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Creative Intersections: Partnerships Between the Arts, Culture and Other Sectors

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Creative Intersections: Partnerships Between the Arts, Culture and Other Sectors IFACCA D’ART REPORT N O 41 Creative Intersections: Partnerships between the arts, culture and other sectors MARCH 2012 Research and report prepared by Annamari Laaksonen, Research Manager, IFACCA Edited by Sarah Gardner, Executive Director, IFACCA www.ifacca.org IFACCA D’ART REPORT NO 41 ISSN: 1832-3332 D'Art aims to consolidate and maximise the expertise of the world's arts councils and ministries of culture. For more information visit www.ifacca.org Disclaimer: This research and report prepared by Annamari Laaksonen, Research Manager, IFACCA, and edited by Sarah Gardner, Executive Director, IFACCA. Errors, omissions and opinions cannot be attributed to the respondents listed in this report or to the Board or members of IFACCA. IFACCA is interested in hearing from anyone who cites this report. This report is licensed under a Creative Commons Attribution 2.5 License: www.creativecommons.org/licenses/by-nc-nd/2.5/ You are free to copy, distribute, or display this report on condition that: you attribute the work to the author; the work is not used for commercial purposes; and you do not alter, transform, or add to this report. Suggested reference: Laaksonen, A 2012 ‘Creative Intersections: Partnerships between the arts, culture and other sectors’, D’Art Topics in Arts Policy , No. 41, International Federation of Arts Councils and Culture Agencies, Sydney, www.ifacca.org/topic/creative-intersections/ We thank the Australia Council for the Arts for its financial support for this research project. CREATIVE INTERSECTIONS CONTENTS Introduction.............................................................................................................................................. 1 The role of art and culture in creative intersections ................................................................................ 3 Finding a match: what are the ‘other’ sectors ......................................................................................... 4 Are we in this alone? Policies and programmes that support creative intersections ............................ 11 Who takes the initiative? The architecture of creative intersections ..................................................... 15 What do arts and culture bring to the relationship? .............................................................................. 19 We need to talk! The pros and cons of creative intersections .............................................................. 22 Is money an issue? Funding and resources ......................................................................................... 27 What makes a partnership work? What might be good practice? ........................................................ 31 The future for creative intersections: what more do we need to know? ............................................... 39 Bibliography and further reading ........................................................................................................... 42 Other resources .................................................................................................................................... 56 APPENDIX 1: Examples of interdisciplinary actors ............................................................................. 59 APPENDIX 2: Examples of inspiring practices and programmes ........................................................ 86 APPENDIX 3: Respondents to the surveys and interviews and other contributors ........................... 114 APPENDIX 4: Summit Report ............................................................................................................ 118 APPENDIX 5: Questionnaire 1 .......................................................................................................... 124 APPENDIX 6: Questionnaire 2 .......................................................................................................... 125 CREATIVE PARTNERSHIPS CREATIVE INTERSECTIONS INTRODUCTION This report represents one of the first attempts to research and analyse creative intersections, their forms and structures and the policies that influence them. The objective of the research project was to look at the ways that artists are working in diverse settings (from communities through to the commercial sector) and the nature of partnerships (‘intersections’) that exist between the arts and other sectors. It also looked at the ways that governments at all levels (local, national, international) initiate, support or influence such relationships through policies or programmes. A preliminary version of this report was published as a discussion paper for the 5 th World Summit on Arts and Culture held in Melbourne, Australia, on 3-6 October 2011. The Summit was attended by 500 delegates from 70 countries and the outcomes of the keynotes, panel and roundtable discussions that took place at the Summit, together with feedback to the discussion paper, has been now been incorporated.1 The Summit Rapporteur, Professor Brad Haseman, summarised the Summit under three headings: the dynamism of arts and culture in the 21 st century, the skills of intersecting, and eight policy pressure points.2 As the research conducted by others in this field is limited, some of the statements in this report are, by necessity, broad generalisations. The aim, however, has been to give voice to the creative and culture professionals working across sectors, and other people involved in such partnerships in order to understand the issues that impact on them. In undertaking this research, IFACCA conducted two surveys. In the first, over 230 professionals working in the field of arts and culture were contacted in order to gain first- hand empirical or conceptual experience of creative intersections. The experience of these professionals was gathered through a questionnaire (to which 104 written responses were received) and 44 follow-up interviews. In order to explore the role of government or other institutional support, a second questionnaire was sent to government and other funding or culture bodies to which 20 responses were received. The surveys and lists of respondents are provided in the appendices. In addition to the information gathered through the questionnaires and interviews, this report presents a bibliography and list of web-based resources, a catalogue of organisations working across sectors, and an extensive selection of inspiring practices in the field. The report contains many quotes from respondents, some of which are presented anonymously by request. The report covers four key areas. The first is a general review of creative intersections and the types of sectors where these intersections occur, based largely on the information gathered from the respondents and Summit delegates and the material uncovered by desk research. The second is a perspective on the structural aspects of partnerships prompted by the information and vision provided by the experts consulted. The third summarises the policies and programmes undertaken by the funding bodies surveyed, and the fourth identifies elements and themes for further research and discussion. 1 Full reports on each of the World Summit roundtable discussions referred to in this report are available at the Summit website www.artsummit.org 2 Eight pressure points: new arts and cultural practices; new consumption behaviours; new business models; new government relationships with the arts, artists, culture sector and creative industries; new funding approaches and structures; new educational approaches for working with communities; new training approaches for the arts and cultural sector and the oldest cultural expressions on the planet. For the full report, see Appendix 4. 1 | P A G E IFACCA D’ART REPORT NO 41 IFACCA is gathering more resources on this topic and details are provided at www.ifacca.org/topic/creative-intersections/ . We would like to thank all respondents and Summit participants for their valuable contribution to this report and the Australia Council for the Arts for its support for this research and 5th World Summit on Arts and Culture. Sarah Gardner Executive Director IFACCA 2 | P A G E CREATIVE INTERSECTIONS THE ROLE OF ART AND CULTURE IN CREATIVE INTERSECTIONS ‘The intersection with the individual artist is where that creative and innovative space actually exists – that’s where a new narrative is unfolded and what we have to do is to create an environment that allows that to occur.’ (Frank Panucci) ‘There is no sector, in my opinion that will not benefit from an association with the arts. ’ (Anmol Vellani) In mathematics, the ‘intersection’ of two sets A and B is the set that contains only the elements that are common to both A and B. In a sense, the intersection brings together common elements from two distinct and unrelated fields and, in combining them, transforms them into a new and unique field. In this report, creative intersections means interactive collaborations between individuals, groups and organisations from the art and culture sector and those in other disciplines or sectors . The art and culture sector is understood broadly and including all arts disciplines and new media. The 'other' sectors are diverse and can include, for example, education, health, environment, social cohesion and inclusion, business, conflict resolution, institutional capacity building, development, and many more. The intersection between arts and culture and other sectors has been highlighted in the field of culture and development. The 1995 Report of the World Commission on
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