WEL Producer, Interview 1, 2010). Category 2 – The Accessibility of West “[T]his year … is having different areas End … Live or different spaces for different types of The data indicated that the emphasis for community groups to go around as well. West End … Live producers, producing So they’re looking after not just one age partners and artists, is on creating an group. They’re going from the toddlers event in which West End locals are right through to the elderly so I think this willing and able to participate not just as … they’re creating more shade areas this spectators, but as performers. “I think year as well. So there’s a lot of different community groups especially with regard things happening which I think is really to the program that we’ve pulled going to do well from previous years so it together here [for West End Live], I think will be really good” (Peter, WEL they play a really important role … [The Producing Partner, Focus Group, 2010). community] not only engages with these art works and culture that we’re actually The effect of this approach, for West End putting out there in terms of the … Live producers, producing partners spectators … they’re also involved by and artists, is a familiar, comfortable, way of being involved and presenting family friendly program. “One of the their art and presenting their changes with West End … Live this year performance” (Tanya, WEL Producer, was that we stopped it at five o’clock Interview 1, 2010). because the focus was on families and children. A lot of people said ‘oh why are The approach that enables West End … you finishing it at five’ and it’s like well Live producers, producing partners and the focus for a lot of the free community artists to succeed in this is community events this year was alcohol and drug consultation and research during the free, family and community” (Nadine, CQ programming of the event. “[It’s] Producer, Interview 2, 2010). important to involve the community in everything that we do, and to develop Category 3 – The Inclusivity of West End the community through our work” … Live (Tanya, WEL Producer, Interview 1, 2010). The data indicated that the emphasis for “[W]ith West End in particular I did a lot West End … Live producers, producing of consultation and research within the partners and artists is to provide local community. … I literally spent the first artists with an opportunity to show their few months of being here meeting with work. “We found that last year the people, chatting with people in really community really felt that it was casual settings; in small orchestrated important for their views and for their settings such as the retailers and traders artists and for their vision to be seen in association meetings and liquor accords.

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this event” (Tanya, WEL Producer, community, I supposed you could say, Interview 1, 2010). developing a certain aspect of the community” (Tanya, WEL Producer, The approach that enables West Interview 1, 2010). End…Live producers, producing partners and performers to succeed in this is using The approach that enables West End … all local artists in the program, and Live producers, producing partners and providing the production resources to artists to succeed in this is showing how allow a lot of local artists to be part of artists’ work develops over successive the event. “I’m using all local or Brisbane years. “I think that if you’re able to do bred artists. So really the program will be that, through a piece of work, or [more a reflection on Brisbane, it will be a importantly] through a couple of pieces reflection on Queensland. … West End … of work in succession through the years, I Live in particular got over four hundred think that’s really important, and I think local based or bred performers and that that’s really successful” (Tanya, WEL artists involved” (Tanya, WEL Producer, Producer, Interview 1, 2010). “So using Interview 1, 2010). “[For] West End … Live those guys I think that we’re helping to we’ve employed over four hundred local develop Queenslanders, develop art and artists in the event and they range from develop culture here” (Tanya, WEL never being a performer on the stage Producer, Interview 1, 2010). before to old, older artists of Brisbane that haven’t had a voice for ten, fifteen The effect of this approach for West End years” (Nadine, CQ Producer, Interview 1, … Live producers, producing partners 2010). and artists is artist career development. “[W]e’ve had a lot of really good The effect of this approach for West End responses back from artists who were … Live producers, producing partners involved to say thank you for the and artists is more sustainable local opportunity so I think that’s a really good festival. “[I]t happened for quite a few indicator to say that there’s new and years, right up until EXPO ’88, but emerging artists out there that need to because a lot of the local artists were be given a chance” (Nadine, CQ employed to work at EXPO there wasn’t Producer, Interview 2, 2010). anybody around to actually do the festival that year so we decided to defer that year. And then after that it sort of 7.4 Attendee Narratives was just too hard to get back off the In 2010, attendees at West End … Live [ground]” (Peter, WEL Producing were also interviewed, to gather their Partner, Focus Group, 2010). ” Brisbane narratives about the event. Festival was a perfect opportunity to Approximately 50 attendees, selected as claim our space in Brisbane, to really a random representation of attendees at promote the area and what the the West End … Live event, participated characters are all about” (Peter, WEL in a short Vox Pop in which they were Producing Partner, Focus Group, 2010). asked about their response to West End

… Live. This represents approximately a Category 4 – The Capacity-Building that 1% sample of the overall attendance, Comes from West End … Live which, at 25,000, was about the same The data indicated that the emphasis, for attendance figure as in 2009. In 2009, the West End … Live producers, producing data gathered by Brisbane Festival partners and performers is creating an provided limited data on the geographic, event developing local artists. “[It] is demographic, psychographic and showcasing of a certain aspect of a

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behavioural profile of attendees. A majority of attendees were from the local Market Research Report, produced by West End Area (32.14%), with significant Footprints Market Research says a attendance from Annerley (7.14%), postcode survey of 968 attendees Hamilton (7.14%) and Lutwyche (7.14%), (approximately 6.45%) indicated that some attendance from Indooroopilly, suburbs which represented the greatest Yeronga, St Lucia, Kenmore, Nundah, proportion of attendees were West End, Alderley, Ferny Hills and Manly, and some and surrounding suburbs such as South from Sydney, Melbourne, and overseas Brisbane, Kangaroo Point, Highgate Hill (USA). and New Farm, as well as suburbs to the north of the West End such as Whilst a significant proportion of Newmarket, Alderley, Enoggera and attendees (63.63%) were attending West Keperra. Indeed, 52% of attendees lived in End … Live for the first time in 2010, many West End, or within 5km of West End. had attended in 2009 (25%), in 2008 This Market Research Report also uses a (4.54%), or in 2006, 2008, 2009 and 2010 survey of 150 attendees (1%) to provide (10.41%), indicating that they like to very limited information on the “come every year” (WEL, Vox Pop, 17, demographic profile of attendees (76% 2010). Whilst slightly under half the were under 45, 68% were single people attendees said they did not usually with no children), the psychographic and attend arts, cultural or community events behavioural profile of the attendees (65% (46.93%), more than half (53.07%) were attended to hear the live music), and the regular attendees at other cultural response of the attendees to the events events; (12.24%) other community events; (47% strongly agreed, and 51% agreed, (12.24%), Brisbane Festival events (8.15%); that West End…Live provided other cultural events (13.95%); other arts opportunities for people to participate in events (6.12%) or other events (6.12%). cultural activities). In 2010, to move Attendees indicated that they were beyond the basic information on attracted to these events by music, by numbers of attendees available in the the fact that it is in their local area, by the Brisbane Festival’s existing data on the fact that they bring locals together, or by 2008 and 2009 events, the Vox Pops the food. gathered additional quantitative and qualitative data, and an insight into who Attendees found out about West End … participates, why, what experience they Live via word of mouth (57.14%), the have, and what benefits participation Brisbane Festival program (16.32%), brings for them. newspapers (12.20%), the Brisbane Festival website (2.04%) or other The data indicated that 50% of the websites (8.16%), and a small proportion attendees were female, and 50% of the attended because they knew someone in attendees were male. The vast majority the program (4.08%). were in the 20-35 age bracket (47.91%) or the 35-50 age bracket (25%) with those in Asked about what West End … Live is the 50-65 (16.66%), < 20 (6.25%) and > 65 designed to do, who attends, and why, (4.16%%) age brackets also represented. the attendees indicated that they think The vast majority were Australian people come to West End … Live to be (64.70%), with a diverse mix of people of part of the community it creates New Zealand, American, European (Italy, (46.93%), to participate in social (36.73%), Greece, Germany, Ireland, England), cultural (22.44%) or art (12.24%) activities, Indian, Asian, African, Pacific Islander or because of the atmosphere (12.24%), or Indigenous Australian heritage also because it is conveniently located (8.16%). represented. As in 2008 and 2009, the In their personal narratives, attendees

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said that West End … Live is a popular they came to West End … Live to event because it brings the community participate in social activities (40.81%), together, to learn and share, in a way cultural activities (24.48%), or art that is organic (43.33%), because it offers activities (20.40%), because they have a an opportunity to see live music (23.33%), family member or friend in the program and an opportunity to socialise (16.66%). (22.44%), because of the atmosphere Many participants emphasised the (18.36%), because of the sense of importance of it being a free event community (10.20%), or because the (26.66%). “[People come to] support the location is convenient (10.20%). Most community, to support each other, to attendees agreed that West End … Live hang out” (WEL, Vox Pop, 09, 2010). had a good atmosphere (71.42%), that it Others stated that it was about allows people to have a good time “engagement, diversity and the (36.73%), or to meet other people opportunity to have car-free streets” (22.44%). The adjectives most commonly (WEL, Vox Pop, 14, 2010). “It’s a used to describe the event were community event which I think is really “relaxed”, “chilled out”, “friendly”, or important. I think that the Boundary “family oriented” terms used by about Street festival doesn’t happen anymore, 28.57% of attendees, and some attendees not the way it used to and this is a really noted they felt a sense of belonging in important thing to happen where we West End (4.08%). A number did note actually stop the cars coming through that the weather had not been kind in and we take it back as a community 2010 (10.20%), but this did not seem to space … It just gives it such a strong have a negative impact on the sense of community which is really experience. In their narratives about the important for West End, that is under event, attendees emphasised fairly threat from development that is generic motivating factors for happening here” (WEL, Vox Pop, 15, attendance. Most mainly wanted to walk 2010). “I mean just walking up and we’re around, see what was on and catch up coming into here seeing all the different with people (41.02%), have something to people involved, it’s fantastic” (WEL, Vox eat (15.38%), and see some music Pop, 07, 2010). “[A] nice sort of sense of (10.25%), but were otherwise happy to go belonging, it’s busy, nobody feels out of with the flow of the day. Many had place and you eat, you drink, you talk to watched the music (50%), wandered people” (WEL, Vox Pop, 09, 2010). around, looked at the street performers and stalls and socialized (40.90%), eaten Asked if it was important for people to (36.36%), watched the dancing (22.72%), attend an event like West End … Live, the watched the BMX display (6.18%), or vast majority of attendees (83.67%) said looked at the artwork (4.54%). Highlights yes, because it is important to create included a sense of being part of the community (32.65%), or get the West End community (34.37%), the A community involved in social (28.57%), Close Knit exhibition (21.87%), the music cultural (24.48%) or arts (16.32%) (21.87%), and the food (9.37%). “I love the activities. Attendees said West End … knitting” (WEL, Vox Pop, 03, 2010) “[T]he Live was an important way to showcase knitted toilet” (WEL, Vox Pop, 13, 2010). the local community (50%), support and “It’s more alive than last year” (WEL, Vox showcase local artists (43.75%), or get to Pop, 04, 2010). “I like all the drawings, all know other people in the community the pictures and everything. … Yeah (31.25%). seeing a lot of these pictures today it has actually... Starting to trigger off in my Asked about their own personal mind again, wanting to get back into it” motivation for attending, attendees said (WEL, Vox Pop, 12, 2010). “Brisbane is

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pretty musical so having a good diverse themselves said, “I took a walk through variety of bands on is pretty good” (WEL, the street several times. So I stopped to Vox Pop, 32, 2010). “It’s creative and look at the stalls, I’ve watched organic and fairly non-hierarchical so if performances, I’ve seen audience you want to put something on, you can” participate in various things” (WEL, Vox (WEL, Vox Pop, 15, 2010). “I think it’s a Pop, 09, 2010). “[W]e’ve wandered along great showcase opportunity” (WEL, Vox and watched the show on that stage as Pop, 14, 2010). “[I]t’s a space for local well as this one and we’ve been right to artists to have their work showed …to the end and looked at everything and showcase local musicians as well” (WEL, bought some food” (WEL, Vox Pop, 03, Vox Pop, 15, 2010). “[T]he local artists 2010). Observations indicated that the too, just to support them” (WEL, Vox “[m]usic stage ha[d] the most people Pop, 16, 2010). “It’s a good atmosphere, gathering around” (Tara, WEL Observer, like it just promotes a lot of local artists 19.09.10, 12.30pm), and the atmosphere and stuff like that” (WEL, Vox Pop, 30, was energetic, vibrant and happy, though 2010). “I think it is because you’re it was characterised by varying levels of supporting the local bands. These are all activity or passivity in engagement as Brisbane bands I’ve been told because I attendees socialised. Throughout the checked at the tent. Most of them are day, “[m]ost people stopping to eat at local and this is their bread and butter. If one of the many culturally diverse cuisine you don’t come then they don’t have this options” (Tara, WEL Observer, 19.09.10, venue to play in and this is, you know if 12.30pm). However, “[t]here were only they live here they get to play in their food stalls down one end of Boundary own community, they don’t have to Street (corner Wilson Street), which most travel so I do think it’s very important” patrons noted was insufficient. As a (WEL, Vox Pop, 31, 2010). Most attendees result though, all of the restaurants and said West End … Live met or exceeded cafés along Boundary were full their expectations (54.76%), though some throughout the day – maybe an incentive said they’d like to see more food stalls for local businesses to contribute and (7.14%), more market stalls (4.76%), more partake in West End … Live. Another street performers (4.76%), more music noted complaint was the shortage of stages (4.76%), animals (4.76%), or more craft and other stalls (like the markets). art exhibitions (4.76%). Patrons felt like there was a lot of wasted space along the street (towards Vulture Observations of attendees during West St end)” (Tara, WEL Observer, 19.09.10, End…Live indicated that “patrons [were] 12.30pm). The Art from the Margins and A mostly circling, walking with food, Close Knit exhibitions also drew attention, pausing to watch performers, [and] take with “[p]atrons also stopping to admire, pictures of A Close Knit” throughout the contemplate and take pictures of the knit day, and there was a “[s]trong presence covered port-a-loo” (Tara, WEL Observer, of Brisbane Festival volunteers, 19.09.10, 12.30pm). Throughout the day, information tent, each ‘station’ or “[i]t [wa]s difficult to observe performance is well signed – times and participants in distinct and separate areas information displayed” (Tara, WEL of the WEL event, as the majority of Observer, 19.09.10, 12.30pm). “There are people [were] roaming between many in a ‘just passing through’ state. everything. Almost every demographic But there is also active and passive [wa]s present – with a distinct shortage engagement with activities, of teenagers” (Tara, WEL Observer, performances and especially food and 19.09.10, 12.30pm). “Although it was a beverage stalls” (Tara, WEL Observer, small minority of teens and young adults 19.09.10, 12.30pm). As attendees in attendance – they seemed to gather at

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one particular space – The 5 Way. There Vox Pop, 31, 2010). “I think it’s important was a very large crowd gathered (about 5 for people to get out and feel a sense of people deep) to watch Hip community and it brings everyone Hop/Breakdancing show as well as BMX together in one location. It is a sense of demonstration and Vulcana Women’s community. Also gives them a chance to circus. Perhaps putting this space more experience different aspects of central along the street would draw them community so I think the best, there’s a to partake in other activities” (Tara, WEL variety of interesting things here that it Observer, 19.09.10, 12.30pm). enables all walks of life to come here” (WEL, Vox Pop, 33, 2010). “It’s nice to see Asked if they thought West End … Live people coming and going and different represented the community well, 75.51% people, different culture, different you said yes, because it was a good know, way of having fun” (WEL, Vox Pop, opportunity to gather and showcase, and 25, 2010). “[W]e’re talking to lots of captured something of the real West End, locals and with the conversations and the particularly through the degree of life stories that are on, they’re kind of diversity in the program, even if not cool and you get an idea of what people everything or everyone is represented. around here are like.” (WEL, Vox Pop, 42, Only a limited number of attendees were 2010). “There’s lots of little shops that unsure (10.3%), in some cases because talk about sustainability and there’s also they were not from Brisbane, or said that places that show the art installation or they felt the representation of West End this sort of, it reflects I guess the people was superficial or artificial (3.44%). “It’s who live in West End basically, you know real West End” (WEL, Vox Pop, 21, 2010). what they feel about things going on in “I think this is what I think of when I think the country so yeah. I think it does reflect of West End. It’s exactly what’s going on the community” (WEL, Vox Pop, 42, here right now, you can feel it - the 2010). “I think there’s a lot of locals here rhythm and vibe” (WEL, Vox Pop, 22, as well, they’ve obviously got a lot of 2010). “[I]t’s almost like a continuation of pride in where they live. I was talking to what usually happens here except it’s one of the guys who have been here magnified … It represents the since the 1970s. Old guy down the road community really well” (WEL, Vox Pop, sitting down with his dog so I started 09, 2010). “I’ve always liked West End talking to him and I think it’s just to get and it’s always a fun place to chill out, out as … There’s a lot of people who and the idea of something like West End aren’t from West End as well but yeah I … Live kind of appeals to me” (WEL, Vox don’t see why not. I’ve come down here Pop, 42, 2010). “Community sort of at night time for dinner and stuff and it’s feeling in the place. I think West End is the same kind of crowd. It’s got that sort really renowned for that. … Typical West of family atmosphere but there’s a bit of End sort of atmosphere, a bit grungy and art to it and lots of young ones getting interesting.” (WEL, Vox Pop, 16, 2010). “I around and the designers and things like know the community is very multicultural that so I think it’s a good representation and very tolerant of differences. When of the different segments … in today’s you look around, you see people of every society there’s this disconnection. We do, colour, every race. And families, young we sit on our arses and we sit at home, people, older people, Indigenous people. I'm guilty of it. Your life becomes so People from different, I'm hearing insular, you don’t really see what’s going different accents as I walk around so I on around you and there’s so much going think it is representative. If you look on in Brisbane and it’s free and in your around all the musicians look like they all community and that. And people don’t come from different backgrounds” (WEL, talk. So it’s opening up that dialogue like

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what you guys are doing today and I with their experience at the events. The think that’s great” (WEL, Vox Pop, 13, producing partners, in particular, were 2010) very pleased that Brisbane Festival was able to provide the producing power to Most attendees said they would (57.14%) make sure the event happens every year, or might (17.85%) like to get further whilst at the same time committing to involved in the activities running as part the research and consultancy that of West End … Live in 2010, particularly enables the event to have a truly the food, face-painting, hula hoops, choir community feel. The artists, in particular, or volunteering, though several did were very pleased about the opportunity indicate they didn’t really want to get for professional employment. The involved beyond being a spectator at this attendees – by and large happy to go stage. The vast majority of attendees with the flow of the day – were very (88.00%) said they would, or might (4%) pleased that the event celebrated the attend West End … Live again in 2011. A traditional West End in a context of number of attendees also said they continuing gentrification and would (57.14%) or might (10.20%) attend development, and that it remained a free other Brisbane Festival events, day with a very friendly, relaxed, family- mentioning the music program (31.25%), oriented atmosphere. the theatre program (18.75%), the dance program (18.75%), and Riverfire (6.25%). Only one person commented that they didn’t know West End … Live was part of the bigger Brisbane Festival.

7.5 Conclusions

The data indicates that the West End … Live events, which aim to create a space for West End locals and others to come together to share stories, celebrate community identity, and showcase creative skills, are well received by producing partners, artists and attendees, and that most express a clear desire to continue their involvement. As would be expected with any event of this size, there are occasional tensions. For instance, one of the professional artists expressed concern about the quality of the programming given the inclusion of community participants, or, for instance, one of the attendees expressed concern about the inclusion of absolutely all community groups in the programming, or, for instance, a few of the attendees indicated that they preferred to have market and food stalls throughout the street rather than at one end. On the whole, though, these comments were in the minority, and people were satisfied

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IntoAfrica

program that provided performance and professional development opportunities 8.1 History, Aims & Activities to as many African people as possible and

Create a community choir that engaged Into Africa has been presented as part of up to 200 people from African and other Brisbane Festival in 2006, 2008, 2009 and backgrounds to perform at Into Africa 2010, as a response to community 2008, and continue its life beyond consultation. Brisbane Festival identified Brisbane Festival a need to assist newly settled African Expand the choir to 300 people in 2009 communities, in particular Sudanese, and extend the original and traditional Eritrean and Congolese communities repertoire to reflect the diversity of the settling in Brisbane’s southern suburbs of members Yeronga, Moorooka and South Brisbane Engage Ajak Kwai, a Sudanese singer with integration into the broader based in Melbourne, to conduct Brisbane community via cultural events professional development singing and exchange. The Into Africa event is workshops incorporating traditional designed to provide the platform for that Dinka songs and original songs exchange. Continue workshops with African youth

in drumming and dancing, led by newly- The Into Africa program aims to: settled migrant Same Akoth, to continue Create a greater awareness in Brisbane of capacity building for African youth and the local emerging African communities performance opportunities with the and their culture, arts practice, and Choir and communities Develop two key roles for African Create the chance for members of the community members including a local African communities to develop and Community Liaison Coordinator and a showcase their arts practice to a wider Choir Director’s Assistant in order to audience and increase the community’s capacity to Create an opportunity for local determine the future direction and performers and the local community to aspirations of the Choir perform in a large scale event alongside Provide the opportunity to establish an national and international artists from ongoing high profile event for the Dutton African communities Park and Moorooka Wards of the Deliver a curated local performance Brisbane City Council.

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Ethiopian Coffee Ceremony Into Africa achieves these aims by Performance – Imanzi (Rwandan) providing a free one-day festival Performance – Asim Gorahsi (Sudanese) incorporating a variety of activities, which Performance – Senegalese Drum & Dance became a platform for newly settled with Kai Fech (Sengalese) African communities in Yeronga and Senegalese Drum & Dance Workshop Moorooka to present performances with Kai Fech (Sengalese) embodying aspects of African culture, Morocan Food – Hassan M’Souli and, in the process, improve cultural West African Drumming & Dance understanding and relations within Workshop with Talkin the Drum African communities in Brisbane, Abyssinian Dance between African communities in Performance – Zambicongo Capoeira Brisbane, and with the wider Brisbane Muziz (Egyptian) community. Sega Dance with Jalsa Creole Performance – Burundian Women 8.2 Activities Presented, Folkloric Participation & Spankinhide (West African) H'Sao (Chadian Music) Partnerships Into Africa Choir.

In 2010, Into Africa presented at total of This represents an increase from 2008, 41 events, exhibitions and installations, when Into Africa presented a total of 8 including: performances, including performances Mumbo Jumbo Performance by: Marimba Workshop Musiki Manjaro, Diafrix, Drums and Lions, Tribal Mask Making Workshop Samoko, Sam Okoth and the Into Africa Henna Creation Workshop Community Choir, together with free Henna Painting by Chiatali African Mask Making workshops with Talkin the Drum Monqiue de Goey, free African Shaker Made in Africa and Fan Making Workshops with Tunde First Last Network Solanke, and free Ethiopian Music Out From Africa Workshops facilitated by Drums and Journeys Worldwide Lions. African Braids and Beauty Kwetu Handmade And from 2009, when Into Africa Afralia presented a total of 17 performances, Multicultural Development Association including: Intrepid Travel Music from Drumming Ensemble, Into Afro Art Plus Africa Community Choir with Ajak Kwai AusCongo Network Inc. (directed by Yani and assistant directed Foodstalls – Naidoo Spices, Kumusha by Prince Williams), Afro Dizzi Act, King Foods Marong and AfroMandinko, Ajak Kwai Images from Ethiopia and Eritrea and Band, Samoko, and Big Fela Afrobeat African Folklore tales with Simon Orchestra on the Main Stage M’Zungu Music from Osadia and Sam Derchie on Ethiopian Concert the Garden Stage No One’s Son Book Display Ashanti storytelling on the Garden Stage Rhyme Time A visit from the Total Nowhere Emotion Finding Home (DVD) Expansion mobile media art exhibition, in Food Conversations with Hassan M’Souli which eight artists Olaf Breuning, Brody Welcome to Country Condon, eteam, Grant Stevens, Darren

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Sylvester, Nawapol Thamrongrattanarit, the day. 15,000 people attended this free Ryan Trecartin, Jemima Wyman and event. Anamation by students of the Brisbane Youth Education and Training Centre In 2010, a total of 10,500 people attended explored the internet as a human rather the free all day Into Africa event. than a technological phenomenon Multimedia installations in which visual This represents an increase from 2009, artists Amanda Hayman, Warren Gracie, when 8,000 people attended Into Africa, Jan Van Dijk and Anthony Spinaze re- and a decrease from 2008, when 15,000 interpreted local stories as part of Drawn people attended. Together and Roving performances by Burundian In 2010, 23 individuals, community groups Community Drumming Ensemble, and corporate partners collaborated with Bashasha Yeronga State School Marimba Brisbane Festival in producing or Ensemble, Sam Okoth and Nii Armah supporting the production of Into Africa, including: In 2009, Into Africa also presented a total Reverse Garbage of 35 workshops, including percussion- Natural Henna making with Tunde Solanke, Burundi Marimba on the More Drummers, Henna Painting, Play it Big H’Sao Games and Vulcana Women’s Circus, Hassan M’Souli together with the Into Africa Soccer Jalsa Creole Competition in which eight teams Kai Fech participated, and a women’s soccer Ashna Gorashi demonstration game. Moonlace Entertainment Muziz In 2010, a total of approximately 400 Simon M’Zungu artists contributed to Into Africa, Talkin the Drum including one international and one Spankinhide interstate contributor. Zamblacongo Abyssinian Dance This represents an increase from 2009, Burundian Dance when 340 artists contributed to the Into Imanzi Dance Africa events. 311 were local Queensland Into Africa Choir artists, 27 were national artists, and 2 Multicultural Development Association were international artists. 300 choir Metropolitan South Regional Soccer members performed. In other words, in State Library of Queensland 2009 91.47% were local, 7.94% were Moonlace Entertainment national, and 0.58% were international1. Milperra State School. 148 people participated in the workshops on the day. 8,000 people attended this This represents an increase from 2009, free event. This also represents an when six community groups and increase from 2008, when a total of 241 corporate partners collaborated with artists contributed to the Into Africa Brisbane Festival in producing Into Africa events. 220 were local Queensland events, including: artists, and 21 were national artists. 140 Acasa an organisation that raised funds people participated in the workshops on for orphanages and women in Ethiopia to be self sustaining. Queensland Police Service Olympic Soccer Association 1 Accuracy of figures cannot be validated from Into Africa Community Choir documents provided to the research team.

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Vulcana Women’s Circus 8.3 Producer, Producing Queensland African Communities Council. Partner and Artist

This represents an increase from 2008, Narratives when four community groups and corporate partners collaborated with In 2010, producers, producing partners Brisbane Festival in producing Into Africa and artists involved with Into Africa were events, including: interviewed to gather their narratives St Sebastian’s Primary School about Into Africa – what it aims to do, Mary Immaculate Primary School why, and how, who comes to the event, Yeronga State High School and who benefits. Milpera State High School. The narratives of producers, producing In 2010, Brisbane Festival liaised with two partners and artists involved with Into community groups in producing the Into Africa were grouped into four categories: Africa events: narratives about the “aesthetic” of Into African Reference Group through the Africa; narratives about the Queensland African Communities Council “accessibility” of the event”; narratives Multicultural Development Association. about the “inclusivity” of Into Africa; and narratives about the individual and This represents an decrease from 2009, community “capacity-building” that when Brisbane Festival liaised with 4 occurs as part of Into Africa. The community groups in producing the Into narratives within each category were Africa events, including: then analysed to determine what African Reference Group through the producers, producing partners are trying Queensland African Communities Council to do under each category (experience), Multicultural Development Association how they are doing it (enablers of Queensland Police Service effect), and what resulted (effect). Olympic Soccer Association. Category 1 – The Aesthetic of Into Africa This represents a decrease from 2008 The data indicated that the emphasis for when Brisbane Festival liaised with 10 Into Africa producers, producing partners community groups in producing the Into and artists, is on creating an event that is Africa events, including: experienced by attendees as a showcase Queensland Sudanese Association of African music, dance, arts, crafts and Refugee and Immigration Legal Service foods, via a combination performances, QPASTT (Queensland Program to Assist workshops and displays that is both fun, Survivors of Torture and Trauma) and an informative exchange of Congolese Community information. It is therefore important Association that it showcases both community and Liberian Community Council professional cultural products. “Into Moorooka Lions Club Africa is very much community-based” Friends of Yeronga (Natasha, IA Producer, Interview 1, 2010). Yeronga’s Blind Cricket “The majority of the program was Association actually made up of the local groups” Mila Arts (Natasha, IA Producer, Interview 2, 2010). Kultour. “Approximately 70 per cent of the program is with the community. Whether that’s their cultural dance, cultural voice, or through their foods, [and] we’ve also go all their cultural arts and crafts”

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(Natasha, IA Producer, Interview 1, 2010). (Natasha, IA Producer, Interview 2, 2010). “[A]s well as programd events like Hip “[T]here’s lots, or there has in the past Hop, Variety or Dance workshops” been lots of opportunities for local (Natasha, IA Producer, Interview 1, 2010). people to perform or be involved. So it “[The aim is to j]ust to experience the might be [that] some of the local African culture and I guess understand restaurants that are run by the African that no matter what colour or race you community participate on the day. So it’s are that we are still people and we still all a way of them showing their skills as well have a good time and we just do it in our as making a bit of money. There’s the own way” (Natasha, IA Producer, Moorooka Lions Club which is a fairly Interview 1, 2010. “[T]he feedback that I blokey group of people that are involved get as Councillor [for the Ward] is that as well. Then there’s numerous people from both communities want to performances such as the Into Africa come together and learn from each choir … [K]ids from the high school other” (IA Steve, BCC Partner, Focus performing as well. [A]s well as Group, 2010). “[A]bove anything else, professional artists” (Steve, IA BCC breaking down racial boundaries is really Partner, Focus Group, 2010). what I hope people gain from it. … [T]hat people who don’t understand or feel a The effect of this approach for Into Africa little bit afraid of Africans, you know … producers, producing partners and [t]hey actually see the humanness [of artists, is increased exposure or Africans and the African communities] recognition of Africans, African culture, and their sensitivities … you know, who and African culture’s capacity to they are, and how they present what contribute to the wider community. “I they bring culturally” (Elliot, IA Creative, think [what the community groups who Focus Group, 2010). participated in Into Africa gained,] was a large recognition of their cultural groups. The approach that enables Into Africa In particular, some of them actually do producers, producing partners and artists dance lessons or language lessons aside to succeed in this is variety in the from their performances [at Into Africa]. programming, and constant additions to So it gave people exposure to their the programming. “With the stall holders particular culture, and what they’re able this year in what we call the Bazaar … we to prove to the general public [of did actually have a lot of information Brisbane all year around]” (Natasha, IA stalls, so whether it is project building Producer, Interview 2, 2010). “Yeah it will over in Africa, or adoption processes for be good to feel like part of that larger African children, it was a very informative community and to help bridge the gap style Bazaar. … [We] had goods for sale between the white Australian and the as well … Another huge aspect that was African community” (Elliot, IA Creative, new this year to the program was the Focus Group, 2010). Cultural Gallery. And within that gallery we did a Q&A session with our Moroccan Category 2 – The Accessibility of Into chef, we did African folklore and we also Africa had a photographic exhibition there. So The data indicated that the emphasis for working on that side we’ll probably work Into Africa producers, producing partners more with the state library as well. and artists, is on creating an event that Maybe get some LOTE [Languages Other represents Africa to both African and Than English] books in … So I guess just non-African attendees in an accessible working more with those sorts of groups way. “[T[he event is an African event, but and trying to get a little bit more it’s not targeted at the African information out there to the public” community. It’s targeted at the wider

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community. “Come and experience a Interview 1, 2010). “[I]t’s setting up the taste of Africa. So that’s where we Brisbane Festival too as a partner who’s connect, [that’s] the community approachable. If we seem to be a connection” (Natasha, IA Producer, corporate body that’s funded by Interview 1, 2010). “[O]ne of the projects Australia Council and Brisbane City that we got off the ground initially Council, then there’s a hesitancy to want through funding through the ward was to probably ring us up, but if there is a an Into Africa choir. The idea of the choir key producer, that they know, that they was to bring people from African or can ring, Natasha is that person, so [that refugee backgrounds [together] with the is] setting up those relationships” broader community, so it was actually an (Nadine, CQ Producer, Interview 1, 2010). opportunity to mix the communities, and “[T]here’s also the ethnic groups and get them to learn from each other, rather they’re generally the African people who than just to make it purely about have come here for other reasons, Africans. And the feedback that I get as whether it’s as refugees or for other Councilor [for the Ward] is that people reasons, and then they’ve got into the from both communities want to come music and the dance and they’ve started together and learn from each other” (IA to learn how to play the music and dance Steve, BCC Partner, Focus Group, 2010). that comes from back home. In many of their cases they don’t even play the music The approach that enables Into Africa that comes from their tribe, they play the producers, producing partners and artists music that might come from the other to succeed in this is involving as wide a side of the continent, but it connects variety of groups and individuals as them and it makes them feel like solidly possible in representing Africa to African and it gives them some kind of Africans and non-Africans. “I think they tangible connection with their culture [the African community] play a huge part. and their heritage so it’s really valuable” Anywhere that you go, you start off your (Elliot, IA Creative, Focus Group, 2010). [participation in the cultural life of a “[W]hat we do is important in that it community] with your fetes in your develops its own sense of community in schools, and that’s a community group, itself and that people who are from and you [as a producer of larger scale whatever background have come programs showcasing the community] together because they have this common are growing that. So when you’re talking interest in this music. It may not be their about doing these cultural showcases, cultural, you know, traditional music but that’s what it is. It’s people [who] want they still, they all love it and so they’re all to have a voice in some way and these coming together and united through that are the type of events where they get to sharing experience. … [I]t’s always been have their voice and be part of it” really, really positive from the migrant (Natasha, IA Producer, Interview 1, 2010). communities who are just, almost just ... I “[T]he focus this year was very much on don’t know it feels like there’s encompassing the whole of Africa. … So connection with home and it’s sort of like [the aim] this year was to introduce a lot a … maybe a compliment to them, in a of new communities, a lot of new culture way that someone who is not from their that hasn’t been experienced before. … background has actually taken up their So we’ve included say the Egyptian music and their dance style and really community who have never been a part embraced it and also endeavouring to do of it before. We’ve included the Mauritian it well and you know with sort of earnest community as well. [And t]he Tunisian you know feeling about it. … [So] it still community … So it’s really broadened develops [a] community around th[e]se the community” (Natasha, IA Producer, [professional] groups …I suppose I don’t

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know a base of friends and community The approach that enables Into Africa around that” (Tamara, IA Creative, Focus producers, producing partners and artists Group, 2010). to succeed in this is using MDA as a central liaison point to enable groups – The effect of this approach for Into Africa especially women’s groups and youth producers, producing partners and groups – to come up with the artists, is an increase in attendance / programming each year. “We also participation, and increased worked closely with the Multicultural participation by attendees. “As Development Association, councillors, pertaining to Into Africa this year the and so forth, in regards to the conflicts numbers increased dramatically. So last within the community, making sure the year we had about six thousand programming reflected that, that attendees and this year we had about ten [conflicts and] those sorts of things thousand attendees and that’s largely didn’t happen” (Natasha, IA Producer, due to the involvement of the community Interview 1, 2010). “[T]he African groups. So having the community groups community it’s obviously quite a diverse active in our program encouraged their community, so there’s a few language family and friends to also come and barriers there, and I guess they [the experience you know a festival event. producers] need to understand [that] as Also having them involved in say the well as the [African] culture, [and] festival program and free events Australian culture and what is legally encourages them to understand and acceptable and what is not” (Natasha, IA what other ticketed events Brisbane Producer, Interview 2, 2010) Festival might have. And putting ...encourage ticket sales down the track” The effect of this approach for Into Africa (Natasha, IA Producer, Interview 2, 2010). producers, producing partners and artists “[Success, for me, would be] the fact is to increase community ownership of that it is an African festival, and there’s the programming. going to be a lot of African folk there, [and] they dance to our music. If they Category 4 – The Capacity-Building that dance to our music … we’ve got it” Comes from Into Africa (Elliot, IA Creative, Focus Group, 2010). The data indicated that the emphasis for “[Success, for me, would be] seeing the Into Africa producers, producing partners audiences enjoying what we’re doing… and artists, is creating an event that and then if we get one or two Egyptian upskills participants, so they can launch people who come up to us [and say] “oh, their own events, initiatives and you played that song. and I loved that programs. “A lot of these women [who song when I was a child”, or whatever, provide catering] want to start their own that’s really great … that would be the business … Same with a lot of the main thing” (Elliot, IA Creative, Focus community groups [who provide Group, 2010). performances / workshops]. They’re recently formed, and they’re wanting to Category 3 – The Inclusivity of Into Africa express their culture. So they want to be The data indicated that the emphasis for part of our event. They might do their Into Africa producers, producing partners own dance school [for example], so and artists is to allow African people to that’s a great opportunity for them to have a voice. “[A] lot of these smaller showcase and promote their own dance groups want to go out and have a voice schools and choirs and things like that” [in the wider community]” (Natasha, IA (Natasha, IA Producer, Interview 1, 2010). Producer, Interview 1, 2010). “I believe that we need to … be highlighting, I suppose, the skills and the

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art and culture of our local communities, guiding them as to how they can become and in particular to be building on those better. So I guess this is a first step for skills. … [W]e’re doing very well at the them” (Natasha, IA Producer, Interview 1, moment with building and looking after 2010). “It assists them in building for the our professional artists, and that’s great. future. For example, the community But we also need to, my belief is [that] groups as far as their catering, it gave we need to be doing or fostering more at them the experience to then maybe start the local level where people don’t have the basics for a catering business down as many opportunities to be involved, the track. So we had two restaurants on and particularly people who aren’t from board who are actually licensed affluent backgrounds” (Steve, IA BCC restaurants and they basically mentored Partner, Focus Group, 2010). “[O]ur the community groups as to what is motivation is really to be recognised and acceptable, what is not acceptable; how, acknowledged by the larger community you know, they could work more that what we do is of value and efficiently and so forth” (Natasha, IA contributes in music and dance, you Producer, Interview 2, 2010). “I think it’s know … and also … to earn income … as fantastic that those groups are included professional artists” (Elliot, IA Creative, in such a festival as this. My only concern Focus Group, 2010).“I could also imagine would be that they can sometimes … get how I could enjoy getting involved in the the gig for a professional gig and they’re organisation and the actual event not professionals, they’re not very good. management and the programming of So there is some reverse racism that does things like this” (Elliot, IA Creative, Focus happen and I think it’s good for Brisbane Group, 2010). Festival to be aware of that” (Elliot, IA Creative, Focus Group, 2010). The approach that enables Into Africa producers, producing partners and artists The effect of this approach for Into Africa to succeed in this is engagement of a producers, producing partners and producer with a development performers is an increase in individual background, education, and ‘grassroots’ and community capacity. “You know mentorship. “[T]hey don’t have [for over the last five years the standard of example] the Public Liability to be able to the music and dance has just really gone do that. So we [at Brisbane Festival] are up as a direct result of that” (Tamara, IA going through I guess an awareness Creative, Focus Group, 2010). program with them at the moment, especially with the local women’s groups that want to do the catering. So they 8.4 Attendee Narratives really want to be a part of our events, but they’ve got to understand that the Public In 2010, attendees at Into Africa were also Liability comes into effect, you know, the interviewed, to gather their narratives licensing, and so forth. So we’re going about the event. Approximately 50 through a whole education process with attendees, selected as a random them at the moment. … So it’s a learning representation of attendees at the Into curve for them … I guess this is the first Africa event, participated in a short Vox step, so we’re educating them through Pop in which they were asked about their that process. Previous groups that have response to Into Africa. This represents already been part of the [Brisbane] an approximately 5% sample of the Festival have that liability, [and they are] overall attendance, which, at 10,500, was sort of mentoring them through that an increase from 2009. In 2009, the data process as well, letting them know what gathered by Brisbane Festival provided worked and what didn’t work and limited data on the geographic,

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demographic, psychographic and (13.95%), other arts events (6.97%), other behavioural profile of attendees. A community events (4.65%), or other Market Research Report, produced by events (2.32%). Many indicated that they Footprints Market Research says a come to these events whenever they can, postcode survey of 509 attendees whenever there is a multicultural or (approximately 6.36%)2 indicated that the African event, or that they are becoming suburbs which represented the greatest more interested in African events proportion of attendees were Yeronga because they have begun working with (11.40%), Corinda, Graceville and Oxley people from the African refugee (5.96%), Annerley (5.43%), Woodridge community. (4.38%) and Moorooka (4.21%). In 2010, to move beyond the basic information on Attendees found out about Into Africa via numbers of attendees available in word of mouth (40%), the Brisbane Brisbane Festival’s existing data on the Festival program (21.81%), newspapers 2008 and 2009 events, the Vox Pops (14.54%) or websites (14.54%). Around 10% gathered additional quantitative and came because they had a member of qualitative data, and an insight into who family or friend involved in Into Africa, participates, why, what experience they and around another 10% had no have, and what benefits participation connection with the event at all and brings for them. simply heard the music and came down to see what was happening. The data indicated that 60% of the attendees were female, and 40% of the Asked about what Into Africa is designed attendees were male. The majority were to do, who attends, and why, the in the 20-35 age bracket (39.39%) or the attendees indicated that they think 35-50 age bracket (39.39%), with those in people come to Into Africa to participate the 50-65 (18.18%), < 20 (3.3%) and > 65 in creating a sense of community (52%), (3.3%) age brackets also represented. The to participate in cultural activities (62%), majority were Australian (45.23%) or arts activities (36%) or social activities African (26.19%), with people identifying (24%), or to learn (30%). In their narratives as European or Caucasian (11.92%), about the event, attendees emphasised a Indigenous Australian (4.76%), Asian variety of more personal motivating (4.76%), Indian (4.76%) or South American factors. Whilst the vast majority (2.37%) also represented. As in 2008 and emphasised the idea that Into Africa is 2009, the majority were from the local about celebrating Australia’s cultural Yeronga area. diversity and getting to know the richness of African culture, especially as Whilst the majority of attendees (77.55%) more and more Africans join Australian were attending Into Africa for the first society, others also spoke about a more time in 2010, a number had attended in general opportunity to participate in 2009 (10.20%), in 2008 (2.04%), in both community, a more general opportunity 2008 and 2009 (2.04%), or in 2008, 2009 to meet people, about the and 2010 (8.16%). Whilst about half the entertainment, and about the fact that it attendees said they did not usually is good, fun, free recreation on the attend arts, cultural or community events weekend. “[I]t gives African people the (51.60%), the other half (48.40%) were chance to show the best of their culture regular attendees at Brisbane Festival which is a good thing” (IA, Vox Pop, 09, events (25.58%), other cultural events 2010). “[I]t makes you to understand all the culture and to also appreciate varieties and differences and it’s a way of 2 Brisbane Festival indicated that this figure could be a building yourself up” (IA, Vox Pop, 33, typographical error from 2009.

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2010). “I think a lot of people are very were primary motivating factors in their unaware of what is actually going on in decision to attend. It is worth nothing their own backyard so to come to that, whilst not all attendees named something like this you realise that atmosphere as a primary motivator for there’s a community here with lots of attendance, the vast majority agreed the different cultures” (IA, Vox Pop,16, 2010). atmosphere was good, describing it as “I think it’s just educating people about “fun”, “friendly” “happy”, “cheerful”, other cultures and I mean myself as well “family-oriented”, “upbeat”, “busy”, but it’s really just understanding about “vibrant”, “quaint”, “lovely, “relaxing”. different places and we’re all just really In their narratives about the event, conscious about there being different attendees emphasised a variety of more groups of people living in Brisbane” (IA, personal motivating factors, including the Vox Pop, 18, 2010). “[T]he African fact that they were African, had lived in migrants and refugees are willing to Africa, or had friends, family or share with us and I think that’s a great workmates who were from Africa; the privilege for us because I love the music, I fact that they had an interest in or love the food, I love the people so yeah. curiosity about African culture; the fact And I think everybody, I think the people that they expected to see good who come feel like that too” (IA, Vox performances or eat good food; or the Pop, 46, 2010). fact that it was a good family fun day. “I live down the road and heard it. I heard Asked if it was important for people to all these drums and things and go, ‘Oh, attend an event like Into Africa, the vast what’s going on?’” (IA, Vox Pop, 38, majority of attendees (82%) said yes 2010). “I went for a walk and I seen it and unequivocally – to create a sense of I went ‘Cool!’ Then I saw all the art and I community (30%), to learn (28%), or to thought I'm going back there to get participate in cultural activities (24%); some photos for my daughter” (IA, Vox because it celebrates Australia’s cultural Pop, 08, 2010 IA, VP, ST-08). “Australia is diversity; showcases Africa, and gives a diverse cultural nation, we like things children an opportunity to learn. “[I]t’s like this, and for me obviously being important, e]specially for the young Caucasian, I like different cultures. It’s a ones, the kids, to learn and reach out different perspective on things. And like I with other nationalities and learn to see said, I think the people are just nice other cultures” (IA, Vox Pop, 40, 2010). people, their music, it’s uplifting, that’s “I'm thinking of going and picking up my probably why [I come]” (IA, Vox Pop, 32, little niece and bring her back so she can 2010). “The vibe from the people, they’re get exposed to this.” (IA, Vox Pop, 31, fantastic and uplifting so that’s probably 2010). “I did ring up some friends why [I come]. The food!” (IA, Vox Pop, because they live nearby and I thought if 32, 2010). “I think certainly the fact that they were there, they could come and it’s free admission is a big deal. Very easy, join us” (IA, Vox Pop, 48, 2010). friendly to take kids to, you can try out different styles of food, listen to different Asked about their own personal styles of music. Try to broaden their motivation for attending, attendees said horizons a bit. Also I think people come they came to Into Africa for the cultural here because this is their community. This activities (44%), the social activities (22%), is where they can meet with other people the arts activities (22%), the sense of from their country and talk and socialise community (36%), and the chance to and so on” (IA, Vox Pop, 49, 2010). Some learn about other cultures (8%), with attendees also said they came to support around 12% indicating that good the African community, because they scheduling, location and atmosphere

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wanted to make them feel welcome in participants or observers, creating a Australia (IA, Vox Pop, 51, 2010). vibrant atmosphere, in which singles, couples and families of all ages mixed. Asked what they had done at Into Africa The bazaar and the food stalls were also so far, attendees most commonly said popular as people got hungry during the they’d looked around at the displays, day, and again drew mixed groups. The stalls and bazaars – including purchasing workshops were the most energetic, crafts and fabrics, or getting a henna spontaneous activities during the day, tattoo – sampled the food and coffee, and were popular with “[m]ostly Young and watched some music or dance. Children” (Tara, IA Observer, 12.30pm). According to attendees, highlights “Very diverse group of participants. Very included the food, some of the acts large presence of African community, as (Spankinhide, H’Sao, the Mauritian one would hope. A lot of families with dancers, the African Choir, the children young children, and young and middle- dancing), some of the artwork aged adults. 60+ group would be the (particularly the trees produced as part minority.” (Tara, IA Observer, 12.30pm). of A Close Knit), meeting people (for “Music, dance and henna workshops” example, people from the same tribe or (Tara, IA Observer, 12.30pm). “Dance, old friends) and, for many, the whole music, henna, sport, hoola-hoop and atmosphere. Asked what they were juggling, mask making” (Tara, IA looking forward to doing during the day, Observer, 3.00pm). “Good size crowd has attendees most commonly indicated they arrived and is scoping out stalls, main were looking forward to watching the stage and dining area. Fierce rain just hit music, participating in the music (in the event and made people scatter and particular the drumming), eating the run for cover” (Tara, IA Observer, food, or watching the dancing. Most 12.30pm). “Workshops and atmosphere attendees said they had not necessarily has been dampened by weather. had any particular expectations about Attendees are crowding into community the event, and what expectations they Dining Hall to eat, stay dry and watch had were met. A few attendees noted cooking instructional talk. Tent is that they expected the event to be absolutely packed, but food lines are at larger, or that they expected more least moving” (Tara, IA Observer, African nations represented, more 1.30pm). “You don’t notice how many information about the displays, or prams are around until you try and (conversely), more Australian squeeze them all into a tent!! The involvement and presence. A few noted weather has put a halt to most activities, that they’d like more food, more stalls, as they are not covered, for the last one more things to do, or to see the return of and a half years. People living locally run the Soccer Competition as part of Into home to get umbrellas and return. In the Africa. Community Dining Lounge are enjoying the food, the talks, and the shelter from Observations of attendees during Into the storm” (Tara, IA Observer, 1.30pm). Africa indicated that “The music from the “Inside the Community Dining Lounge main stage attracted many people to the there was music performed and a event – just passing close by, or could traditional Ethiopian coffee ceremony hear it from their homes” (Tara, IA took place” (Tara, IA Observer, 12.30pm). Observer, 12.30pm). “Music workshop “Great atmosphere despite the rain was one of the first activities visible when pouring down. Everyone I spoke to was entering the park. With all types of enjoying the music and the diversity of people getting involved” (Tara, IA event so far” (Tara, IA Observer, Observer, 3.00pm), whether as 12.30pm). “Dance circle and workshops

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were extremely vibrant, mostly children community consultation would allow and their parents getting involved. Drew more African community groups to large crowd of onlookers - myself participate. included - to watch the little ones bumping and grinding, absolutely Most attendees said they would (32%) or priceless” (Tara, IA Observer, 3.00pm). might (12%) like to get further involved in “The majority of participants in the activities running as part of Into Africa workshops were children and sometimes in 2010, particularly the dancing, their parents. But others were drawn as drumming and food, though several did well by the vibrant atmosphere” (Tara, IA indicate they didn’t really want to get Observer, 3.00pm). “A lot more involved beyond being a spectator at this participation involved in these activities stage. The vast majority of attendees than at other events. There was always (88%) said they would attend Into Africa something for children to be involved in – again in 2011. A number of attendees also made for a very attractive “family day said they would (26%) or might (18%) out”, as many patrons noted” (Tara, IA attend other Brisbane Festival events, Observer, 3.00pm). As the rain cleared, mentioning other community events like and the day drew to a close, observations A Close Knit, the contemporary dance indicated that people moved back out program, and the Speigeltent program, towards the stage. “ Spankinhide though intention to participate in this performing on main stage. Sun still trying survey was impacted upon by Into Africa to break through. Ground has dried up taking place towards the end of 2010 slightly and attendees are all set up along Brisbane Festival program. Only one the hill – like an amphitheatre. Largest person commented that they didn’t crowd of the day gathered in front of know Into Africa was part of the bigger stage. Everyone clapping or dancing Brisbane Festival. along to heavy African drum beats. Very diverse groups of people. All ages in attendance” (Tara, IA Observer, 4.00pm). 8.5 Conclusions “More bands” (Tara, IA Observer, 4.00pm). “[The] sun has finally stuck The data indicates that the Into Africa through the clouds. [The] event is events, which aim to celebrate and build starting to wind down with workshops. capacity within the African community, Majority of the crowd has now settled at are well received by producing partners, the main stage, setting out blankets and artists and attendees, and that most kicking back for the remainder of the express a clear desire to continue their event” involvement. As would be expected with any event of this size, there are Asked if they thought Into Africa occasional tensions. For instance, one of represented the community well, 60% the professional artists expressed said yes, because as Africans related to it, concern about the quality of the diverse African cultures were programming given the inclusion of represented, it was a good learning community participants, or, for instance, opportunity for children; it was a good a few of the attendees expressed showcase for African culture, or because concern about the inclusion of absolutely it showed Africans in a good light. 26% all community groups in the were reluctant to answer. 14% said no, programming. On the whole these because not all African groups were comments were in the minority, and represented at the event – particularly people were satisfied with their not North African and West African experience at the events. The producers, communities – and they felt additional producing partners and artists who had

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had an opportunity to contribute to the programming truly felt they were doing something positive for the community by not just informing the community about Africa and Africans, and not just creating connections between Africans and non- Africans, but via mentorship which enabled Africans to launch their own ideas, initiatives and enterprises. The attendees felt truly proud that they were doing something to create a more multicultural and tolerant Australia, as well as enjoying the displays, music, dancing, and especially the food. There were no major areas for improvement identified. In general, people just wanted more, so the event could grow.

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BarambahtoBoundary (TheNextStageofTheCherbourgWalk)

Provide visual arts and performance- based workshops 9.1 History, Aims & Activities Provide the opportunity to create totems

poles for each community The data gathered by Brisbane Festival Provide performance outcomes in each indicated that The Cherbourg Walk began community in 2009, and aimed to bring the Provide opportunities for local artist skills Cherbourg and Brisbane communities development, training and employment together to promote understanding of Pursue potential for an online the shared history of removal, and component and delivery of project. celebrate the strength, unity and survival

of many Murri communities. The In 2010, the Baramah to Boundary (The Cherbourg Walk achieved these aims by Next Stage of the Cherbourg Walk) enabling people to participate in a 22 day program achieved these aims by: / 275km walk from Cherbourg to Brisbane th engaging an Indigenous writer / (or part thereof) from Saturday 12 rd researcher to identify individuals and September to Sunday 3 October 2009. groups within the Brisbane and

Cherbourg communities to participate in Barambah to Boundary program is the interviews, and use the information to second stage of The Cherbourg Walk, produce a publication about the shared which was presented as part of Brisbane history to be part of visual workshops, Festival’s Across Brisbane program in and also available to the general public 2009. (April, May, June, July)

engaging an Indigenous visual artist to In 2010, the Baramah to Boundary (The work with members of the community to Next Stage of the Cherbourg Walk) create totem poles that represents their program aimed to: country, stories and memories, to be Bring together two key Indigenous gifted to the other community, and install communities in Cherbourg and Brisbane these in the grounds of the ration Shed in Document and publish living historical Cherbourg and Musgrave Park in documents Brisbane (May, June, July, August, Recognise individual stories and share September) histories engaging an Indigenous performing artist to work with members of the community

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to create the performance that took Indigenous artists, and Matthew Malone place as the totem poles are installed in presented a vessel carrying soil, water Cherbourg and in Brisbane (July, August, and ashes from the four countries September). Artists included Anthony crossed during the walk to Premier Anna Newcastle, Fiona Doyle, Andrew Beckett Bligh. This leg of the walk was also (Cherbourg), Dale Kerwin, Laurie Nilsen, webcast to participants at the Walbira Murray, Raymond Walker, Mop International Academy of Environmental (Angus Rabbit) and the Dropouts. Scientists World Forum in Venice. Monique Bond commented, “It (The 9.2 Activities Presented, Cherbourg Walk) was a moving and Participation & healing process for many of the Cherbourg people and also people from Partnerships other regions. After all, nearly all First Peoples share the same history of In 2009, The Cherbourg Walk started on dispossession, trauma and relative the first day of the Brisbane Festival at poverty” (8 October 2009). the Ration Shed Historical Precinct in Cherbourg then progressed through In 2009, a total of 300 Indigenous and Linville, Woodford and the Bunya non-Indigenous community members, Mountains before reaching Boundary artists and elders participated in all or Street, West End, at the finish of the part of the 22 day walk, and 500 Brisbane Festival. The Cherbourg Walk participated on the final day. A total of 63 passed through 22 communities - local Queensland artists contributed to Cherbourg, Barambah, Barambah the Special Community Events running Education Centre, Gallangowan State parallel to the The Cherbourg Walk, and forest, Kingham Lodge, Jiggera Creek, one national artist, Kev Carmody, Peach Trees camping site, Jimna, Kilcoy, contributed to the Special Community Linville, Sheep Station Creek campsite, Events. This lead up activity is published Somerset Dam, Mt Archer, Neurum as West End … Live including activities Creek, Woodford, Ben French Park, associated with the Cherbourg Walk. Kev Dayboro, Samsonvale, Yugar, Bunya and Carmody conducted workshops and Brisbane. Its passage through performances with Cherbourg State communities ran parallel with several School (11th Sept) and with West End Special Community Events, including: State School (14th Sept). During these The Eddie Gilbert Memorial Cricket Match th workshops students rehearsed a song in Linville on 20 September and, which a combined group came together Celebrations, including cultural dances by and performed at West End … Live on the South Side Education at Black Flats, at arrival of the Cherbourg Walk. the Woodford Festival Site, Woodford, th 205 people participated in workshop on 25 September. activities facilitated by Kev Carmody, Craig Saw and David Williams in the NB: There is reference to a “Sea of Hands” leadup to the event, all from West End installation presented alongside the walk, State School and Cherbourg State School. but no dates or details are available. 1043 people attended this free event on the day, including 943 live, and 100 via The final leg of the walk took the form of internet. a symbolic march down Boundary Street, rd West End on 3 October, as part of West In 2009, 14 individuals, community groups End … Live, followed by a Welcome to and corporate partners collaborated with Country and Corroboree at Musgrave the Brisbane Festival in producing The Park at which walkers were welcomed by Cherbourg Walk, including:

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Norman Heggarty (Elder) Barambah to Boundary ran from Community and elders from Cherbourg Wednesday 15 September to Saturday to Southern Cross University’s Ginibi College 25 September. It was open to the public of Indigenous Australian Peoples daily and entry was free. A total of Aboriginal Centre for Performing Arts approximately 75 artists contributed to Southside Education Barambah to Boundary. Almost all were International Academy for Environmental individual artists, community groups and Scientists, World Forum 2009. schools groups from the Brisbane and Ration Shed Museum, Cherbourg Cherbourg communities. Four artists – Musgrave Park Cultural Centre the producer, the sculptor, the Woodford Folk Federation photographer, and the oral historian - Radio 4UEB- Cherbourg Radio were professional artists. Teraiba Park Commemorative Support Group In 2010, Brisbane Festival did not collect ANTAR attendance figures for the ten day ACPA Barambah to Boundary event, because DERM attendance targets were not a primary Cherbourg Aboriginal Shire Council aim of the event. Observations of the Murri Arts event over the ten days indicates that Nundah Historical Society. most attended on the opening day. On the final day of the event a large number In 2009, Brisbane Festival liaised with one of community members from Cherbourg community group, Brisbane Festival attended. Indigenous Advisory Group, in producing The Cherbourg Walk. In 2010, 7 individuals, community groups and corporate partners collaborated with In 2010, Baramah to Boundary was Brisbane Festival in producing or presented at the State Library of supporting the production of, including: Queensland (SLQ) on the lower level in Debbie Taylor (Brisbane Pottery & the dedicated Indigenous space kuril Ceramic Artist) dhagun Indigenous Knowledge Centre. Dr Dale Kerwin (Griffith University Oral Historian) The event had a number of components Jo-Anne Driessens (Brisbane including: Photographer) Films of participant activities and Mandalay Technologies experiences Musgrave Park Cultural Centre Exhibition of pottery and ceramic art The Cherbourg Ration Shed (installation by Debbie Taylor) kuril dhagan. Yarning Circle Children’s Activities In 2010, Brisbane Festival liaised Banners exhibition. predominantly with the Cherbourg and Brisbane communities in producing the The opening event on Wednesday 15 Barambah to Boundary. September included the additional components of spoken work performance, song and a Welcome to 9.3 Producer, Producing Country. As 2010 was the first year this Partner and Artist event was run, there is no comparative Narratives data for analysis of attendee numbers, event reception or art form inclusion. Though the data gathered by Brisbane

Festival (2009) to date identified

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Indigenous communities as the key Brisbanites to have a part of their history target for The Cherbourg Walk, it provides or their story told as a part of a large no data on the geographic, demographic, international festival is kind of really psychographic and behavioural profile of significant and it kind of says too that it’s artists, artsworkers and community not just the high arts of international members or audiences participating in dance, performance and theatre that’s the events, other than to identify that important” (Nadine, CQ Producer, most of the artists who participated were Interview 1, 2010). “On reflection, locals from Queensland. Creating Queensland for me is an opportunity for individuals who In 2010, producers, producing partners participated in those events to leave and artists involved with Barambah to something of themselves or contribute to Boundary were interviewed to gather the festival” (Getano, B2B, Banners & their narratives about Barambah to ACK Producer, Interview 1, 2010). “[O]ur Boundary – what it aims to do, why, and lives are a collection of stories. At the end how, who comes to the event, and who of the day when we share our stories benefits. with people, whether we’re going to do them verbally [or via other means], we’re The narratives of producers, producing going to have a photo, we’re going to partners and artists involved with have an object and we’re going to talk Barambah to Boundary were grouped into about those things. So I would hope that four categories: narratives about the all those images and objects put a smile “aesthetic” of Barambah to Boundary; on people’s faces [at some point] to narratives about the “accessibility” of the come in the future and they will be proud event”; narratives about the “inclusivity” of their contribution” (Getano, B2B, of Barambah to Boundary; and narratives Banners & ACK Producer, Interview 1, about the individual and community 210). “[W]ith the Barambah to Boundary “capacity-building” that occurred as part it’s about giving the Indigenous of Barambah to Boundary. The narratives community an opportunity to tell their within each category were then analysed story and I guess Indigenous people have to determine what producers, producing used different mediums to tell their partners and artists are trying to do stories. … I guess how we interpret our under each category (experience), how stories and how other people interpret it they are doing it (enablers of effect), and gives that sense of identity” (Getano, what resulted (effect). B2B, Banners & ACK Producer, Interview 2, 2010). Category 1 – The Aesthetic of Barambah to Boundary The approach that enables Barambah to The data indicated that the emphasis, for Boundary producers, producing partners Barambah to Boundary producers, and artists to succeed in this is producing partners and artists is on promoting a variety of Queensland creating an event that is experienced by stories beyond the written word from attendees as a sharing of stories across past, present and future. “Creating two Indigenous communities in Brisbane Queensland is about creating our own and Cherbourg through a combination stories through mediums that kind of clay-based visual art works, films and aren’t just theatre, aren’t just music, it’s a workshops that showcased Indigenous bit of everything. And whether it’s told identity in a non-stereotypical way. “I through art or visual art or installations or think it’s the simple thing of just having digital media projects or recording oral their stories told. [T]he opportunity for history projects I think the whole element every day Queenslanders or for everyday of creating what is uniquely

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Queenslanders’ voices as part of Brisbane Festival is about sharing our stories. The approach that enables Barambah to Because you tend to think of festivals as Boundary producers, producing partners being high art and you know theatre and artists to succeed in this is bringing productions and dance productions participants into the event via existing whereas for me the value is behind how one-on-one collegial, friendship, family much communities engage with the and community connections, and using festival” (Nadine, CQ Producer, these to create new partnerships. “We Interview 1, 2010). “The State Library of never wanted it to be a hundred people, Queensland promotes community two hundred people. It was about the creative content and is dedicated to intimate gathering of people” (Nadine, collecting the views of Queenslanders. CQ Producer, Interview 2, 2010). “I guess They’re not only collecting books and in my role as the program coordinator for stories in that kind of way but just kuril dagan, the Indigenous Knowledge common people’s stories and the Centre, is to try and look for avenues to different ways of kind of voicing those as partner and work on community events well” (Amanda, B2B Producing Partner, and projects” (Amanda, B2B Producing Focus Group, 2010). Partner, Focus Group, 2010). “I’ve been lucky also that different people who are The effect of this approach for Barambah associated with the project have ties with to Boundary producers, producing the community and have been generous partners and artists, is broader in sharing their connections and representation of Queensland stories introducing me to members of the told directly through the voices of community, and that’s people from the Queensland residents. “Community Brisbane community through historical groups play a large role in art and culture relationships of families who have lived in because it’s their views that are not often Cherbourg, now live in Brisbane. And so told enough. You know all those grass I’ve been lucky that we’ve had those roots people and stories don’t often get a connections” (Getano, B2B, Banners & chance to present themselves or their ACK Producer, Interview 2, 2010). stories” (Amanda, B2B Producing “[W]hen Getano approached me and Partner, Focus Group, 2010). asked if I was interested in doing something between Musgrave Park [in Brisbane] and Cherbourg it was like, ‘Oh, Category 2 – The Accessibility of of course I would’. And I was actually Barambah to Boundary surprised that they’d actually asked me The data indicated that the emphasis for to do it but that’s just my own Barambah to Boundary producers, insecurities. But yeah, no I was just producing partners and artists, is on absolutely thrilled and I’ve never been to producing an event that deliberately Cherbourg but through my own invites only a small, specific group of university studies I’d met a lot of people people who would not otherwise from there and just very interesting participate in Brisbane Festival to history there. So to be able to go out participate in an event. “[Barambah to there and meet the Aunties and be part Boundary is important because] there [i]s of the community, it was just such a a whole layer of participants who would privilege to be there and yeah it was just not necessarily have an opportunity to great” (Debbie, B2B Artist, Focus Group, participate in Brisbane Festival without 2010). being invited to participate” (Getano, B2B, Banners & ACK Producer, Interview The effect of this approach, for IA 1, 2010). producers, producing partners and artists

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is an event that is warm, welcoming, women bring friends and you know say intimate and community based. “I was look this is good. And she was saying I’m happy with the feeling of how [people joining this and my life is at peace just felt comfortable to stay], because we working with the clay. So there are never wanted that day to be big” anecdotal things that are not necessarily (Nadine, CQ Producer, Interview 2, 2010). reflected in the course. So the sense of “When they actually went into the room achievement I think is a very personal with some of the elder women and they judgment in the sense of the participants had that conversation in there, [with] to see the people who haven’t worked some of the girls doing the research, it with clay all of a sudden go wow this is was one of the old[er people], Beryl wonderful. You know so I’m guessing it’s came out to me afterwards and she said for the participants in the workshops, the that was just really nice to be heard. And I smile on their face, the sense of get phone calls every week … the two achievement, I haven’t done this before, older ones that were involved with the I’d like to keep doing it” (Getano, B2B, pottery, they bought family down to Banners & ACK Producer, Interview 2, show them. I mean on an intimate level 2010) [and] that’s a success as well. Just different people that have kind of gone Category 3 – The Inclusivity of Barambah well thanks for letting me be involved in to Boundary this because this is what I’m doing now. The data indicated that the emphasis, for It’s kind of like, they’ve done this so they Barambah to Boundary producers, feel like they’re empowered to tell their producing partners and artists is to allow own stories. If you get twenty thousand Indigenous communities to have agency people instead of a hundred, [or a of their culture and to identify hundred people instead of twenty appropriate program activities. It is thousand] it still works [either way]. important to note that the community People are still engaging in that dictated how their stories were to be exchange” (Nadine, CQ Producer, communicated to others outside of their Interview 2, 2010). “I think as everyone community. “[I]t’s that thing of if looks at the numbers and the key community, I guess if community say performance indicators and this and that, something to you, this is how they would to me at the end of the day it’s the like to see it, that’s what needs to facilitators or the people who happen. You can’t go into community participated in the workshops having a and pose a program or an idea. And I sense of pride of achievement. think they’ll like it because it’s art” Participants standing in front of their (Nadine, CQ Producer, Interview 2, 2010). banners or their poly pieces waiting to have their photos taken to The approach that enables Barambah to commemorate that moment” (Getano, Boundary producers, producing partners Banners, B2B and ACK Producer, and artists to succeed in this is research, Interview 1, 2010). “[L]ike KPIs are always consultation and community sort of built in numbers and the things connections that enable them to tailor that you can’t define in KPIs is a young the program to participant needs, petrol sniffer who has been participating interests and desires. “And things totally in the workshop who knows that the change. The Cherbourg Walk is now workshop is on at this time and makes Barambah to Boundary, [because] the effort to come to it. Some of the community don’t (sic.) want to do the other groups here in Brisbane have come walk, they want to do it themselves. So from a women’s shelter and it’s been it’s not about the festival kind of barging surprising to see one of the young in going no, no, no we want to do this,

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we went with the idea of doing a project shared vision in what you’re trying to do that was all about creating large scale within those communities and who have installations and they said well no we some degree of empathy about the don’t want to do that, we’d rather do plights of the community. You know it’s pottery. Oh okay. So it’s kind of, and not as easy as saying we’re going to set Getano had just been talking about it up a workshop and run it. You know then someone else said oh they found us some of the workshops we’ve had two all this Cherbourg pottery so we were like people there and other workshops we’ve oh okay it’s meant to be. But it’s that had ten. And that’s because of whatever thing about not taking an idea, a business that’s happening in the preconceived idea that’s kind of been community has priority and that’s fair forced by other funding bodies or bums enough. Whether they are sports or on seats into a community, it’s about a cultural events or ‘sorry business community telling us what they want to funerals’ or people just having to travel do” (Nadine, CQ Producer, Interview 1, somewhere. So and I guess artists 2010). “[L]ast year the festival had the themselves, see it as a reflection of their inaugural walk and I [as a member of the own work and so their egos come into Indigenous community] said I don’t play again. Like oh my God I’m not doing [want to] walk for three weeks. … I the best job I can for the festival. So part wanted to look at something that was a of your job is as program manager is to little bit more inclusive and something I say look leave your ego out of it, it’s not a guess you know using art too, a little bit reflection of your work, it’s just where more earthy. And I liked the idea of the community is at and if there is no one people working with clay and to me it’s here today I’ll sit and make pots with you. like food. When you sit and share food You know so I think it’s a learning curve conversations come out, when you sit for some of the professional artists who and work with clay it’s amazing, people were involved in the project who were just like talking about their lives. And also Indigenous but teach at university these pieces I guess are a reflection of and their first foray into a remote people’s connection to the land, to community. Even though it’s five Cherbourg, to Brisbane. The hundred kilometres away it’s still its own commonalities and I guess the shared entity. So I guess like I said the onus is on histories of the spaces, so that was the the employment of professional people idea of using clay. Interestingly enough who have a grasp and understanding of when we approached the Ration Shed community cultural development and and the people from the Ration Shed you know some of the work also is about this idea of clay, twenty odd years negotiated with the communities but you ago the community in Cherbourg actually know community’s concept of how a had a thriving pottery scene. So in a festival operates and the festival’s sense it was bringing something back concept of how a community operates into the community that was familiar and are very different. So it’s a whole series people saying look I did this before. So I of educating out of house and educating guess in a long winded sense it is an in house. So I guess I see some of my opportunity for people to connect role as trying to do that. Surveys like this around the table to share their stories is also an opportunity for us to feedback and to create something from scratch” to the festival about you know (Getano, B2B, Banners & ACK Producer, processes” (Getano, B2B, Banners & ACK Interview 2, 2010). Producer, Interview 2, 2010). “It is quite a hard program to tackle because it’s not “[A]s a program manager you try to just every twelve months and really it’s employ professional people who have a not even twelve months. Staff, you know

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we get between four and eight months into what’s going to happen next year to deliver a community program which and we can’t make that decision but I doesn’t take into consideration think it’s constantly going to be a consultation periods, negotiations, all the problem if that’s not thought out. I ins and outs of community and history” would like to see something coming out (Nadine, CQ Producer, Interview 1, 2010). of this evaluation where the festival “It’s kind of unfortunate in a way commits to a three year community because the time that you have to program and you can actually program develop a program is somewhat rushed for three years, develop relationships and you think oh if I had another twelve over the three years and commit to it” months, this could actually be so much (Nadine, CQ Producer, Interview 2, 2010). more” (Nadine, CQ Producer, Interview 1, “I think the projects could have gone 2010). much longer because in some ways there’s almost this sweat shop mentality Creating Queensland producer Nadine that we need to get things done because McDonald believes that a successful we have this outcome and I specifically process for a community is a KPI for the don’t like working that way. I think to me event. “The process is my main target or festivals have a life before and festivals key indicator I guess of a project’s definitely have a life after. So people who success. And it’s really hard to get that participate in the festival should have an across to your major funding bodies enriching experience that outlasts the sometimes. Whereas, and this is where I festival. And so I guess my only criticism think as a whole organisation, the festival of my work is in hindsight I would have needs to really define the role of the had more lead up time” (Getano, creative communities program. And if it is Banners, B2B and ACK Producer, about the process and you have to Interview 1, 2010). commit a little bit more to the process as well as having an end product. But if The effect of this approach for Barambah you’re going to invest time and money to Boundary producers, producing and energy and resources into partners and artists, is to increase community, then you have to be in it for community ownership of the the long haul and not just every twelve programming, call attention to the months” (Nadine, CQ Producer, Interview community skills and capacities, and 1, 2010) “If there is, if they are valued as inhance community and inter- part of core business then I think you community connections. “Like I see with need to be able to develop a two or three the pottery workshops that we’ve been year strategy. that you’re able to work on doing for this project, just how particular events. You’re able to connecting that whole process is and communicate with communities now to where people who maybe don’t have a say this is what’s happening next year. Or lot of association with other Indigenous you’re able to communicate with people have just had a blast. For communities to say this is what’s instance,Like Aunty Jane Harver lives happening next year but between near Strathpine and she doesn’t get a lot October and November there’s no staff of association with other Indigenous but we’ll get back in touch with you. We women and I’d bring her down to can’t say that. So at the moment it’s in Musgrave Park and she and the other limbo and it’s quite irritating and it is part Aunties would sit around and they’d be of this whole evaluation. My big concern talking about their life growing up. is the time that we’ve spent building this Where she was, she grew up in a very relationship community will be lost again traditional life. The others would be next year because there’s no foresight talking about life on the mission or life in

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the city or wherever they came from. regards to when the deed of the They would be comparing different community was handed back to the traditions that they have. It was just community and the government in its fantastic, it was fantastic for them. But wisdom ripping out all the infrastructure for myself and the other younger girls when they had a thriving pottery industry that were part of it, man like it was just and people feeling great that they had such an educational thing. My daughters the opportunity [via Barambah to came to a couple of the workshops and Boundary to] connect with [that tradition they were just absolutely enthralled and and capacity again]. So in some ways to have a space like that where young some of the projects I think were a people can connect to their culture is just catalyst for people to reconnect with absolutely vital. You know in preserving skills” (Getano, B2B, Banners & ACK those stories, preserving you know Producer, Interview 1, 2010). “I think out history, you know traditions, culture, all at Cherbourg especially it was a real eye that sort of stuff” (Debbie, B2B Artist, opener to me. Not only the conversations Focus Group, 2010). “Indigenous culture with the community itself, with it’s actually a significant fabric of life and individuals, but also doing research on practice and I saw with my own mother’s that. And I guess I just saw Cherbourg as songs that she … would use those at a reserve but then finding how it is communal gatherings or you know setting up as … how it is set up and how funeral services. So the connection to it is run and how it maintains its hopes culture is not easily compartmentalised in and its dreams for its future and the that we’re doing something cultural future of its community, to me that is a today and you know we’re doing wonderful thing” (Getano, B2B, Banners something family on the weekend. And I & ACK Producer, Interview 1, 2010). “In go to work and I guess this whole sense Cherbourg and then many years ago they of boundaries and structure in Western used to have a ceramic industry there but society makes us feel safe in a sense. I’m it was all funded by the government and doing this and I’m doing this but with when the government withdrew control Indigenous cultures it’s like I said it’s all of the premises they took all the over the fabric and it’s not easily defined infrastructure there. But what I hoped to to say this is a cultural practice. ... I do when we did these workshops was to inherited five or six aunties out at show them how with very few tools they Cherbourg now and I call them Aunty you can make amazing pottery. Like you can know and when I go there I try and take a see what we have there, a couple of cake or something like that to show that I rolling pins a couple of metal kidneys. It’s value that connection you know?” probably all up you know like you know (Getano, B2B, Banners & ACK Producer, you’d be lucky if that was ten dollars Interview 2, 2010). worth of equipment. … And I hope they do, I hope they go ahead with it, keep Category 4 – The Capacity-Building that going with it” (Debbie, B2B Artist, Focus Comes from Barambah to Boundary Group, 2010). The data indicated that the emphasis for Barambah to Boundary producers, The approach that enables Barambah to producing partners and artists is creating Boundary producers, producing partners an event that allows participants to and artists to succeed is continued reconnect with artistic practices that promotion of Indigenous stories and existed in the community previously and culture in flagship cultural institutions. so allowing a history of practice to “For the people who come along and see develop. “Barambah to Boundary, I guess the piece, hopefully see the exhibition on learning the history of Cherbourg in the 15th September, they will I guess look

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at what these people have created and Interview 2, 2010). “What benefits long hopefully through other mediums of term is going to be for the community? … photographer and doing some of the I guess looks at arts and crafts as a way interviews they will gain a sense of I of generating tourism. … So working for guess some of the history of some of the a festival and trying to sell those ideas to people’s stories out of this sort of stuff. the community, yes our festival runs for a We want both communities [Cherbourg month, for four weeks, but there’s an and Brisbane] to have a sense of opportunity here to develop skills which completion about putting their works are going to create a cottage industry. into a significant cultural place and And the centre that we’ve aligned knowing that it’s on show for other ourselves with, the Ration Shed, has an people to come and see and appreciate in-house gallery and gift shop” (Getano, it” (Getano, B2B, Banners & ACK B2B, Banners & ACK Producer, Interview Producer, Interview 2. 2010). “The State 2, 2010). Library is hosting the community gathering which is on the 15th September and we want to promote kuril dhagun in 9.4 Attendee Narratives particular as a place, a welcoming place for Indigenous people to come” In 2010, attendees at Barambah to (Amanda, B2B Producing Partner, Focus Boundary were also interviewed to Group, 2010). gather their narratives about the event. Approximately 10 attendees, selected as The effect of this approach for Barambah a random representation of attendees at to Boundary producers, producing the Art from the Margins event, partners and performers is to assist in participated Vox Pops in which they were Indigenous communities gaining, asked about their response to Barambah retaining or developing an ownership of to Boundary. Although Brisbane Festival culture. “I guess to me one of the most did not collect attendance figures for this moving things was a young girl in the event, observation of crowd patterns Barambah to Boundary event and she was during the event would suggest this so proud of this bowl that she made” represents approximately 5% of the (Getano, B2B, Banners & ACK Producer, overall attendance of approximately 200 Interview 1, 2010). “I hope that people. In addition to the basic participants get a sense of pride, not only information on numbers of attendees, with the art work that they’ve produced the Vox Pops gave additional quantitative but also the process that they went and qualitative data, and an insight into through” (Amanda, B2B Producing who participates, why, what experience Partner, Focus Group, 2010). “I hope they they have, and what benefits get a great sense of pride in the things participation brings for them. that they’ve made, I hope they’re inspired to do more and I hope that they The data indicated that 60% of the maintain their connection with other attendees were female, and 40% of the people in their community. You know I’d attendees were male. The majority were really like to see them maintain what in the 50-65 age bracket (40%), with they’re doing and you know thrive on it” those in the < 20 (20 %), 20-35 (20%) and (Debbie, B2B Artist, Focus Group, 2010). 35-50 (20%) age brackets also “[M]y own personal agenda with the represented. The majority identified pottery and ceramics workshop was to themselves Indigenous Australian (60%) create an interest in the community and or Anglo Australian (40%). for them to run with it after the festival” (Getano, B2B, Banners & ACK Producer, Whilst all the attendees (100%) were

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attending Barambah to Boundary for the first time in 2010, and about two fifths of Asked if it was important for people to the attendees said they did not usually attend an event like Barambah to attend arts, cultural or community events Boundary, all attendees (100%) said it was (40%), the rest (60%) said they did important for people to come, to occasionally or sometimes attend events, participate in cultural activities (60%), particularly other arts events. social activities (40%), art activities (20%), learning (20%), and a sense of community Attendees found out about Barambah to (20.00%), emphasising the event’s ability Boundary via the program (40%), via the to give people a greater understanding of Brisbane Festival website (20%), or via culture (B2B_190910_Erica_1). word of mouth (40%), and most indicated that they came because they had a Asked about their own personal personal connection – a friend involved in motivation for attending, attendees said the event, or a teacher involved in the they came to Barambah to Boundary for event. the arts activities (40%), cultural activities (20%), learning (20%), or because they had Asked about what Barambah to Boundary family or friends in the program (60.00%). is designed to do, who attends, and why, In their narratives about the event, the attendees indicated that they think attendees emphasised more personal people come to Barambah to Boundary to motivating factors, particularly the participate in cultural activities (40%), presence of family or friends in the social activities (20%), learning (20%), or a program. “Through a friend” (B2B, Vox sense of community (20%), as well as to Pop, 04, 2010). have fun. In their narratives about the event, attendees emphasised the need to Asked what they had enjoyed at be aware of, acknowledge, and care Barambah to Boundary so far attendees about Indigenous Australian cultures. “I mentioned looking at the art exhibitions think [it’s important that people come to (60%), participating in the clay activities events like this]. Just to make us more (20%) or listening to the welcome (20%), aware. There’s a lot of this in panels and that they were looking forward to hanging on the walls up there which is seeing more exhibitions during the day very interesting” (B2B, Vox Pop, 04, (40%), and heading over to the West End 2010). “[I]t is important and I would like … Live event (20%). Highlights included to see a lot more non-Indigenous people watching the children participate with come along to these events and support activities and connect with their culture them as well” (B2B, Vox Pop, 06, 2010). (60%), learning about the process behind “[It’s important that people come along] Barambah to Boundary (20%), listening to so they can see our displays and what we the welcome (20%), and listening to made” (B2B, Vox Pop, 05, 2010) . “To try traditional poetry and songs (20%). All out the pottery, to make it. And have a said the atmosphere was good, quiet, look at the pottery” (B2B, Vox Pop, 01, peaceful, friendly and welcoming, and 2010). “And watch the documents and all that they were enjoying catching up with that” (B2B, Vox Pop, 05, 2010). “To enjoy or meeting people (60%). “Its very, very themselves, to have fun” (B2B, Vox Pop, friendly. Everyone is speaking to 05, 2010). “I find there’s even been a everybody and making you feel very change with Aboriginal communities welcome. It’s been lovely.” (B2B, Vox since [Kevin Rudd] said sorry. Where Pop, 04, 2010). “Good [atmosphere], very they’re starting to get an understanding good, very good, friendly. (B2B, Vox Pop, and they’re starting to see that white 06, 2010). “[I w]ent in, heard the poetry people do care. by Yvette, listened to the, and I don’t

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know the gentleman’s name, the and they’ve got to run with it” (B2B, Vox gentleman that was running the thing. Pop, 07, 2010) Listened to him speak and sing his hymn, had looked at the Cherbourg paintings In terms of criticisms, whilst some and things which is all very interesting.” attendees said the event met their (B2B, Vox Pop, 04, 2010). “I’ve seen a bit expectations (20%), others had of poetry, storytelling, pottery and art suggestions for improvements. The main work” (B2B, Vox Pop, 06, 2010). “Eat, comment from attendees was that they walk around, watch” (B2B, Vox Pop, 05, wished the event was bigger (60%), 2010). “Watching, looking at the birds wished the event was opened up and crossing the river” (B2B, Vox Pop, 05, advertised more (20 %), wished more 2010). “Looking at the river” (B2B, Vox non-Indigenous Australians attended Pop, 01, 2010). “What I enjoyed about (20%), wished for more performances today out there with the food is it’s good (20%), food (20%) or rides (20%). food, it’s not rubbish. We, like I say Deb “[T]hey’ve got to open it up to allow and I get involved in a lot of community more white people to come in and see projects and I’m not being derogatory what’s going on with these kids. You here but white people don’t have an know it’s something where I think a bit understanding of what Aboriginals more publicity wouldn’t hurt. But like this should be eating or what Torres Strait event here, maybe they used some of the Islanders should be eating and they have footage or the photography that they the tendency to go for sweet lollies and got to promote it a little bit more” (B2B, biscuits and all the wrong stuff, cake. Vox Pop, 07, 2010). Where today all the food was good healthy food and that’s important” (B2B, Observations of attendees during Vox Pop, 07, 2010). “[I’ve been] Barambah to Boundary and Where We networking as well and getting people From … Banners (which were co-located) from other communities, other people indicated that as the events began on the that are involved in Indigenous works opening day at 11am, the atmosphere and Indigenous drama. It’s good to meet was quiet, as people waited for other people as well” (B2B, Vox Pop, 06, Cherbourg participants to arrive by bus 2010). “[The highlight has been] just to (Erica, B2B & Banners Observer, 11am see all these kids from Cherbourg sitting 15/09/2010, kuril dhagun). There was a here, enjoying themselves having a ball. “series of banners around space/pottery They should do more of it you know, they exhibition in [a] window display” (Erica, need to get these kids out and go and B2B & Banners Observer, 11am have a look at what it’s about in other 15/09/2010, kuril dhagun), with a film areas you know? ” (B2B, Vox Pop, 07, showing “interviews/photographs of 2010). “Well a lot of these young children [Barambah to Boundary] pottery have lost it and because of our studies, workshop participants and Banners Deb and I take a lot of time and we spend workshop participants” (Erica, B2B & a lot of effort getting to these children Banners Observer, 11am 15/09/2010, kuril through their art, through their craft and dhagun). There was also another through just normal contact that they’ve exhibition and film “screening in a private got to be proud and they’ve got to ask room” (Erica, B2B & Banners Observer, questions. They’ve got to go and talk to 11am 15/09/2010, kuril dhagun). About 30 their parents, they’ve got to go and talk attendees were present – mainly singles, to their grandparents. They’ve got to find with a few couples and friendship out a lot more about themselves, what groups, predominantly in the 35-50 age it’s all about. It’s the oldest and one of group - and the atmosphere was the most beautiful cultures in the world interested, enthusiastic but still quite

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passive as people wandered round the (Erica, B2B & Banners Observer, 11.30am space (Erica, B2B & Banners Observer, 15/09/2010, kuril dhagun). There was still 11am 15/09/2010, kuril dhagun). At the a sense of togetherness, but intra and same time, “One group of students [was] intergroup conversations ceased during at [the] activity table working with clay” this period, with “[a]ll groups watching (Erica, B2B & Banners Observer, 11am [the] opening speech/ceremony” (Erica, 15/09/2010, kuril dhagun). About 10 B2B & Banners Observer, 11.30am students were participating in the 15/09/2010, kuril dhagun). As the activity, a mixed group of predominantly afternoon progressed, attendees moved Indigenous Australian attendees with one on to the “[p]repared lunch for guests or two Anglo Australian attendees, and and visitors after [the] official opening” the atmosphere here was more raw, (Erica, B2B & Banners Observer, 12.45am participatory and active, with a sense of 15/09/2010, kuril dhagun), with around 20- active engagement and togetherness 25 people staying for this part of the (Erica, B2B & Banners Observer, 11am program, engaging in social activities, 15/09/2010, kuril dhagun). There was a lot eating and conversation. At this time, of eye contact and conversation (Erica, around “20 kids from Cherbourg Primary B2B & Banners Observer, 11am [were also] in attendance – they were 15/09/2010, kuril dhagun). About five also involved as participants in the people were participating in Cherbourg pottery workshops” (Erica, conversations around the exhibits, or the B2B & Banners Observer, 12.45am small food and drink area, and here too 15/09/2010, kuril dhagun). On the the atmosphere was more spontaneous subsequent days of the event, the and energetic, with a sense of exhibition was open, but the films were togetherness (Erica, B2B & Banners no longer playing, and the artists were no Observer, 11am 15/09/2010, kuril dhagun). longer present, and the people who At 11.30am, the “official opening of [the] viewed the work were not attendees but exhibitions” (Erica, B2B & Banners rather visitors who had come to the Observer, 11.30am 15/09/2010, kuril space for another reason – to read or dhagun) began, and “[a]ll groups were study – and stopped to look (Erica, B2B & gathered together for the official Banners Observer, 11am 17/09/2010, kuril opening which took place in front of dhagun; Erica, B2B & Banners Observer, Banners exhibition” (Erica, B2B & 1,30pm 17/09/2010, kuril dhagun; Erica, Banners Observer, 11.30am 15/09/2010, B2B & Banners Observer, 11.50am kuril dhagun). The opening included a 19/09/2010, kuril dhagun; Erica, B2B & welcome song and speech from Getano, Banners Observer, 12.30m 17/09/2010, the event producer, spoken word kuril dhagun; Erica, B2B & Banners performances, and Welcome to Country Observer, 1,30pm 17/09/2010, kuril by Valda Coolwell (Erica, B2B & Banners dhagun; Erica, B2B & Banners Observer, Observer, 11.30am 15/09/2010, kuril 3.50pm 17/09/2010, kuril dhagun). dhagun). More attendees arrived at this time, including “20 kids from Cherbourg Asked if they thought Barambah to who were participants in pottery Boundary represented the community workshop and five girls from Southbank well, most attendees (80%) said yes, Education who were participants in because it shows the community’s Banners workshop” (Erica, B2B & talents, skills, rituals (B2B, Vox Pop, 03, Banners Observer, 11.30am 15/09/2010, 2010). Those who were unsure (20%) said kuril dhagun). Altogether, there were they were unsure because they were not around 50 attendees, students, together from the community (B2B, Vox Pop, 02, with singles, couples and friendship 2010). groups mainly in the 30-50 age bracket

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Most attendees (80%) said they would feel, would increase the event’s ability to like to get further involved in the serve the community. Interestingly, there activities running as part of Barambah to is a conflict between how the producers Boundary in 2010, in particular in the arts think the event should best serve the activities (60%), the cultural activities community and how the participants and (20%), or the sense of community it attendees think the events should best creates (20%), and because they could see serve the community. The producers are useful additions they’d like to add to the clearly of the view that connecting ten, or event – for example, one attendee said twenty, or thirty people is the important they’d like to see face painting activities thing here, emphasising intimacy, (B2B_150910_Kate_6). The vast majority engagement, and individual experience. of attendees (80%) said they would The participants and attendees do attend Barambah to Boundary again in appreciate this, but they would clearly 2011, mainly because they would like to like the event to be advertised, and to be be in the program themselves (60%) – for more visible in the Brisbane Festival example, one noting that they’d like to program, so that more people – and submit one of their own Indigenous more diverse people – will come in future Theatre works for inclusion in the event – years. or because enjoyed the cultural activities (40%), social activities (40%) or arts activities (40%). The majority of attendees also said they would (60%) or might (20%) attend other Brisbane Festival events, mentioning other mainstage events like the music program and the Spiegeltent. Those who weren’t planning to attend other events said this was because they were not from Brisbane and wouldn’t be here (B2B, Vox Pop, 08, 2010).

9.5 Conclusions

The data indicates that the Barambah to Boundary event, which aims to create a platform for invited participants from the Indigenous Australian communities to contribute to Brisbane Festival, and increase their skills, capacities and connections, is well received by producing partners, artists and attendees. All express a desire to continue involvement – and, indeed, many attendees, who came to support family or friends, say they would like to get involved in the future. It’s clear the artists and producers are proud of the event, and enjoy seeing the pride on participants’ faces. However, it’s also clear that they’d like a longer, more strategic development period. This, they

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‘WhereWeFrom’ … BannersProject

10.1 History, Aims & Activities 10.2 Activities Presented, Participation & The Where We From … Banners program Partnerships began as an activity coordinated by the State Library of Queensland in 2008, and In 2010, Where We From … Banners became part of Brisbane Festival in 2009 presented at total of 50 banners at an and 2010. exhibition at the State Library of Queensland from 15th-25th September The Where We From … Banners program 2010. This represents a decrease from aims to: 2009, when a total of more than 200 Build and diversify arts audiences within banners were created. The process in urban and regional areas by providing an 2010, as in 2009, began with workshops entry point for people to participate and which started in July, and continued engage with arts in their local spaces and through to the exhibition in September. communities In 2010, the banners were presented only Create meaningful and strategic at kuril dhagun at the State Library of partnerships between national, state and Queensland, a change from 2009 when local community and cultural selected banners were exhibited on organizations working with a major Friday 28th August to celebrate the launch festival alongside many artists and of Arts Queensland’s Indigenous Arts communities Strategy in Brisbane, and 72 of the Create significant culturally specific banners were reproduced as large scale works in collaboration with Indigenous outdoor banners which were installed at artists and Indigenous communities that various Brisbane Festival outdoor events, reflect and celebrate the culture of place, and exhibited as part of the Brisbane people and cultural ecology. Festival’s Q150 Shed tour, to the Gold Coast, Brisbane, Caboolture, Warwick, Where We From … Banners achieved Cherbourg, Blackhall and Augathella in these aims by enabling participants to October 2009. create fabric banners which reflected Indigenous themes of cultural identity In 2010, a total of 50 artists contributed and diversity. to the creation of banners for Where We

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From … Banners. All were local in Mount Isa; as well as artists completing Queensland artists, and all – except for the Townsville TAFE Pimlico Diploma in the producer, workshop facilitator and Art, other Indigenous education groups, graphic artist - from the Brisbane and health, youth and community Cherbourg communities. This represents organisations; TAFE and school students, a decrease from 2009, when a total of 121 individuals and families. Statistics on Indigenous artists and 11 Indigenous workshop participation indicate that a facilitators participated, including broad range of Indigenous people were Indigenous artists, arts workers and engaged in the workshops, including community members from 13 centres in people from Mount Isa 49 (32.02%), Metropolitan, Far North and North Cherbourg 25 (16.33%), Gold Coast 24 Western Queensland, including Mount (15.68%), Augathella 17 (11.11%), Cairns 16 Isa, Cairns, Townsville, Mackay, (10.45%), Townsville 14 (9.15%), Warwick Rockhampton, Maryborough, 14 (9.15%), Caboolture 9 (5.88%), Caboolture, Blackhall, Augathella, Rockhampton 9 (5.88%), Mackay 8 Cherbourg, Warwick, Brisbane and the (5.22%), Brisbane 5 (3.26%), Maryborough Gold Coast that included: 3 (1.96%). 2668 people attended the exhibition during Brisbane Festival, whilst Christine Smallwood the data indicates that the Q150 Shed Mackay and Townsville workshops touring exhibition visited 17 communities, Barry Boland including Brisbane, Cairns, Camooweal, Rockhampton workshop Djarra, Mackay, Maryborough, Mount Elston Blair Morgan, Mornington Island, Palm Island, Maryborough workshop Rockhampton, Townsville, Jiman and Sonja Clark Gangulu people from Central Mount Isa workshop Queensland. The Q150 Shed Tour Zane Saunders attracted an audience of more than 7,900 Cairns workshop people across the state. Michael J Connolly Caboolture and Augathella workshop In 2010, Brisbane Festival did not collect Patricia Bond attendance figures for Where We From … Cherbourg workshop Banners because attendance targets Dylan Charles were not the aim of the event, although Warwick workshop crowd observation indicates that the Walbira Murray event was probably attended by Brisbane workshop approximately 200 people, the same Alicia Jones number as the Barambah to Boundary Brisbane Correctional Centre workshops even with which it was co-located. Narelle Urquhart Gold Coast workshop. In 2010, 9 individuals, community groups and corporate partners collaborated with 153 people participated in workshop Brisbane Festival in producing or activities in the lead up to the event, supporting the production of Where We acquiring skills in communication of ideas From … Banners, including: through art and design, including young Anthony Newcastle (Workshop people (12-26) from the Inala-Wangarra Faciltiator) community organisation; students from Amanda Haymans (Graphic Artist) The Murri School; inmates from the kuril dhagun, SLQ Arthur Gorrie Men’s and Women’s The Cherbourg Ration Shed Correctional Centres (18+); people from Musgrave Park Cultural Centre the HIV/AIDS Advisory Committee Project

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Queensland Association of Healthy Central West Aboriginal Corporation Communities (Barcaldine) Kurabingi A&TSI Corporation Moreton Bay Region Libraries, Inala Waranga A&TSI Corporation Community and Cultural Services WInnumi A&TSI Corporation Gilimbaa Southside Education. Dreamtime Kullilla-Art Patti Bond This represents an increase from 2009, David Riley when 6 community groups and corporate Walbira Murray partners collaborated with Brisbane Cherbourg Aboriginal Council Festival in producing “where we from” … Arthur Gorrie Correctional Centre Banners Project, including: (Brisbane) Queensland Corrective Services. Womens Correctional Centre (Brisbane) Arthur Gorrie Correctional Centre Binambi - Barambah Aboriginal Co-op HIV/AIDS Advisory Committee Project- Mt (Caboolture) Isa Kalwun Development Corporation (Gold Townsville TAFE Pimlico Diploma in art Coast) students Aboriginal Health Services (Barcaldine) The Murrie School Central West Aboriginal Corporation Murri Arts. Musgrave Park Cultural Centre Michael J Connolly (Redcliffe) In 2010, Brisbane Festival liaised with 4 Narelle Urquhart (Gold Coast) community groups in producing the Dylan Charles (Warwick) Where We From … Banners event, Warwick Youth Council including: South West NRM Ltd (Charleville). Brisbane Festival Indigenous Advisory Group kuril dhagun (State Library of 10.3 Producer, Producing Queensland) Partner and Artist Cherbourg Aboriginal Council Musgrave Park Cultural Centre. Narratives

In 2010, producers, producing partners This represents a decrease from 2009, and artists involved with Where We From when Brisbane Festival liaised with 28 … Banners were interviewed to gather individuals and community groups in their narratives about Where We From … producing “where we from” … Banners Banners – what it aims to do, why, and Project, including: how, who comes to the event, and who Brisbane Festival Indigenous Advisory benefits. Group

Queensland Government The narratives of producers, producing Australian Government, Australia Council partners and artists involved with Where for the Arts We From … Banners were grouped into kuril dhagun (State Library of four categories: narratives about the Queensland) “aesthetic” of Where We From… Darling Downs Department of Banners; narratives about the Communities “accessibility” of Where We From… Fitzroy West Department of Communities Banners; narratives about the Wide Bay Burnett Department of “inclusivity” of Where We Communities From…Banners; and narratives about the Central Queensland Region Department individual and community “capacity- of Communities

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building” that occurs as part of Where profiles as well” (Brett, Banners We From…Banners. The narratives within Producing Partner, Focus Group, 2010). each category were then analysed to determine what producers, producing The approach that enables Where We partners and artists are trying to do From … Banners producers, producing under each category (experience), how partners and artists to succeed in this is they are doing it (enablers of effect), and showing difference perspectives from what resulted (effect). sub-cultures within the broader Brisbane Indigenous Australian communities. Category 1 – The Aesthetic of Where We “Creating Queensland I think is an From … Banners opportunity for people to share their The data indicated that the emphasis, for stories and in that dialogue offer people Where We From… Banners producers, different perspectives of their varying producing partners and artists is creating lives and the Where We From … Banners an event that is experienced as a sharing projects, all the groups were very diverse. of diverse stories of Indigenous And I had the opportunity of sitting with Australian life. “Where We’re From … homosexual men and then reflecting on Banners project has grown out of a map their lives as a sub culture of Indigenous that was designed by J. G. Steele who I men within the Indigenous culture. And guess was a historian author. And he to me that was an opportunity and a real developed a controversial map in regards eye opener for me to hear their stories to debating going on from the and how they sometimes even feel Indigenous community about the ostracised or left out of Indigenous authenticity of some of the places and culture. So I think Creating Queensland to tribes and the ownership of these regions me was about people sharing their … by groups that he’s nominated of [S]o to me it was a collection of stories I Brisbane city and greater Brisbane. So we think [we] created” (Getano, B2B, used that map to run a series of Banners & ACK Producer, Interview 1, workshops which is looking at the 2010). Indigenous contemporary Indigenous community of Brisbane, defining their The effect of this approach for Where We sense of spiritual identity and From … Banners producers, producing contemporary connection with the partners and artists is to create images environment and land or the suburbs that and objects that will become talking they live in. So I guess in a sense they’re points and engender cross-cultural creating or interpreting or informing the communication and awareness. “To me general public about Indigenous identity our lives are a collection of stories. At the in these places and connection” (Getano, end of the day when we share our stories B2B, Banners & ACK Producer, Interview with people, whether we’re going to do 3, 2010). “I mean storytelling is part of them verbally [or via other means], we’re our culture. … [I]t was about our stories going to have a photo, we’re going to and how we got to be where we are now. have an object and we’re going to talk People that engaged with us to do the about those things. So I would hope that project actually used methods that we’re all those images and objects and that will all familiar with, each and every one of put a smile on people’s faces [at some us. So it was good to see that when we point] to come in the future and they will were approached knowing that we were be proud of their contribution. And so to an Indigenous group that we had me this thing of success I think will be someone there that respected our gauged in years to come when people Indigenous ideas and customs and will talk about this or you know come up and say did you see that thing? … So to

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me at the end of the day managing a There’s the whole question of plagiarism project is like child-raising in a sense. You of Indigenous culture and people know you have this idea, this concept, it’s profiteering from that. … [And then] born, you nurture it and at the end of the there’s contemporary Indigenous are day it goes on to be whatever it wants to versus I guess the traditional arts so I be and our job and our role is to keep it guess in some ways it’s a huge mine field on track and ensure people have fun that...that the community itself has to lay through that process” (Getano, B2B, ownership of these are the collective Banners & ACK Producer, Interview 1, things in our community.” (Getano, B2B, 2010). Banners & ACK Producer, Interview 3, 2010). “I guess people confuse this idea Category 2 – The Accessibility of Where of contemporary and traditions. You We From … Banners know when a non-Indigenous person The data indicated that the emphasis for asks an Indigenous person to define their Where We From… Banners producers, Aboriginality, you only look half or you producing partners and artists is creating look quarter or whatever then an event that allows Indigenous Indigenous people are confronted by Australians to create their own other people defining who they are. And representation of their contemporary you know the only time when I have an lives, cultures and communities, in their issue about being an Indigenous person is own preferred ways. “[But the events when I meet a non-Indigenous person are important because] there is a whole who wants to know. And sometimes out layer of participants who would not of interest and other times not a positive necessarily have an opportunity to note. You know when you have someone participate in a festival without being say well you know you don’t look black or invited to participate” (Getano, B2B, you don’t speak black, so I guess it’s Banners & ACK Producer, Interview 1, trying to say to these people who are 2010). “It’s a familiar medium that we, involved in this project that I’m more that’s not strange to us, we’ve known it interested in who you are now not through our own culture. It’s good to see necessarily where you’ve come from. it’s being utilised, you know like a culture Where we come from defines who we they’ve started to see you know that it’s are now but we don’t need to be labelled easier to show someone a picture of an or anchored down by the pressures of emotion rather than explain it” (Brett, being able to shake our leg, to play a Banners Producing Partner, Focus Group, didgeridoo, to speak the language. Yes 2010). those things define us but they’re not all that we are and culture is a living The approach that enables Where We progressive thing, tradition is the from … Banners producers, producing template or the part where we’ve come partners and artists to succeed in this is from” (Getano, B2B, Banners & ACK negotiating stereotyped notions of Producer, Interview 3, 2010). traditional and contemporary Indigenous Australian life with care. “I The effect of this approach for Where We think it’s important for Indigenous From… Banners producers, producing culture to be visible. I think people who partners and artists, is a careful, are tourists and come to our country and considered, contemporary want to experience the authentic representation of Indigenous Australia. Indigenous experience would be hard “[T]he Banners project is a way of done by. You go into gift shops and there promoting contemporary Indigenous are Indigenous didgeridoos that have culture once again to give a definition of been made in Taiwan or whatever. culture as a living progressive thing;

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traditional culture as our grounding. marginalised groups. “I guess it was Here’s where we come from, we still when working in these environments practice these things but I don’t have to with multi cultural groups I looked for walk around naked with a hair belt to agencies that serviced that community show that I’m you know of this particular and I guess I used them as the lynch pin culture” (Getano, B2B, Banners & ACK into the community. Sometimes you find Producer, Interview 3, 2010). representatives or people who are either extremely vocal or they’re in

volunteering capacities and they do a lot Category 3 – The Inclusivity of Where We of work in the community so you source From … Banners them out. So I guess a lot of research The data indicated that the emphasis for goes into it before approaching those Where We From… Banners producers, communities because there’s specific producing partners and artists, is creating protocols and cultural issues that you an event that gets as many groups need to deal with and how to approach involved as possible.“[W]e divided the them” (Getano, B2B, Banners & ACK Brisbane city up into six geographical Producer, Interview 1, 2010). areas. So we had South, North, North

West, North South, North Central, South The effect of this approach for Where We West, South Central, South East and I From… Banners producers, producing wanted the groups to reflect the diversity partners and artists, is furthering the of the Indigenous community. So we community development agenda of both have homosexual men is one group and I the producers and the producing guess friends of people with HIV/Aides partners. “[I]t also gave us an and I guess there is a series of interviews opportunity I guess to discuss and I that have been conducted about them suppose yarn between each other about and they’re reflecting their connection concerns and issues while we were with Brisbane. But also the issues and actually being involved with the Banners that they endure within their own project” (Jonathan, Banners Producing communities about how the Indigenous Partner, Focus Group, 2010). “Yeah it community perceives gay men. And so created kind of a learning pool for us. we have young mothers in an alternative Because we all learned from each other school with school children giving their little bits and pieces that we don’t interpretations. Unemployed youth, normally share” (Brett, Banners youth from high schools, senior members Producing Partner, Focus Group, 2010). “I of Indigenous community who are all think every one of us was actually from sharing their stories and using art and outside of Brisbane region and we made their connections with their community Brisbane our home. So I think it sort of to give a contemporary perspective” gave us an opportunity I guess to (Getano, B2B, Banners & ACK Producer, network also” (Jonathan, Banners Interview 3, 2010). “[W]e had Producing Partner, Focus Group, 2010). homosexual men, we had young mothers “[T]o attend the opening of Where we with babies in an alternative school. We From… Banners I think that my hope in had unemployed kids on the dole, we had going to that was to be able to see the high school kids, we had kids in foster expression of I guess not just our culture care” (Getano, B2B, Banners & ACK but our stories and it … it I think gave all Producer, Interview 1, 2010). the people who participated in the

Banners an opportunity to express The approach that enables Where we themselves and people within the wider From… Banners producers, producing community. Again they would never have partners and artists to succeed is to work met before and I guess socialise as well with organisations that represent

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with people of different walks of life express a little bit of themselves” because there was a lot of us that were (Getano, B2B, Banners & ACK Producer, there that were Indigenous. But then Interview 1, 2010). “I guess I would hope there were a lot who were not that that they would engage with the artwork actually came to see and hear our stories. but not only the art work but with the So I think the wider community, like messages that the community put into you’ve got here the event goers, were them” (Amanda, Banners Artist, Focus able to I guess have an understanding, Group, 2010). “[F]or the community take away an understanding of the way groups I hope the whole process made we had expressed ourselves through them realise the importance of their own those banners and those painting and journey to get to where they are… I just drawings that we had done” (Jonathan, hope that it sent a good clear positive Banners Producing Partner, Focus Group, message” (Brett, Banners Producing 2010). Partner, Focus Group, 2010).

Category 4 – The Capacity-Building that 10.4 Attendee Narratives Comes from Where We From … Banners The data indicated that the emphasis for In 2010, attendees at Where We Where We From… Banners producers, From…Banners were also interviewed, to producing partners and artists, is creating gather their narratives about the event. an event that engenders a feeling of Approximately 13 attendees, selected as pride and achievement. “I guess Where a random representation of attendees at We From … Banners, the feedback from the Where We From … Banners event, the different organisations who participated in a short Vox Pop in which participated with young people was the they were asked about their response to young people had a real sense of pride the event. In addition to the basic and achievement” (Getano, B2B, Banners information on numbers of attendees, & ACK Producer, Interview 1, 2010). the Vox Pops gave additional quantitative and qualitative data, and an insight into The approach that enables Where We who participates, why, what experience From… Banners producers, producing they have, and what benefits partners and artists to succeed in this is participation brings for them. presenting the work at a major cultural institution. “You know they contributed The data indicated that 66.66% of the to this exhibition in a public venue, the attendees were female, and 33.33% of the State Library Queensland” (Getano, B2B, attendees were male. The majority was in Banners & ACK Producer, Interview 1, the 35-50 age bracket (50%), or the 50-65 2010). “Well I hoped the participants can age bracket (40%), with those in the > 65 see their own art works presented in a (10%) age bracket also represented. The nice space you know. I hope that they are majority of attendees identified proud of what they have accomplished” themselves as Australian (68.14%) or (Amanda, Banners Artist, Focus Group, Indigenous Australian (30.76%), and was 2010). from Brisbane or from Cherbourg.

The effect of this approach for Where We Whilst the majority of attendees (72.96%) From… Banners producers, producing said they were attending Where We From partners and artists is that the … Banners for the first time in 2010, a participants have a valued and validated number said they had attended in 2009 platform for self-expression. “So I guess (27.04).Whilst about a third (38.46%) of Where We From … Banners offered an the attendees said they did not usually opportunity for the various groups to attend arts, cultural or community

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events, the others said they did attend confused about tradition and culture. But other cultural events (53.84%), other arts culture is what you do and practice now. events (46.15%), or other Brisbane And so I’m hoping that people will get a Festival Events (15.38%). small insight into some contemporary Indigenous culture” (Banners, Vox Pop, Attendees found out about Where We 03, 2010). From … Banners through the Brisbane Festival program (46.15%), through word Asked if it was important for people to of mouth (38.46%), or through the attend an event like Where We From … newspaper (15.38%), with a number Banners, all attendees (100%) said it was, noting that they heard about the event because of the learning (76.92%), the because brochures were handed out at cultural activities (38.46%), the arts their school or workplace. activities (23.07%) or the social activities (23.07%), noting that they wanted to Asked about what Where We From … learn about local culture and history, and Banners is designed to do, who attends, that was a better way to do it than and why, the attendees indicated that watching television, and it promoted they think people come the event to what Indigenous Australians can do. learn (53.84%), to participate in cultural activities (46.15%), arts activities (23.07%), Asked about their own personal a sense of community (23.07%), or motivation for attending, attendees said because their family is in the program they came to Where We From … Banners (23.07%). In their narratives about the for the art activities (53.84%), the cultural event, attendees emphasised learning activities (38.46%), the social activities about contemporary Indigenous (30.76%), or because themselves, a family Australian culture. “I think a lot of people member or a friend were in the program now are interested in Aboriginal art, (46.15%). In their narratives about the heritage and particularly something like event, attendees emphasised more this that maps Brisbane. It’s good to see personal motivating factors, including a it like that because you really don’t get an desire to connect with community and opportunity to see something like this culture. “I think it’s a way of connecting and map the area and people who are with the community” (Banners, Vox Pop, interested in looking for your own area, 03, 2010). “It’s that as a member of the where you live. … Local history is very general public I have a desire to assist in relevant to people and I think Brisbane closing the gap and I’m also aware that has come a long way over the last thirty I’m a non-Indigenous person, a person or so years that people are actually happy who identifies as non-Indigenous. So to be from Brisbane now, we have a there is going to be certain cultural better reputation. People are more understandings that I am just not going interested in Brisbane and being able to to have. And the way that I can connect know the local history. I think that’s of an to Aboriginal and Torres Strait Islander interest, absolutely. Australia is now community is by coming involved and acknowledging that it wasn’t Terra aware” (Banners, Vox Pop, 02, 2010). Nullius and I think rightly now we’re “[O]ur family is very, very interested in starting to understand that there was a and wish to become involved in the whole culture here and you know we Aboriginal and Torres Strait Islander should be acknowledging it. I think it’s community as non-Indigenous peoples” very important that people come” (Banners, Vox Pop, 02, 2010).“[T]his (Banners, Vox Pop, 01, 2010). “I just think offers an opportunity for students to that in the wider community, non- broaden their contact I suppose with Indigenous community, people get community and representation and

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cultural expression” (Banners, Vox Pop, can bring back into their community, the 02, 2010). “I also think that if you’re a skills that they’ve lost is really good.” young one, you come into this sort of set (Banners, Vox Pop, 06, 2010). “The up and you come to get that connection, highlight of my day was listening to the that spiritual connection and that two speakers that Getano had on” wisdom and knowledgeable connection (Banners, Vox Pop, 04, 2010). “I guess it to take that to say university and TAFE gives them the opportunity to share their and be able to say well hey, I’m a Murri thoughts and feelings and views I guess person and I did this or I participated in with other Indigenous people so that’s a this and still have all the elders here way of sharing in a safe intimate because it’s like a strong connection” environment.” (Banners, Vox Pop, 03, (Banners, Vox Pop, 04, 2010). 2010). “Just seeing, [I’m] pleased with [seeing] the Brisbane and Barambah Asked what they had enjoyed at Where mobs are getting together” (Banners, We From…Banners so far, attendees said Vox Pop, 05, 2010). “I think it shows they’d seen the clay activities and pottery there’s good community spirit here” (44.44%) and the banners (22.22%), and (Banners, Vox Pop, 03, 2010). were looking forward to seeing the DVD (50%). The highlights included seeing Some attendees wished the event had Barambah and Brisbane interacting, been in a more accessible space seeing the kids interacting, seeing the (Banners_190910_Erica_1), or that there pottery and the banners, the speakers, was a larger audience and the social side of the event. Most (Banners_150910_Lara_5). “[W]e can be said the event had a good atmosphere more accommodating. A bit more (76.92%), and some were enjoying accommodating towards all different meeting or catching up with people sections of the community. I mean these (15.38%). “The art work, the people, the people are marginalised. They’re poetry, the ideas, all of those things” normally absolutely on the edges and (Banners, Vox Pop, 05, 2010). “[T]here’s now it’s run by a centre, not much of an an interactive activity with the pottery audience but if they keep on trying they which is absolutely fantastic.” (Banners, might get more of an audience” Vox Pop, 02, 2010). “I thought it was a (Banners, Vox Pop, 08, 2010).“[I]f this is very friendly atmosphere and that people supposed to represent the Indigenous communicated well and the women that community it’s very small. I think the way were teaching the pottery really took the they had it before was much better time to encourage people to do different because they actually had areas, closed in things and have different ideas” areas where young people could go and (Banners, Vox Pop, 06, 2010). “Well I sit in and watch their culture and learn witnessed the workshops, they’re pretty about their stories. … I don’t think it amazing to see people who discover represents them really at all. I don’t see talent or rediscovering talent, sharing any really good art in here and there’s a their skills with other people” (Banners, bit of pottery but it’s fairly contemporary Vox Pop, 03, 2010). “I come from sort of stuff. None of their basket Cherbourg and it’s been a long time in weaving or, there’s a lot more they could between seeing the pottery and that have done. You could walk straight being made and that” (Banners,Vox Pop, through here and you wouldn’t know, I 07, 2010). “[S]ee pottery is an art that’s didn’t think that this was where – I been lost for the Aboriginal community particularly came because I know the and they’re trying to bring it back in as a meeting places out here and I wanted to viable thing that they can do and I think show my friends from interstate and I this is really important, anything that they thought I was in the wrong place, it just

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looks like it’s another computer room. contemporary Indigenous cultures, is This is supposed to represent Aboriginal usually well received by producing people. I think it’s really disappointing” partners, artists and attendees. Most (Banners, Vox Pop, 09, 2010). “I don’t express a desire to continue involvement know enough about the Cherbourg – though the desire to be involved is not community but I’d probably say no as high with Where We From… Banners absolutely not. It’s got nothing to do with as it is with the Barambah to Boundary them, their day to day living and running event with which it is co-located. With of the community there or here. It’s a both events, it is again clear that Brisbane Festival synthesis” (Banners, producers would like to see longer, more Vox Pop, 08, 2010). strategic development period. This, they feel, would increase the event’s ability to Asked if they thought Where We From … serve the community. Again, there is a Banners represented the community well, conflict between how the producers and 46.15% said yes, because it encouraged how the participants and attendees think people to engage with local Indigenous the event should best serve the Australian culture and history. 23.07% community. The producers are clearly of were unsure, and 23.07% didn’t think it the view that connecting ten, or twenty, did, noting that only a small proportion of or thirty people is the important thing the community was represented, that and therefore emphasising intimacy, groups such as Torres Strait Islanders engagement, and individual experience. weren’t represented, or that there The participants and attendees do wasn’t enough advertising to draw appreciate this, but they would clearly people to the event. like the event to be advertised, and to be more visible in the Brisbane Festival Most attendees said they would (30.76%) program, so that more people – and or might (30.76%) like to get further more diverse people – will come in future involved in the activities running as part years. Indeed, Where We From … Banners of Where We From … Banners, in 2010, attendees are even more vocal about this particularly the art, but others were than Barambah to Boundary attendees. content to remain spectators. The vast majority of attendees (92.30%) said they would attend Where We From … Banners again in 2011. A number of attendees also said they would (53.84%) or might (30.76%) attend other Brisbane Festival events, mentioning things like the dance program or the Spiegeltent. Those who weren’t planning to attend other events said this was because they lived too far away.

10.5 Conclusions

The data indicates that the Where We From … Banners event, that aims to create a platform for invited participants from the Indigenous Australian communities to contribute to the Brisbane Festival and represent

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ACloseKnit

local Queensland artists, including the producer, the visual artist, and the three 11.1 History, Aims & Activities knitters who had been brought in to

facilitate the workshops with A Close Knit is a new program for communities. The remaining artists were Brisbane Festival in 2010. community members. It begin with 47

knitting workshops throughout Brisbane A Close Knit aims to: in June, July, August and September, Create an increased awareness of followed by the creation of knitted community identity and contribution cultural landscapes, followed by the through festival programming installation of these knitted cultural Increased involvement and ownership of landscapes at Creating Queensland events community members in programming such as Into Africa and West End … Live, Profile and bringing together diverse and other Brisbane Festival events. It Brisbane communities, their history and involved visual artist and knitting creator culture. Denise Litchfield and members of

Brisbane’s Stitch and Bitch craft group In 2010, the A Close Knit achieved these who enabled participants to learn the aims by enabling participants from 10-15 craft of knitting, and created knitted Brisbane communities to contribute to works that share their aspects of their the creation of a knitted installation own individual and shared cultural based on their histories, culture and identity and history. experiences.

In 2010, Brisbane Festival did not collect 11.2 Activities Presented, attendance figures for A Close Knit, Participation & though the works were exhibited at West Partnerships End… Live (25,000 attendees) and Into Africa (10,500 attendees). In 2010, A Close Knit presented at total of 2 exhibitions at West End … Live and Into In 2010, 12 individuals, community groups Africa. and corporate partners collaborated with Brisbane Festival in producing or In 2010 a total of about 100 artists supporting the production of A Close Knit, contributed to A Close Knit. Five were including:

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Donna Toussaint (Installation Artist) form around a traditional artform like Samantha Jockel (Workshop Facilitator) knitting. “Creating Queensland … offers Erin Murphy (Workshop Facilitator) platforms for people to see and Monica Hale (Workshop Faciltiator) experience something that they mightn’t Masonic Care Queensland necessarily have an understanding or an MiIpera State High School appreciation [of it] is creating awareness. West End Community House I guess for A Close Knit, here we have an West End State School age old tradition that I think started in Inala Elders A&TSI Corporation Scotland from fishermen knitting nets to Multicultural Development Association go fishing and the superstition that Albert Park Flexible Learning Centre women weren’t allowed to knit anything Alliance Francaise. for men. So the men would knit their own jumpers to go out to sea because they didn’t want the bad luck or the omens of 11.3 Producer, Producing taking anything that women had created Partner and Artist to sea. So I guess that had created an understanding in me having not truly Narratives appreciated the richness of knitting before except for seeing elderly women In 2010, producers, producing partners knitting on pub benches or on buses” and artists involved with A Close Knit (Getano, B2B, Banners, and ACK were interviewed to gather their Producer, Interview 1, 2010). narratives about A Close Knit – what it aims to do, why, and how, who comes to The approach that enables A Close Knit the event, and who benefits. producers, producing partners and artists to succeed in this is getting a wide The narratives of producers, producing variety of people involved in an activity partners and artists involved with A Close that recalls them of community Knit were grouped into four categories: connections. “Two weeks ago my wife narratives about the “aesthetic” of A was sitting with her laptop and we were Close Knit; narratives about the both watching the news and I’m sitting “accessibility” of A Close Knit; narratives there trying to knit and thinking pearl, about the “inclusivity” of A Close Knit; drop, in, out, thread, on, you know. And I and narratives about the individual and turned to my wife and we started community “capacity-building” that laughing and said you know here’s my occurs as part of A Close Knit. The husband knitting. So I think this whole narratives within each category were idea of role reversals. I think the then analysed to determine what promotion of ... to me, what I’ve learnt producers, producing partners are trying from all of these projects is people sitting to do under each category (experience), together having an opportunity to talk. how they are doing it (enablers of And it suddenly dawned on me how effect), and what resulted (effect). much I don’t talk with my own family and the sharing of everyday things. … [A Category 1 – The Aesthetic of A Close Knit Close Knit] was just a wealth of people The data indicated that the emphasis, for having the opportunity to share ... [For A Close Knit producers, producing example, another night] I was trying to partners and artists, is on creating a knit and my two year old’s kicking my program that is experienced as a wool around and you know having to validation of the community, vernacular chase after it around lampshades and creativity that characterises knitting, and under the table legs and down the the sorts of community connections that corridor to say come on you’ve got

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daddy’s knitting there. So these age old and you know spend a lot of time activities are of vital importance too not watching TV to get a sense of only as an art practice but to get us away connection. I guess with something like A from being technologically entertained Close Knit I would hope that, and I guess and us being sucked into zoning out and that I saw that people were just getting forgetting that what’s important involved. Yeah it’s something bigger sometimes is just sitting and talking. I than themselves and I think that people think there is a huge role for these sorts like that, I think that that is a really good of activities to continue” (Getano, B2B, thing for people … I guess that they’re Banners, and ACK Producer, Interview 1). inspired too about how it doesn’t have to be this clean-cut beautiful work done by The effect of this approach for A Close amazing artists who have been honing Knit producers, producing partners and their craft for you know twenty, thirty, artists is making a variety of people forty years in order to create something feeling comfortable with being that is visually appealing” (Samantha, themselves inside a community. “I didn’t ACK Artist, Focus Group, 2010). realise how many people knitted and the scope and the diversity of the people Category 2 – The Accessibility of A Close who are punk rockers, blokes, aged Knit people in care, school children. Thescope The data indicated that the emphasis for was just phenomenal and people coming A Close Knit producers, producing up and thanking us. Why? And they’re partners and artists, is on creating an saying well this is an art form that’s dying event that acknowledges the artform, and now it’s got a public face and people and the artistic skills, of knitters and sitting in the streets and saying oh I’ve their right to a place in an arts festival. always wanted to knit and didn’t have “[M]y first introduction into it was with a the opportunity. So to sit and knit with group of women from a knitting group the facilitators. So to me that was just an called “Stitch and Bitch”, and here I was extreme eye opener” (Getano, B2B, sitting in amongst twenty women who Banners, and ACK Producer, Interview 1, were zooshing the wool and smelling it 2010). “[People participate in these and feeling it. … [W]hat I learnt from programs] to understand one another, that experience is it’s not only for learn to respect each other’s cultures, grannies because I think the average age and [respect] each other as individuals was probably mid twenties and these and learn from one and other. I think were executives, they were students who that’s one thing, if you look into had this passion for this, for knitting. … Australia, [and what] we call [T]here’s this knitting culture and there’s multiculturalism, this is where it starts language and there’s umm theories and from these little close knit groups. You there are practices and principles about know coming together, learning because how you need to do things and discipline. if you don’t know who I am you can’t deal You know the French stitch, the English with me in a better way. So if these stitch, so there’s this whole sub culture I people come together, different guess I’ve been introduced to in the last backgrounds coming together working couple of months that I hadn’t truly together towards one project, I think it appreciated before” (Getano, B2B, makes a difference, we learn to respect Banners, and ACK Producer, Interview 1, and understand one and other” (Joyce, 2010). “I got a phone call from Getano ACK Producing Partner, Focus Group, about whether I’d be interested, and I 2010). “I do think we in Australia do guess that phone call happened because community really poorly and that people I run Biddy Bags and they saw a bit of a often do feel isolated and disconnected relationship between what we’ve been

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doing with Biddy Bags for a few years to Knit producers, producing partners and the project that they were running with A artists, is to increase the knitter’s Close Knit” (Samantha, ACK Artist, Focus confidence to conduct their activities on Group, 2010). a professional basis. “Some artists were just a joy to work with. One woman in The approach that enables A Close Knit particular Monica Hold, a retired school producers, producing partners and artists teacher, she’s working with two hundred to succeed in this is employing and fifty, three hundred knitters a week experienced knitters who normally work and containing that and the work that on a volunteer basis as workshop she did was just phenomenal. I couldn’t facilitators. “I’ve called on the stop thanking her for her effort” knowledge within two particular groups. (Getano, B2B, Banners, and ACK ‘Stitch and Bitch’, who are all these Producer, Interview 2, 2010). “These young executives, and Biddy Bags who women [who’ve become creative for A are predominantly older women who are Close Knit], volunteers who normally give knitters. And they’ve identified people up their time, [they] are now paid artists, within their communities who are and they feel like they’ve actually got experienced in knitting. In regards to the more of a significant contribution than installation we have a designer on board they’ve had previously” (Nadine, CQ who has I guess visual concepts about Producer, Interview 1, 2010). “[T]hey pay how a thing is going to look” (Getano, reasonably well which was a bonus B2B, Banners and ACK Producer, because I kind of get over ... we do Interview 1, 2010). “Getano did say he actually have lots of people asking us to was interested in getting people who had do this kind of stuff and the money is had a bit of experience in running groups often so bad and they pitch it in such a before and and in particular at that time way of hey look this is an opportunity for he wanted me to get involved with the you and really it’s not an opportunity for retired kind of group that was happening us. It’s an opportunity for them and they over in Shorncliffe which was close to are paying us fifty dollars. So for once I where I was and I had quite a bit of kind of like oh thank goodness experience working with older ladies kind someone’s actually prepared to pay for of with Biddy Bags. And then through our time in a reasonable way. So that more conversations of him trying to find was probably part of why I was keen to other people I let him become aware of be involved as well because it was a other women who I believed had skills win/win for both people I think” such as Monica and Kate, who could run (Samantha, ACK Artist, Focus Group, groups as well, that would be helpful. So 2010). “In fact this has inspired me to he was like pretty keen to get all of us start thinking that I’m interested in trying involved with that” (Samantha, ACK to find some funding for Biddy Bags to do Artist, Focus Group, 2010). “Sam this kind of thing in our local primary mentioned it to me that this person schools” (Samantha, ACK Artist, Focus called Getano had rung her and was Group, 2010). “I’ve recently started a looking for someone with specific separate group as well, offshoot of that abilities with special needs people and same, so yeah we’re attracting people children and teenagers, and she said, ‘I from all over the community into those gave him your name and thought you activities” (Monica, ACK Artist, Focus might be interested’. And of course I’m Group, 2010). retired and was quite happy to do that” (Monica, ACK Artist, Focus Group). Category 3 – The Inclusivity of A Close Knit The effect of this approach for A Close The data indicated that the emphasis for

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A Close Knit producers, producing The approach that enables A Close Knit partners and artists, is on allowing producers, producing partners and artists marginalised community groups to get to succeed in this is targeting several involved in, cultivate a sense of specific groups to be offered the wellbeing through, and create opportunity to participate, and then meaningful work through, knitting. “I allowing the volume of participants to really wanted to involve who I perceive grow organically. “[T]he the individual to be marginalised groups” (Getano, B2B, from Brisbane Festival that was the main Banners, and ACK Producer, Interview 1, contact, we also had a pre-existing 2010). “Multicultural Development relationship with before this year’s Association chose [to support A Close festival which helped a lot, and, umm, like Knit] because they’ve got lots of clients a really you know nice successful working who will benefit a lot from A Close Knit relationship. That worker is Getano Bann. work. So I think that’s one thing. Socially We know that Getano understands what it makes a difference because it’s going West End Community does and he’s to fight isolation because it gives these worked with us on projects in previous clients a chance to get involved with years so we felt like the values and ideals people from the same refugee were somewhat aligned there as well” background and share the skills (Kath, ACK Producing Partner, Focus together” (Joyce, ACK Producing Group. “[W]e extended the community Partner, Focus Group, 2010). “West End involvement a little bit” (Monica, ACK Community House is an organisation that Artist, Focus Group, 2010). “[At] the two aims to support the most disadvantaged schools I actually got the staff involved or marginalised members of the local which was my effort by getting a great community which is sort of South big ball of wool about this size and Brisbane, West End, Highgate Hill end setting it up and leaving it in the staff even out to Dutton Park. So we as an room and saying let’s see whether you organisation we work a lot with males, can do it too … and we got some of the predominantly males who are homeless parents involved too” (Monica, ACK or at risk of homelessness, but, you Artist, Focus Group, 2010). know, and not to throw too much into the gender stereotype, but A Close Knit The effect of this approach for A Close with its knitting focus we felt would be a Knit producers, producing partners and good opportunity to engage with artists, is extended community females” (Kath, ACK Producing Partner, involvement, together with development Focus Group, 2010). “[T]he three of skills, a sense of achievement, and a programs were very different. … [At sense of wellbeing amongst participants. West End, for example] they were very “From the public’s perspective they’ve creative. I took lots of different things had the opportunity to sit and participate for them. They would say, ‘I want to in some of the workshops, so it’s truly know how to knit stripes going up the been phenomenal to see people come in knitting’, or ‘I want to learn to make and after two hours to have knitted an holes in the knitting that aren’t dropped A4 or A3 piece of fabric and [hear them stitches’, things like that. And we did a lot say] say, ‘I’ve never done this before’... of creative stuff with them which was This whole sense of accomplishment really good because they were women again, ‘Wow I think I can do this’. And my age and sometimes people my age then to take that piece and add it to aren’t wanting to be creative, they want someone else’s so all of a sudden we to be very ordinary and follow a pattern” have this communal installation that (Monica, ACK Artist, Focus Group, 2010). people will no doubt about it bring the family and friends and go, ‘See that little

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five cent piece in there, I did that you doesn’t matter. Like just let it be slow in know’” (Getano, B2B, Banners, and ACK the beginning if you have budget to sort Producer, Interview 1, 2010). of do some community consultation and stuff in the beginning. That will make the Category 4 – The Capacity-Building that world of difference down the track” Comes from A Close Knit (Kath, ACK Producing Partner, Focus The data indicated that the emphasis for Group, 2010). A Close Knit producers, producing partners and artists, is creating a The effect of this approach for A Close program that results in lasting new Knit producers, producing partners and personal skills, creative skills, confidence artists is the development of and connections for participants. “[If] competencies related to confidence and there is some legacy after the festival connectivity. “So there’s that wonderful that would be an achievement. I would kind of process as well and some of those like to walk into a cafe one day and people learnt new skills, met new friends, someone who is sitting there knitting say they’re still getting together to knit” look I saw this in the festival last year and (Nadine, CQ Producer, Interview 2, 2010). this has really inspired me to go on. And I “So the thing is how I know it’s a success think that’s the thing about festivals, that is that after the A Close Knit knitting they not only be inspirational and project was finished they wanted to do entertaining but they inspire you to be more, do you know what I mean? And and do something that is bigger than they kept asking can we get someone what you thought was capable” (Getano, from Brisbane Festival again to come B2B, Banners, and ACK Producer, and, it’s not training them, it’s just Interview 1, 2010). encouraging them you know showing the support. So I think that shows success” The approach that enables A Close Knit (Joyce, ACK Producing Partner, Focus producers, producing partners and artists Group, 2010). to succeed in this is allowing the programs to unfold at their own pace. “I think it’s really important to involve as 11.4 Attendee Narratives many people in the community as possible with art and culture and the only In 2010, the target communities Brisbane way you’re going to do that is to engage Festival hoped to reach included the in community groups as well as lots of general community, the Aboriginal and other groups. … In my experience in Torres Strait Islander community, the working in the community sector here in African community, the French West End it’s, that’s where the most community, together with younger, creative people are because they’re not older, and culturally diverse communities going to fit in other organisations or in Queensland. In 2010, attendees at Into other more structured groups. So there’s Africa and West End … Live were also massive creativity out there but those interviewed, to gather their narratives people need to be given the opportunity about the A Close Knit exhibition to participate and not be bogged down in presented as part of those events. paperwork and signing contracts and whatever else … [M]yself and I know a Although approximately 100 attendees, lot of other people that would really selected as a random representation of want to stress that point of involving attendees at the Into Africa and West End community groups. And although it can … Live, participated in a short Vox Pop, make the initial process of any festival or none were willing to be interviewed project or program really slow, really it individually, as they did not perceive A

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Close Knit to be an event in its own right. is part of the Brisbane Festival. Whilst The the attendees at A Close Knit, were producers, producing partners and artists effectively the same as Into Africa and know this, and are very appreciative of West End … Live. the way Brisbane Festival brings them together, attendees at events such as Interestingly, though the attendees did West End … Live and Into Africa do not not realise that A Close Knit was a stand- recognise A Close Knit as an event in its alone event, they did cite it has a own right. This limits its visibility, and highlight of the day at both West End … thus limits the event from having further Live and Into Africa. At West End … Live, flow on from the positive effects around one in five attendees (21.87%) experienced by those who do understand named A Close Knit as a highlight, saying the positioning of the A Close Knit in “I love the knitting.” (WEL, Vox Pop, 03, Brisbane Festival. 2010). “[T]he knitted toilet” (WEL, Vox Pop, 13, 2010). The response at Into Africa was similar, with the installation of trees cited as a highlight by many attendees.

11.5 Conclusions

The data indicates that the A Close Knit events, which aim to validate the vernacular creative form knitting as an artform, and cultivate opportunities for community connections and creativity amongst marginalised communities by participating in knitting groups, are well received by producing partners, artists and attendees, and that most express a clear desire to continue their involvement. The artists, in particular, are keen to continue their involvement because approaches used by Brisbane Festival in the programming – in particular, the decision to bring community members into the program as paid facilitators – does have clear benefits for them. The artists feel that they are valued, that they are producing high quality work, and that they are making a difference in their community. This gives them the level of ownership over the events they need to feel confident about drawing more and more community members into the groups, and feel confident about taking their professional practices, projects and businesses further. The main area for improvement identified in the data is the need to flag more clearly that A Close Knit

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ArtfromtheMargins

Commended Award, Miban Smart Award, Macannus Family Award; Andrew Slyder 12.1 History, Aims & Activities Nature Award, Clouman Trotter Award,

Bruce Heyser Development Award, Art from the Margins became part of Wesley Mission Brisbane Award), Brisbane Festival in 2010. followed by an opportunity to view the

work. The Art from the Margins was an

externally produced program, funded by Approximately 25 artists contributed to the Brisbane Festival and aimed to create Art from the Margins, including the a place for artists who have experienced producer and a number of visual artists marginalisation due to disability or from the community. homelessness to exhibit as part of the

festival. Art from the Margins achieved A total of 3180 people attended Art from these aims by contracting an external the Margins. producer, who liaised with a number of

community-based arts classes and Six individuals, community groups and groups, and a number of galleries, to corporate partners collaborated with the create the exhibitions included in the Brisbane Festival in producing or program. supporting the production of Art from

the Margins, including:

Ross Barber (Producer) 12.2 Activities Presented, Inala Arts Gallery Participation & Brisbane Institute of Art Partnerships Albert Street Uniting Church Access Arts Art from the Margins presented a total of Wesley Mission. three exhibitions, including one at the Inala Arts Gallery, one at Brisbane Institute of Art, and one at the Albert Street Uniting Church. At each event there was an opening ceremony which included speeches, songs and prizes (People’s Choice Award, Highly

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12.3 Producer, Producing and we’re really keen that it would Partner and Artist continue.” (Ross, AFTM Producer, Interview 1, 2010). “[W]hat we would like Narratives to see is that the range of artists with disabilities and mental health issues who Producers, producing partners and artists are very talented wouldn’t get access to involved with Art from the Margins were gigs in what we’ll call the mainstream. interviewed to gather their narratives We’d like that to continue and become a about Art from the Margins – what it aims strength of the partnership” (Ross, AFTM to do, why, and how, who comes to the Producer, Interview 1, 2010). “Brisbane event, and who benefits. Festival is a really good vehicle for people to see what is happening in our The narratives of producers, producing community” (Ross, AFTM Producer, partners and artists involved with Art Interview 1, 2010). from the Margins were grouped into four categories: narratives about the “aesthetic” of Art from the Margins; The approach that enables Art from the narratives about the “accessibility” of Art Margins producers, producing partners From the Margins; narratives about the and artists to succeed in this is co- “inclusivity” of Art from the Margins; and locating the exhibition with other narratives about the individual and Brisbane Festival Programs. “[W]e community “capacity-building” that participate collaboratively with other occurs as part of Art from the Margins. parts of [Brisbane] Festival, you know. The narratives within each category were Like this year we’re going to be having, then analysed to determine what be part of West End … Live within a space producers and producing partners are there” (Ross, AFTM Producer, Interview trying to do under each category 1, 2010). (experience), how they are doing it (enablers of effect), and what resulted The effect of this approach, for Art from (effect). the Margins producers, producing partners and artists, is greater profile for Category 1 – The Aesthetic of Art from socially marginalised artists in Brisbane the Margins Festival. The data indicates that the emphasis for Art from the Margins producers, producing partners and artists, is on Category 2 – The Accessibility of Art from creating an event that is experienced as a the Margins showcase of high quality work by artists The data indicated that the emphasis, for who experience marginalisation due to Art From the Margins producers, disability or homelessness. “Art from the producing partners and artists is on Margins was started two years ago. It creating an event that showcases started as a conversation between our emerging professional artists. “I come [current Art from the Margins] chair Ian out of what I’ll call an inclusive arts and Airy and Lyndon Terracini. Lyndon was community, you know, arts development particularly concerned that people who area. [This area,] it’s [about] the marrying are disenfranchised had the opportunity of, you know, creativity in all its forms, to actually be involved [in Brisbane and not simply just the arts but being Festival] creatively, not just as audience creative so that, you know, things must but to be involved creatively. … So it’s come out of our local communities you been the development of an ongoing know. All the action actually happens relationship [or partnership out of that], down at that level you know. … [But]

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this work that goes on in communities ten years ago” (Anon 1, AFTM Artist, [also] actually can provide, given the Focus Group, 2010). “[The Inala Art right circumstances, the basis for young Gallery curator] Vic really wanted me artists, emerging [professional] artists to because he saw some of my work, I kept actually come up through it you know” bringing it over, that’s how I got (Ross, AFTM Producer, Interview 1, 2010). involved. I was looking at other people’s “[T]he standard of the work is high. stuff thinking I could do this, I could do Some of it is ordinary but most of it is this” (Anon 1, AFTM Artist, Focus Group, really good. And just [like] to see the 2010). artists and see the looks on their faces when they recognise that their esteem has been built up in an incredible way Category 3 – The Inclusivity of Art from through Art from the Margins type of idea the Margins and how we can build the artists up and The data indicated that the emphasis, for meet the artists and talk to the artists is Art from the Margins producers, really important for me” (Anon 2, AFTM producing partners and artists is on Producing Partner – Windsor, Focus showing work that is aesthetically and Group, 2010). “I’m hoping one day I might emotionally powerful. “[Whilst] [t]here’s get recognised in my art you know? And I a very small percentage of the action like to be recognised” (Anon 4, AFTM happening in what we’ll call the high arts Artist, Focus Group, 2010). area [i]t’s very powerful stuff, beautiful stuff” (Ross, AFTM Producer, Interview 1, 2010). “I was the chairman of the judging The approach that enables Art from the committee … [I have been] for the last Margins producers, producing partners three years … [I like t]o see the people’s and artists to succeed in this is work and the spontaneity that they engagement with agencies where produce to putting images on canvas, of emerging professional artists might be whatever they feel. It is not identified and developed. “We’re very, premeditated, it’s just an impulse very embedded in our community, and reaction to put paint to canvas and then you know we have up to twenty nine see what comes out of it. And it can be partners, front line crisis agencies, and their full creativity and that is what I find unit disability agencies, arts agencies” enjoyable. … [A]nd that’s something (Ross, AFTM Producer, Interview 1, 2010). comes out of it, like a flower it opens up. “What we want to see is people actually And that is, I think that the other people develop, and that’s why we’re here to would like to see it as well. It actually is develop a whole range of programs, from their mind flowered up on the canvas” [for example] print-making with Brisbane (Anon 3, AFTM Producing Partner – City Council” (Ross, AFTM Producer, Windsor, Focus Group). “I think [some Interview 1, 2010). people come because] their families are involved … and there are [also] people The effect of this approach for Art from who love art and like to come with the the Margins producers, producing prospect of maybe buying something if partners and artists, is engaging people it’s really good” (Anon 3, AFTM Artist, supported by a variety of different Focus Group, 2010). agencies in producing art for exhibition. “I’ve been a volunteer for ages, probably The approach that enables Art from the ten years” (Anon 1, AFTM Creative, Focus Margins producers, producing partners Group, 2010) “I lived over the road here and artists to succeed in this is selecting [from the Inala Art Gallery] in a unit that work that is high quality, and showing Queensland Housing got me … when I work in a setting where artists can be originally had my accident. It was actually

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inspired by their peers. “I think it’s good I started working as a professional” because it helps you meet other people (Anon 1, AFTM Artist, Focus Group, 2010). that have got talent and got artistic flair and it gives me a bit of insight of what I can do with my photography” (Anon 1, The approach that enables Art from the AFTM Creative, Focus Group, 2010). Margins producers, producing partners and artists to succeed in this is working The effect of this approach, for Art from strategically to allow more and more the Margins producers, producing artists to get involved. “I’m really keen to partners and artists, is that the artists see Brisbane Festival develop long term expand the scope of their work. “That’s strategic plans and get their partnering in what got me into pencil sketching [too] place very quickly for those three years” … [Trying something different] because (Ross, AFTM Producer, Interview 1, 2010). when I got the application for the “It does [represent our community] a Margins, Dick said why don’t you put that little bit, but I don’t know how many picture of that golfer in? And I said yeah people know about it. This is sort of like, alright but that’s a photo. I knew all the Art from the Margins, is more like a little others would all be paintings and they private sort of thing. There is a lot of are, they [all] turned out to be all people involved in it, a lot of artists or paintings or drawings, and he said, well people want to become artists. And I put two, you’re allowed three entries so suppose we all need a bit more training, I he said two photos and a drawing … think that’s something I would like to Anyway, I ended up pulling a photo of look forward to” (Anon 4, AFTM Artist, Sushi [my cat] out, it’s a little photo, and I Focus Group, 2010). thought I can do this … and four hours later I had this cat that you can see there The effect of this approach for Art from … I got every hair in there” (Anon 1, the Margins producers, producing AFTM Artist, Focus Group, 2010). partners and artists, is additional opportunities, including exhibition and professional engagement opportunities, Category 4 – The Capacity-Building that for the artists. “I’ve actually got a job. … Comes from Art from the Margins [the] Australian [Golf] Championship [is] The data indicated that the emphasis, for at Oxley, happening this month and Art from the Margins producers, they’ve put me in as one of the producing partners and artists is creating photographers. Sothat’s a big job” (Anon an event that allows artists to develop. 1, AFTM Artist, Focus Group, 2010). “I “From our point of view we’d like to see have calligraphy classes, I teach the artists, the people who participate in calligraphy … as well as how to draw, this, end up in a far better place than then I come here on Saturday and spend where they started. We see that it kind of the whole day because in the morning I reflects a desire to be acknowledged as have the adults and in the afternoon I part of the community and also to be have the children, six years and older” finding ways of re-engaging with the (Anon 2, AFTM Artist, Focus Group, 2010). community” (Ross, AFTM Producer, “I’m [also] part of the organising” (Anon Interview 1, 2010). “[Y]ou have the 2, AFTM Artist, Focus Group, 2010). opportunity to buy these artworks as well which is another way of helping the people off the streets, marginalised people” (Anon 2, AFTM Producing Partner – Windsor, Focus Group). “[M]y photography just got better especially as

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12.4 Attendee Narratives Attendees found out about Art from the Attendees at Art from the Margins were Margins via word of mouth (50%), via a also interviewed, to gather their gallery, via an arts or community centre narratives about the event. (such as Access Arts, Mission Australia, or Approximately 18 attendees, selected as Wesley Mission), via having a family a random representation of attendees at member or friend in the program, or via the Art from the Margins event, the Brisbane Festival program (11.11%) – participated in a Vox Pop in which they though one did note that they had been were asked about their response to Into passing the gallery and stopped to look Africa. This represents approximately 1.5% because it seemed interesting. of the overall attendance of just over 3000. In addition to the basic information Asked about what Art from the Margins is on numbers of attendees, the Vox Pops designed to do, who attends, and why, gave additional quantitative and the attendees indicated that they think qualitative data, and an insight into who people come to Art from the Margins to participates, why, what experience they participate in art activities (72.22%%), have, and what benefits participation cultural activities (44.44%%) or social brings for them. activities (38.88%%), for the sense of community (72.22%), because they have The data indicated that 66.66% of the family or friends in the program (55.55%), attendees were female, and 33.33% of the for the atmosphere (38.88%), or for the attendees were male. The majority were learning (33.33%). In their narratives about in the 35-50 age bracket (33.33%%), or the the event, attendees emphasised two 20-35 age bracket (27.77%), with those in main personal motivating factors – a need the 50-65 (16.66%), and > 65 (16.66 %) age to support people with disabilities, as well brackets also represented. The majority as the diversity of the exhibition. “[I]t’s just identified themselves Australian (83.33%) the thing about people with disabilities, or an Australian of European (France, how to support them, and if they feel Hungary, Wales) descent (16.66%%), and good about themselves by whatever most seemed to be from whichever area they’re doing in a community, that’s of the Art from the Margins exhibition great and we stand for that” (AFTM, Vox they were interviewed at took place in – Pop, 02, 2010). “[Our son] does art for example, from Inala or Windsor. classes where we come from in Maroochydore. And the chap that Whilst nearly half the attendees (44.44%) teaches him says he’s got a special talent said they were attending Art from the and a number of the artists up there Marginsfor the first time in 2010, a submitted paintings and he just tells us number said they had attended in 2009 when it’s on and he certainly has got a (11.11%%), in both 2008 and 2009 (16.66%), special talent” (AFTM, Vox Pop, 02, 2010). or in 2006, 2008 and 2009 (27.77%). “I’d heard about it and I’d seen some of Whilst about a third of the attendees said the work from previous years so I they did not usually attend arts, cultural thought I’d have a look. … I guess or community events (33.33%), the other [people get involved] because it’s been two thirds (66.66%%) were regular going for a few years now, this particular attendees at Brisbane Festival events event. More people are hearing about it (16.66%), and other cultural (22.22%%), and sort of, I don’t know, becoming more community (16.66%) or arts (11.11%) events involved and it’s sort of a community – indeed, many noted that they thing. I know there’s a lot of people here volunteered at arts or community from different companies and from centres. different walks of life and

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everything”(AFTM, Vox Pop, 03, 2010). “I they came to Art for the Margins for the think people [came because they] were art (50%), cultural (27.77%), or social looking for something interesting to do, (22.22%) activities, because of the sense something a bit different. Supporting the of the community (33.33%), because community, that sort of thing” (AFTM, themselves (27.77%), a member of their Vox Pop, 04, 2010). “Well it was just family (13.83%) or a friend (27.27%) was in around the corner and I’d always seen the program, for the atmosphere the Institute of Art so I wanted to go (27.27%), the learning (16.66%) or the inside and see what it was like …I had no quality of the art work (5.55%). In their expectations, I just wanted to see what it narratives about the event, attendees was about” (AFTM, Vox Pop, 01, 2010). “I emphasised more personal motivating didn’t decide to come except I was factors, including a desire to learn more walking past the church and I thought I about art, a desire to be part of the need to have some time just to sit and be community, and a desire to network. quiet and there was an art show. Then I saw some very good ones and I bought Asked what they had enjoyed at Art from one to help them” (AFTM, Vox Pop, 05, the Margins so far, attendees most 2010). commonly said they had attended the opening, listened to the speeches and Asked if it was important for people to songs, looked at the artworks, and attend an event like Art from the Margins, spoken to others about the artworks. two thirds of attendees (66.66%) said it Highlights included seeing one’s own, was, because it brings people together, one’s family members’ or ones friends’ enables them to learn about each other, paintings, seeing other artists paintings, and learn about art. “[It’s] to help and seeing the community get involved. support the people with disabilities to Some hadn’t expected the music, food, try, and it makes their life. A lot of them or distribution of awards, and saw this as can paint but maybe not do other things” a bonus. The only negative comment was (AFTM, Vox Pop, 05, 2010). “[It’s] about that most of the work was 2D, and that it supporting disabled people, then normal would be nice to see 3D work such as people or people who are not disabled sculpture included in Art from the can see that there’s a talent out there Margins. The majority of attendees and realistically some of the paintings described the atmosphere as good here, if a dealer bought the painting (77.77%), whilst others noted they were they’d probably mark them up by about having a good time (50%), enjoying five hundred percent and people would meeting people (33.33%), or catching up buy them. This is why it’s getting so much with people (27.77%). better. And I’m sure there’s people that have got no association with disabilities Observations of attendees during Art at all that come here and buy these from the Margins indicated that the paintings because some of them are events at the Inala Art Gallery, The really good” (AFTM, Vox Pop, 02, 2010). Brisbane Institute of Art Gallery, and the “If you’ve got an open mind and you Albert Street Uniting Church had come in and say wow, that’s fantastic. distinctive characteristics. “Very The colours and the talent. And as I said peaceful, harmonious and relaxed before, I’m not an artist. But I really atmosphere. Approximately 100+ people enjoyed tonight” (AFTM, Vox Pop, 02, in attendance” (Tara, AFTM Observer, 2010). 23/11/10, 6.00pm). “Approximately 60 attendees – including artists in exhibition, Asked about their own personal families and school children” attended motivation for attending, attendees said each event. The events began with

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opening speeches, welcomes to country, because it was high quality (11.11%), and and musical performances by soloists, because others in the community were DJs or school students” (Tara, AFTM starting to attend (11.11%). Observer, 11/11/10, 10.30am; Erica, AFTM Observer, 17/11/10, 6.30pm). These were Most attendees said they would (60%) the most controlled phases of the events, like to get further involved in the with participants observing, celebrating activities running as part of Art from the the artists, and admiring the artwork. Margins in 2010. The vast majority of Whilst all demographics were present at attendees (94.44%) said they would these events, held in single gallery attend Art from the Margins again in 2011. spaces, the artists were mainly in the 30- A number of attendees also said they 50 age bracket, and the attendees in the would (44.44%) or might (22.22%) attend 30-50 or 50+ age bracket. “Majority of other Brisbane Festival events, members in attendance are over 50 years mentioning other community events like with friends or families. A number of West End … Live and Into Africa. Those artists are also in attendance – including who weren’t planning to attend other Aboriginals and participants with various events said this was because they’d be disabilities – Artists aged 35-55 years” too crowded, too far away, or too costly. (Tara, AFTM Observer, 23/11/10, 6.00pm). As the events progressed, attendees 12.5 Conclusions participated in workshops, or wandered through the space to look at the artwork. The data indicates that the Art from the At this stage, the events became more Margins events, which aim to create a social, active, interactive, participatory place for artists who have experienced and spontaneous, and there was often a marginalisation due to disability or strong sense of emotion. The events homelessness in a mainstage festival, are were characterised by a sense of well received by producing partners, anticipation, enthusiasm, happiness, artists and attendees, and that most togetherness, fascination, and interest in express a clear desire to continue their the work, and the atmosphere was often involvement. The artists, in particular, are quite loud. There was a lot of contact keen to continue their involvement between groups. As the events drew to a because approaches used by Brisbane close, they were characterised by Festival in its programming – in “[s]mall groups milling, chatting, singles particular, placing these works within the passing through space on way to view main festival, and providing opportunities rest of exhibition. There’s a small bar in to connect with the professional art operation as well as a counter where world – do have clear benefits for them, people can purchase the AFTM 2010 resulting in increased quality work, brochure/catalogue” (Erica, AFTM increased confidence, and increased job Observer, 17/11/10, 7.00). “Night is opportunities. Interestingly, the data beginning to wind down, people have indicates that many producing partners begun trickling out and crowd is much and attendees do still tend to position Art smaller” (Erica, AFTM Observer, 17/11/10, from the Margins within a purely 7.45). therapeutic paradigm. This does not however appear to preclude the Asked if they thought Art from the professional development outcomes that Margins represented the community well, are more of a focus for the artists. The 83.33% said yes, because it represented opportunity for attendees to feel that the work of a range of artists with they’re supporting marginalised people, disabilities (55.5%), because it and for artists to feel that they’re doing represented marginalised people (33.3%), something fully professional, seem to sit

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together well. The main area for improvements identified in the data include a need to flag more clearly that Art from the Margins is part of Brisbane Festival, and a need to adopt programming strategies to allow producing partners and artists to be confident they’ve been accepted to participate early enough to leverage this opportunity to create other opportunities – such as other funding opportunities – around the event.

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Conclusion

The data analysis, both of the overall happening, and to be clear about the agenda of the Creating Queensland value of more experienced community programs, and the experience, enablers participants and professionals to the of effect and effects of each individual programs; program – West End… Live, Into Africa, The Cherbourg Walk, Barambah to 3. Reconsider the strategy of placing Boundary (The Next Stage of the smaller events inside larger events, both Cherbourg Walk), Where We From … to make sure time spent developing Banners Project, A Close Knit, and At From events has wide impact, and to ensure all the Margins – reveals that Brisbane events are visible and impactful; Festival is by and large doing a very good job with a complex program. There are, 4. Clarify aims of programs – particularly as would be expected with any relating to Creating Queensland’s community program, areas in which a emphasis on actively engaging continuous improvement process could individuals, creativity and capacity rather assist in making the events even more than passively providing representations enjoyable, engaging and impactful. of marginalised communities – across strategic, production and publicity Analysis of the data gathered on the documents and across the years; events supports six recommendations Brisbane Festival may wish to consider – 5. Clarify aims of programs – particularly relating to the difference between 1. Clarify responsibilities to, relationships representing exciting elements of between, and opportunities for, communities and being representative of community participants and entire communities across strategic, professionals at events, to avoid tensions production and publicity documents and between the two groups across the years;

2. Characterise relationships between more 6. Engage producing partners, particularly and less experienced participants, and community arts organisations, in this between professionals and participants, clarification process to ensure tensions in in terms of mentorship across the whole these areas do not have the opportunity Creating Queensland program, both to to build into problems. capitalise on processes already

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14.0 - List of Source Documents

*Brisbane Festival 09- Official Program. *Alicia Jones (additional comments Elena Vereker) (2010) Production Report, Project: The Cherbourg Walk. *Brisbane Festival 2009, Partnership Proposal (2010). *Jaclyn Robertson, Naomi Steinborner, Ian Johnson, Elena Vereker (2010) Production Report, Project: West End…. Live. *Naomi Steinborner, (Inserts from Technical Manager’s Report- Domonique Wiseman) (2010), Production Report, Project: Into Africa. *Brisbane Festival 2010, Creative Communities Program, A Close Knit, Project Overview. *Brisbane Festival 2010, Creative Communities Program, Barambah to Boundary, Project Overview. *Brisbane Festival 2010, Creative Communities Program, A ‘where we from’, Project Overview. *Creating Queensland Creative Communities Partnership between Brisbane and The Australia Council, Artistic Report, November 2009. *Creating Queensland Creative Communities Partnership between Brisbane Festival The Australia Council, Progress Report, 30 August 2009. *Brisbane Festivals and State Library of Queensland 2010, Brisbane Festival 2010, Program 2010. *Brisbane Festival 2010, Creative Communities Program 2010, Program Overview (2010). *Acquittal for Suburban Heartlands – Engaging with Communities in suburban Brisbane (2008). *Australia Council Acquittal (2009). *2009 in Summary (2010). *Into Africa Artist Information. *Acquittal, The Christensen Fund, ‘where we from … banners project, Brisbane Festival Narrative and Financial Report 2009. *Brisbane Festival Key Partnerships Project – Suburban Heartlands Across Brisbane Initiative (Key Partnerships Application V6) *Into Africa: About the Artists/Arts Workers involved in the project. *Into Africa 2006. *Into Africa Artist List 2006. *African Celebration- Community Involvement 2006. *Into Africa Community Choir- Testimonials 2006. *Into Africa- Postcode Figures from Across Brisbane. *Brisbane Festival 2009, Production Data, Into Africa. *Into Africa Attendees. *Brisbane Festival 2009, Production Data, The Cherbourg Walk. *Brisbane Festival 2009, Production Data, West End … Live. *Brisbane Festival 2009, Research Method. *West End….Live- Attendance Profile. *West End….Live- Community opportunity.

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*West End….Live- Main reason for attending. *West End….Live- Satisfaction with event. *West End….Live- Who attends. *West End….Live- Attendance summary. *Brisbane Festival 2009, Production Data, where we from, Banners project. * Brisbane Festival, Attendance Figures, 2010 * Interviews, Focus Groups, and Vox Pops data from all evaluated events

Source documents were listed under short titles, some with same title, or same document saved under different title. The research team used a combination of the titles they were saved under, and the titles in the documents themselves, to give a name that best reflected the nature of the document.

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15.0 - Research Team Contacts

Dr Bree Hadley

Senior Lecturer Creative Industries Faculty, Drama Queensland University of Technology Victoria Park Road Kelvin Grove QLD 4059 Tel: +61 3138 3225 Email: [email protected]

Dr Sandra Gattenhof Senior Lecturer Creative Industries Faculty, Drama Queensland University of Technology Victoria Park Road Kelvin Grove Qld 4059 Phone: +61 7 3138 3596 Email: [email protected]

Layout & Design by Nathan Sibthorpe Miscellaneous Media www.miscmedia.com.au

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