2019 -2024 Arts &CulturePlan To Explore oDream To oCreate To

1 Acknowledgment of Country

Aboriginal and Torres Strait Islander people have made and continue to make a unique and irreplaceable contribution to Australia.

The South Australian Government acknowledges and respects Aboriginal people as the state’s first people and nations, and recognises Aboriginal people as traditional owners and occupants of South Australian land and waters.

The South Australian Government acknowledges that the spiritual, social, cultural and economic practices of Aboriginal people come from their traditional lands and waters, and that Aboriginal people maintain cultural and heritage beliefs, languages and laws which are of ongoing importance today.

Front cover Production: mi:wi Organisation: Vitalstatistix Photographer: Gregory Lorenzutti Message andcommitmentfromtheGovernment 6 Vision, Goals Table Contents of Introduction Footnotes Capturing Goal value Goal 6 Goal and 5 Goal 4 impact Goal 3 2 South Australia,Agatewaytothefirstandoriginal story ofcreativeSouth Australia.Ahistory andculturalinnovation Goal Songlines: T The Structure of this Plan 1

Why nowisthetimeforPlan An Arts Plan for the future Four reasons to pivot Mission, 4 Values

racking theSeven Sisters

7 18 17 12 10 10 9 5 4 44 42 16 11 Page 40 36 32 28 24 20

1 College of the Arts Organisation: TAFE SA Photographer: Sam Roberts The Arts and Culture Plan for This Arts Plan is about igniting a This narrative is about how we TELL South Australia 2019 – 2024 new level of connectivity – between THESE STORIES, and relates strongly artists, organisations, institutions and to South Australia’s ‘market and brand’. asks the reader to go on a governments – that will inspire bold journey. While the Plan sets out exploration, innovation, and lead to a Thirdly, the Plan is about embracing a ROADMAP with GOALS and vibrant ecology of new relationships CREATIVITY. Creativity is central to the and networks. Above all, this Plan is human experience. Today, creativity PRIORITIES, it invites everyone to about how people collaborate, co- is recognised as a key characteristic play a part. operate and communicate, how artists of business, industry and economic and the community work together, and development. We know we live in a how everyone can engage with arts and changing and turbulent world and that The Plan encourages all South culture. our lifestyles and workforce will change. Australians To DREAM, To Creativity will continue to allow us to EXPLORE and To CREATE a The Plan heralds a NEW NARRATIVE re-invent, to imagine, to stay smart. – a narrative celebrating the State, its Creativity will be valued as a skill for future where arts and culture arts and cultural assets, its history, its future workforces, and integral to our flourish in everyday life. Aboriginal and Torres Strait Islander lives. culture, its festivals, music community 3 and Adelaide’s status as a UNESCO This Plan is about RESETTING the arts City of Music. This is a broad, inclusive and cultural AGENDA. It is about seizing narrative about its theatre makers the opportunity. It is about creating an who challenge and engage youth opportunity. audiences around the world, the vibrant work of its artists with disability, the This Arts and Culture Plan (The Plan) embraces State’s strengths in film, technology the many voices of contemporary South Australia, and gaming, artisan production and both dissident and supportive. The quirky with the literature. South Australia has been conventional. The conservative with the creative. a trailblazer in many areas, and is on The festival with the fringe. The immigrant the cusp of leading the way in new with the establishment. The misfits with the directions, now and in the future. marvellous. The industrial with the artistic. The entrepreneur with the purist. Vision Mission 4 Values

These 4 Values influence the To Dream, To guide the Arts Plan 2019 – 2024 (‘the To Explore, growth of and Plan’) and provide direction on how the Plan will be successfully To Create. investment implemented. The values are aimed at empowering all who contribute Leading to new pathways in the State’s to arts and culture today, while and horizons with arts and leadership in building what is possible tomorrow. culture as central to the success of South Australia. the arts and Visionary leadership – leadership for the arts and culture sector to be delivered with strong advocacy and cultural sector. sound investment.

Strategic collaboration – between artists, organisations and industries, and with communities and governments to optimise resources and amplify strengths.

Embracing diversity – promoting inclusion and encouraging new voices and approaches across all demographics.

Courageous experimentation – open to new ways of working, entrepreneurial thinking, and harnessing digital transformation and future technologies. 4 Values 4 phase, andwillcover thenext five years! interpretation andimplementationisthenext ThePlanisjustthebeginning–its priorities willnot. may changeinthe‘operating environment’, the the five-year spanofthePlan.Although circumstances implemented by thesectorandgovernment over regard). Eachprioritywillneedtobeinterpretedand of focus(thecoloureachassiststhereaderinthis strategic, followedby morespecificortacticalareas The prioritiesbeginwiththehigher-level and followed by anumber of priorities. context to ‘set the scene’ and is Each goal provides some broader order. hierarchical in presented weighting, are interrelated and not for the Plan. The goals have equal These 6Goals provide the pillars Goals 6 of theGoalsandPlan. work togetherinachieving thespirit to sharetheirinterpretationsand together regularlytostayoncourse, people fromacrossthesectorcome community, itwillbecriticalthat ofthesector,by differentparts and As theprioritiesrequireinterpretation 6 5 4 3 2 1 investment inartsandculture. advocacy andfuture government To drive aconnectedapproachto infrastructure inSouth Australia. organisational artsandculture To enhancethephysical and the artsinState. strengths thatdefinethecharacterof To amplifySouthAustralia’s signature Strait Islanderartsandculture. To championAboriginal andTorres makers andcreators. To empower SouthAustralia’s South Australians. culture inenrichingthelives ofall To promotetheroleofarts and

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Message from Government, at all levels, plays a critical South Australia has an opportunity part in developing and supporting to author a bold new narrative that is the Premier arts and culture. Over the decades, uniquely its own - a story that connects the South Australian Government has past, present and future, and that unites taken a leadership role in arts policy, us all. investment and infrastructure. Integral to such vision and leadership is clear More than 2500 individuals and cultural ambition and a commitment organisations were involved in the to long-term strategic thinking and consultation process to help develop the benefits. the Plan, which outlines a future direction and key priorities for the As a result of this past investment, sector. The stories and ideas captured, The South Australian Government South Australia is in a strong position provide an incredible snapshot of the welcomes the Arts and Culture Plan to develop to the next level. Our State is richness of arts and culture that exists 2019-2024 and the opportunities it also at a turning point as it determines in our State. presents. My government committed how best to grow, build and embed arts 7 to developing an Arts Plan to help and culture into its planning, policy and Thank you to everyone who participated guide the arts and culture sector in our infrastructure. in the consultation process and for your State. We engaged consultants, Tony continued dedication to the arts and Grybowski and Graeme Gherashe, to The Government has made a significant culture sector. offer a vision that is about people – our commitment to Aboriginal culture artists, our audiences, our community through the redevelopment of Lot The South Australian Government is and our stories. Fourteen and we believe that the committed to exploring the possibilities new Aboriginal Art and Cultures presented in the Plan. We see has many outstanding Gallery can become a national centre and culture as an integral part of the qualities in arts and culture. We of excellence in showcasing our continued growth and success of our have world-class collections and a heritage. By embracing education State, now and for future generations. remarkable history. In Adelaide, we and technology, we can create an have a green, liveable, hyperconnected unforgettable experience for visitors, city like nowhere else in Australia. We deep engagement with our Aboriginal

Production: The Beginning of Nature are experiencing rapid rates of change communities, and position South Organisation: in technologies and how we access our Australia as the gateway to Aboriginal The Hon MP Photographer: © Teatro Mayor JMSD, Juan Diego Castillo knowledge and the arts. culture for all Australia. Premier of South Australia. South Australia has a long history as an arts state. Adelaide is a city of makers. We need to be in the business of making.1

Ross McHenry, Adelaide composer and jazz musician Photographer: Meg Hansen Collective Centre Art APY Organisation: Tjalkuri Bernard Artist: Introduction Australian life. life. Australian the centre of South to at for be arts need creativity and the This embraces Plan years. five next the for direction fresh and bold a out sets it transformation, rapid of period current this of recognition in and half-century, past the of achievements many the celebrates it years, 65,000 some back goes that astory on building While Australia. South of makers and artists the of practice and commitment deep the acknowledges Plan This learn and grow together. In the words together. grow and words the In learn share, to artists for practice artistic of networks strong enabling cities, liveable world’s the of one most being to it contributed has Adelaide, capital, (ATSI) the of size scale The and People. its Aboriginal and Torres Strait Islander of identity the identity, and unique its shaped has Australia within State the of centrality The abounds. wonder – where matters geography where aState is This State’s greatest strengths. the of one is innovation arts of history the some examples that demonstrate how just are These Australia. South from infrastructure program also emerged arts regional first The Australia. in kind of the organisations serving longest of its the national calendar. JamFactory is one on festivals arts major first the among was Festival Adelaide the and agency funding screen Australian first the was Corporation Film Australian South the complex, nation’s the was arts first Centre Australia’s Festival South arts. the in innovation for known aplace is It established. well is culture and arts for centre a as Australia’s reputation South language and cultural barriers. cultural and barriers. language place, time, across working, and thinking ways new of support and live, dream, to ages, all of groups diverse bring and inspire to enrich, continue culture and arts which in Australians South for afuture to secure best how about These changes demand fresh thinking life. everyday in arts the of role the transforming are industries andstorytelling, new, creatively-charged digital of forms new practices, artistic New consumed. and presented made, and creative content is conceived, way the art changing is turn, in This, among previous generations of artists. of ways in unheard world the and other each with Australians South connecting changing. Digital technologies are now is Australia South about Much landscape for South Australians. arts dynamic and arich created has to arts the commitment historical this is situated in [this] in situated is place.’ the community, in and belongs that is exceptional.here It’s something artist, one of ‘The quality of the arts the arts of ‘The quality 2 Over time, time, Over

9 This Plan is about defining a point changing the nature of the interaction A Plan for of difference for the State’s arts and between the artist and the audience – cultural sector. It sets out to guide this shift creates an amazing opportunity the future future investments over the next five for all. years, with the needs of contemporary artists, creators and makers at its core. The Plan delivers a set of goals Why now is Most importantly, and key priorities, designed to ensure government, business and the broader the time for as a consequence There are daily more community can work collaboratively in of these factors, ways that foster and champion the arts this Plan there is a significant sophisticated ways in as an integral part of the lives of all South which digital technologies Australians. The South Australian arts sector is societal expectation allow new audiences to at a pivot point – a moment in time that is dramatically It is a road map to navigate the next where a new direction can be forged. changing the nature experience the arts, and five years, which requires a connected This direction builds on the decades of artists to collaborate government commitment and response foundational work within the sector, and of the interaction across previously to enable the arts and culture sector to while it recognises current limitations, between the artist impossible geographical thrive, to make change possible and to it adopts a bold and future-focused and the audience harness the synergies between arts, pathway to lead the State forward. distances: while these have creativity and technology. It will also – this shift creates the semblance of intimacy, assist arts companies and industry This is the first Arts Plan to be an amazing let’s never forget the power bodies to set their strategic direction, delivered for South Australia opportunity for all. to empower all stakeholders to work since 2000. There have been and potential of the shared together. many changes in that time – live experience, not just within the cultural and creative the mega-event, but those With this Plan, there is an opportunity industries, and to the public tiny transformational for the government, business and policy settings in which the broader community to come together to arts operate. moments too. They all optimise funding, engagement and new need to be supported with partnerships. equal enthusiasm and 3 Most importantly, as a consequence of resources. the above factors, there is a significant AO societal expectation that is dramatically

v collaboration. capacity, problem-solving skills, and creative human prioritise will which workforce, the of future to the in play role have will amajor creativity and arts transformation. Research indicates that this of part avital to be need arts The renewable energy and aerospace. them among industries, new towards computer and data science, and education, law, tertiary finance, as such knowledge-intensive services, manufacturing industries towards traditional away from ashift with Australia, South on impact dramatic Major economic changes have had a Intensive Industries industrial toknowledge- A globaltransitionfromthe 1. pivot to reasons Four 4

hubs and technology to emerge. culture, creative industries, innovation arts, between partnerships dynamic for culture the comes sectors opportunity digital new of pioneering the With sectors. effects) visual and digital (post, PDV and film the in workers more and more attracting Australia, in rebates film best the offers now Australia South development is industry thriving and game The cities. capital Australian among kind its of first –the internet Adelaide to gigabit and fast affordable initiative is connecting in businesses Things’ technologies. Adelaide’s GigCity of ‘Internet of use the around trials of anumber supporting and 2015 in City’ movement, named a CISCO ‘Lighthouse the forefront of Australia’s city smart at initiatives’. been has first Adelaide ‘digital- of arange in invested having technologies, digital of adoption its in leader Australian an is Australia South digital-first investments Capitalising onSouthAustralia’s 2. v of audiences The changingexpectations 3. craft and handmade craft products. artisan of arenaissance reflects that ‘maker movement’ agrowing is there Furthermore, programming. festival and curation in directions to new rise giving for human-to-human connection is need This cultures. and places people, and experiential encounters with diverse physical direct, for need the reinforces also age digital our of hyper-connectivity the time, At same the experience. their they share how and art with engage audiences how shifting are –that devices mobile on –online, points access other of arange is There practices. creative daily their of part intimate an as audiences their with connect and brands their to build performers and makers writers, artists, individual simultaneously, for giving a platform global and local is that audience and artist between conversation two-way immediate an enable sites channels and digital social networking this century. media New dramatically and cultureconsume arts has changed and with engage wayThe people

ageing, and community resilience. resilience. community and ageing, and health mental in outcomes, health of to a range contributing as recognised widely now is and communities, of wellbeing to collective the vital also is activities cultural and arts in Participation Australia. South in to settle arrivals future and inclusive place, and encouraging avibrant as State the of reputation the building further in role have acritical per cent) (83 city capital the in based Predominantly unique. are decades two past the over Australia South in experienced The changing demographic shifts South Australian community The shiftingdemographicsofthe 4. some regional areas. regional some in migration overseas of levels growing corresponding with decade, over past the State the in rates growth population fastest the of some seeing are Harbor) Victor and (Strathalbyn Peninsula Region Fleurieu the generally more and Bridge, Murray like places region, Adelaide greater However, the of years. outside recent in has relatively seen flat population growth Australia South ages. all across dialogue and engagement cultural of forms diverse communities, represent opportunities for student international growing including backgrounds, cultural of arange from ageing, while new communities of people 5 , the State’s population has been 6 Artists and makers makers and Artists

1311 Who this Plan is for South Australia The Plan is for artists, A history of creative and arts organisations, other industries, cultural innovation local government, State Government, South Australia has a strong create and make things happen, which reputation as a leader and had never been done before in South collaborators, innovator in its support for arts Australia and, in some cases, nowhere in philanthropists, and culture, as reflected in its Australia,’ says Leonard Amadio, former entrepreneurs, the recent history. long serving Director of the department that became Arts South Australia. private sector and the The 1970s are known as a decade ‘Everyone was very receptive. They Centre 7 general public. These that transformed the arts and cultural wanted things to happen.’ Photo courtesy of stakeholders play an landscape of South Australia, and established Adelaide as a preeminent And happen they did. A professional important role in the city of arts and culture. Ten years after theatre company, the South Australian arts and culture in the the inaugural Adelaide Festival of Arts Film Corporation, and a craft-based State. in 1960, government allocated funds industry with local artisans practising and a public appeal was launched. glass, ceramics and jewellery design, The public response was decisive, it’s were all founded. The latter would go on target was achieved in just one week. to become the JamFactory. Meanwhile, Three years later, the new complex, and architects were working on plans for the nation’s first multi-functional arts the new Festival Theatre, stage two for centre, opened on the sweep of the River the Playhouse and the Space for the Torrens in symphonic style during a gala Theatre Company. The final stage — performance. the plaza and the development of the Torrens bank — continued through ‘In those early years, it was like being in until 1978. a social laboratory of the arts. You could infrastructure, came the founding of of founding the came infrastructure, mortar and bricks the in investment with along 1970s the 1980s, and Throughout activity. festival of schedule annual an form now and established to be events and festivals to other led and generated and generation, entire an of oxygen the Fringe and ‘Mad March’ have fuelled the Festival, Adelaide the counting, still and years Fifty Australia. across plates number on kilometres untold travelling State’ Festival - Australia ‘South moniker the State: entire the for complexes nationally and shorthand thebecome inspiration for other arts has Centre Festival the opening, Since established the Adelaide Festival Contre While Premier Steele Hall’s leadership remembers. me?”’ Amadio Leonard you advise can TAFE, in education, in arts, the in work to Australia to South to want “I come saying who’d aletter send or up ring Iknew manyI don’t people how know ajob. to get you wanted if to be place the was ‘It interstate. from people for magnet atalent becoming Australia to South led it culture, and arts of architecture bureaucratic and physical State’s the established only not time of space ashort in activity of flurry This bodies. arts statutory multiple to this Plan Plan this to contributed Who on international practice. best and Culture Agencies provided information The International Councils Federation Arts of survey. 2019-2024 1800 Plan to responded the people Arts groups and educational institutions. to government representatives, industry organisations across forms, all art in addition were practitioners conducted with arts and 200+ interviews and seven focus groups Adelaide and Goolwa. Gambier, Augusta, Port Adelaide, Port six locations –the Barossa Valley, Mt 600 attended people town hall events in Plan. this in captured are responses Over 2,500 voices, opinions and survey

1513 Artists: Electric Fields Trust and Premier is Organisation: Music Development Office credited for his visionary leadership and Photographer: Dave Court consistent advocacy of the arts during this period, crucially, investment and leadership in the arts did not end then. Indeed, it was the decades-long non- partisan approach that ensured the arts and culture could continue to flourish. Subsequent governments continued to see the arts and culture as central to the identity of the State and to build on the decades of foundational work.

Today, the State is a place of great scholarship, collections, archives and While the 1970s were described as a but also one that includes artificial history, and a contributor to economic Embracing ‘social laboratory for the arts’, fifty years intelligence and robotic industries. and social growth. The South Australian on this laboratory now encompasses Museum holds one of the world’s the creatives technology, innovation and the creative For these reasons, creativity is a most comprehensive collections of industries. If the past two decades central concept within this Plan. ethnographic objects in its Aboriginal of the future have seen the creative industries When a society supports creativity, Material Cultures Collections, which move to centre stage in arts policy and enables it to flourish, many positive are vital to the ongoing connection of settings, reflecting the growth of new benefits can flow, whether in the form Australian Aboriginal communities to media, advertising, design and screen of personal wellbeing and inspiration, their history and to their future. Three industries, it is now widely recognised strengthening community, new insights, world-class universities continue to that creativity is not only important to problem-solving and innovations, or cultivate the next generation of arts the arts, but is central to our society’s simply unforgettable experiences. makers, writers, performers, and capacity to innovate, connect and As new industries are emerging and creative industry workers. Together, this prosper. audiences are changing, there is an has helped position South Australia’s opportunity to usher in a new generation arts and culture sector as a significant Creativity is now being embraced across of makers, creators, educators and part of the national arts ecology, and education.8 Furthermore, creativity is thinkers, and in doing so, enliven and contributed to the State’s national and becoming more widely recognised as stimulate the arts and cultural landscape international reputation as a place of fundamental to future industries and of South Australia in many ways. creativity and productivity. future generations, who will compete not only with a more globalised workforce, Photo: Saul Steed Saul Photo: Adelaide. Australia, South of Gallery 2017, Art Art, Islander AboriginalContemporary & Torres Strait view:Installation : Festival of Collective Centre Art APY Palya, Tjungu Arts, Tjala Arts, Ninuku Arts, Maku Mimili Arts, Kaltjiti Arts, Iwantja Arts, Ernabella and artists the Courtesy tendon; kangaroo resin, spinifex wood, Australia, Pitjantjatjara Yankunytjatjara Lands, South Yaritji Young. Kulata Tjuta Young, Marcus Young, Roma Young, Young, Carol Young, Frank Young, Kamurin Kunmanara (Mumu Mike) Mr Wangin, Mick Wikilyiri, Wikilyiri, Ginger Stevens, Bernard Tjalkuri, Lyndon Tjangala, Sandy, Priscilla Singer, Keith Stevens, Lydon Riley,Aaron Adrian Riley, William Tjapaltjarri KunmanaraPearson, (Jimmy) Pompey, David Pan, Katatjuku Mary Palpatja, (Tiger) Kunmanara Namatjira, Mungkuri, Vincent Morris, Kevin Morris, Mark Morris, Peter Kunmanara Muntjantji) (Willy Errol Martin, Iluwanti Ungkutjutu Ken, Kulyuru, Graham (Ray) Ken, Kunmanara Ken, Freddy Ken, Kantjuriny,Naomi Kunmanara (Brenton) NyurpayaKaika Kaika Burton, Burton, Ingkatji, Jack, Willy Adrian Intjalki, Rupert Frank, Kunmanara Witjiti George, (Gordon) (Ronnie) Douglas, Stanley Douglas, Arnie Kunmanara Douglas, Maureen Donegan, Jimmy Dodd, Sammy Dodd, Ngilan Margaret Cooper, Taylor Wanyima Carroll, Jangala Pepai Burton, Noel Burton, (Hector) Kunmanara Burton, Cisco Burton, Angela Bruno, Michael Brady, Moses Brady, Freda Barney, Kumanara Mungi Eric Baker, Alec

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1517 and communities. They aim to bring the The structure future impact of the goals to life. The Why a imagined futures are from the following of this Plan perspectives: a school principal running narrative? a new ‘Artist in Residence’ program; a mother and her son experiencing In any society, there are always several This Plan includes six Goals, each of Aboriginal culture for the first time; narratives at play. It takes many threads which provides a broader context, an Adelaide artist and musician on a to weave a tapestry. If a scientist stands and identifies key priorities for ‘Creative Accelerator Fellowship’; a at the glittering salt pans of Kati Thanda, action. As mentioned, these European ceramicist visiting South he might choose to follow the geological priorities are high-level and Australia; a group of international story that traces how the vast Lake Eyre strategic, and specific and tactical. academics visiting Adelaide to attend basin was created. Or a school student The goals are not presented the new ‘Arts + Space + Tech incubator’, at Mt Gambier may learn the unfolding in hierarchical order and are and a future scenario of how connected paleontological story, reinvigorated by interdependent. government may operate. the recent discovery of ancient bones belonging to extinct megafauna. Such A series of case studies are featured stories follow clearly defined timelines, which illuminate and celebrate some Pirkurna Wiltarninthi tapa anchored by scientific evidence. of the great work already happening in South Australia. It is these many and Purruna-ana. Stories often demarcate the boundaries varied stories that demonstrate the between people. Us versus them. In aspiration of the arts sector, and make Strengthening communities the Western canon, stories are usually this moment in history so exciting. 9 recorded by pen and paper, in books through culture. and libraries. But stories can take many

Imagined futures paint a picture of Allan Sumner, artist and founder shapes – and be shared in countless what might be possible. These are like Aboriginal Contemporary Arts ways. They are humanity’s oldest form journey maps, as seen through the eyes of communication. The telling and re- and experiences of different individuals In addition, in acknowledging the rich telling of a story can create and build a depth of the Aboriginal story in the collective identity. A single narrative can State, this Plan references a narrative unite a community, a race and an entire element as a way to provide an nation. As Harvard professor Marshall alternative perspective through which Ganz writes, ‘Stories not only teach us to view the arts and cultural landscape how to act – they inspire us to act.’10 of South Australia. (Ku Arts) (Ku Aboriginal Corporation and Cultural Arts Ananguku Marie Falcninella, CEO other. the from not separate is ceremony. One a a song is is painting A story a is Australia of story original A gateway to the first and Australia South

14 ‘anthropological and archaeological archaeological and ‘anthropological says Museum, Australian South the at Culture, Material and Art Islander Torres and Curator, Strait Aboriginal Thomas, Jared Dr north. to go explorers colonial for post staging the was Adelaide colonisers, British and communities Aboriginal between contact first of years early the In shelter, fresh water. Food, –bountiful. is still –and was land andcamped conducted ceremony. The together, came east, and west north, the from tribes where place, ameeting been covering the Adelaide Plains has long area the perspective, Aboriginal an found in the . Flinders the in found have been years, million 650 back dating fossils, world’s the oldest perspective, From history. ageological its shaped years, of thousands of tens for has, Australia’sSouth centrality geographical 11 From From narrative changes – and changes again. again. changes –and changes narrative the languages, their of one in storied is history the and groups, language Aboriginal State’s the of one forty-six of amember eyes of the through seen is canvas. ochre avast on brushstrokes like strange become surface its on patterns The dissolve. Federation at laid borders man-made the space, from at looked is Australia South when Indeed, life. all supporting as water and sky earth, for reverence the is worldview this to Central interconnected. are country and family, values where and culture, holistic, is worldview Aboriginal The today. They are all part of our history.’ our of today. part all are They wehave that collections Aboriginal of wealth the possess Australia South that these of because is It Adelaide. expeditions travelled from north And when the story of South Australia Australia South of story the when And

12 story of all Australia could be told. told. be could Australia all of story the Adelaide, in Lot on Fourteen Gallery Cultures and Art Indigenous new the and culture this country has to offer,’ has country this culture and art of stories interesting most the tell it, wecan Through survival. of story epic an is ‘It unto itself. astory is people its Aboriginal and Torres Strait Island by told as story Australian South The Aboriginal story.” to [the] tell positioned well national weare Australia South “In Ku Arts, at Officer Executive Chief Falcinella, says, Marie Indeed narrative. grander a of part as themselves to see State, to the visitor every and Australian, South every invites –it years thousand sixty-five but centuries, two not back storied landscape – one that stretches larger much this of part or centre the I continues Dr Thomas. f South Australia is perceived to be at at to be perceived is Australia f South 15 By doing so through through so doing By

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1917 A recent example of what one version of this story looks and feels like from an artistic and community perspective can be drawn from the 2017 exhibition, Songlines: Tracking the Seven Sisters, a partnership between a group of senior Songlines: custodians and the National Museum of Tracking Australia (NMA), in Canberra. Deeply concerned that one of their the Seven most precious Creation stories or Tjukurrpa would be lost to future Sisters generations and that this could threaten the existence of their entire culture, a group of elders contacted Exhibition – Yakulyukulyu site visit 2016 National University (ANU), NMA and Photo: Rebecca Dagnall, National Museum of Australia a hybrid way others. They wanted to collaborate to reconnect, preserve and share one of of seeing their central stories with all Australians.

The Anangu Pitjantjatjara Margo Neale, created an Indigenous- Yankunytjatjara (APY) formed led exhibition together. It remapped the a committee of 17 elders and transcontinental journey of the Seven representatives on this archival Sisters songlines, from the Pilbara in preservation project. For seven years the west to central WA and the desert This award winning NMA exhibition, they worked as a senior custodian- regions in South Australia, into the wrote Dr Christine Nicholls at Flinders led collective with the ANU and NMA Museum and thus into Australian history University, ‘rearrange[d] the furniture to deposit this knowledge in the using state-of-the-art, immersive and in your head by opening up new portals Aboriginal-managed archive Ara Irititja. multi-sensory technology. to knowledge and understanding … [to create] an authentically Australian The NMA formed a curatorium from Through integrating Aboriginal and narrative…equally or more engaging the custodian collective, and led by the Western knowledge systems, a new than any other epic tale you’ll have museum’s senior Indigenous Curator hybrid experience was created. experienced.’ 16 Photo: Jason McCarthy, National Museum of Australia of Museum National McCarthy, Jason Photo: linen on acrylic cm, x500 300 &Medium: Size Title: YarrkalpaArtwork - Hunting Grounds Bumba. Taylor, Taylor, Karnu Nola Yikartu Nancy Yuwali, Nixon Janice Rogers, Reena Judson, Thelma Bidu, Ngamaru Girgirba, Kumpaya Creator: Artists Agent: Martumili

19 Priorities Empower Value Access Build capacity and create Connecting arts and culture with Ensure communities across South opportunities for artists in new community partners, to Australia have access to diversity community, so that communities enhance the role of the arts and of stories, demographics, cultures, can benefit from deep and rich accelerate its impact in areas such arts experiences, practices and experiences, and develop. as health and wellbeing, liveability performances, through exchanges, and social cohesion. residencies, partnerships and touring, and through local creative facilities or ‘hubs’.

This goal explores the role of the audience and the changing way that people are experiencing, consuming and participating in arts and culture. It recognises the power of arts and culture in building stronger, liveable Goal 1. communities. It promotes a broad and inclusive engagement with the arts across all parts of the South Australian community, positioning arts and culture as To promote the role integral not optional. South Australians are known for their love of the of arts and culture in arts. They represent some of the most committed attendees of live events or festivals across the enriching the lives of all nation.17 It should come as no surprise, then, that the way South Australians value arts and culture reflects a South Australians broad and empathetic understanding of how personal creativity and expression make for a richer and more meaningful life. connections within communities. It also amplifies sources of funding through co- investments with a range of partners, extending into the domains of health, youth support, regional development and environment. With demand for the program accelerating in recent years, Creative it is clear that communities across regional South Australia are benefitting. Communities case study For Hamish McMillan, an artist working Today, close to three quarters of South Australians in Goolwa, the Creative Facilitator role recognise that the arts improve understanding of other supported by Victor Harbor Council in peoples and cultures, including Aboriginal culture, partnership with Country Arts SA is vital and should be foundational to the education of all to an emerging practice – giving him Australians.18 Creative Communities are being capacity to connect not only with other

cultivated across South Australia, artists but also to engage with a range 21 While digital technologies offer a platform and testimony to the important role artists of community initiatives as well. incredible opportunities to experience diverse, and makers play in weaving connections global arts practices at a local level, more than ever, across disparate walks of life. Artists ‘There was a recent public mural project people still thrive by coming together – and human bring communities together, and play a for the Goolwa Skate Park, which saw connection and creative spaces are required for this to particularly vital role in South Australia’s some 60 community volunteers come happen. The critical work of local government in this regional communities, encouraging on board, some of them kids who were area is acknowledged and needs to be supported and ingenuity and resilience. The Country at risk. We know for some of these kids, extended, together with other community partners, Arts SA’s Creative Communities the opportunity to create something local businesses, philanthropists and the Federal Partnership Program facilitates co- like a 400m2 mural with an artist was government. investment with local government life changing for them, it set them on to support artists working within a new path to make more positive life These shifts are critical to the future of arts and communities as community facilitators decisions’. For Hamish, working with culture in South Australia: a future in which creativity and creative producers. the Community Partnerships program and creative expression are widely supported as means his art can cross over into his foundational to health and wellbeing; and where spaces Established in 2012, the Program equips youth work. ‘It makes my art practice for art, practice, performance and reflection are also facilitators with security of funding less about me, and more about how I spaces that make communities more resilient. and support to create meaningful can affect and change people’s lives’. Put a song in the air and it can heal Make a hardened heart to feel.

Fay White, singing facilitator

An 6-second sound-bite imagined are staying behind to stories for social media, prepare for a culmination video interviews with future of a three-month ‘Artist family members sharing in Residence Program’ their memories, and a to clean up the hall, and As the principal says in A school principal from that has captivated the live dance sequence, parents helped with her thank you speech, a remote primary school school and broader accompanied by a ‘choir costumes. ‘It’s been a tough year takes a punt on a new State community. of the spoken word’. and everyone has been government ‘Artist in Together, the project is As the students put the grateful for this new Residency Program’, 2025 For the past 3 months called, ‘We’re not arty finishing touches to their way of coming together a South Australian out here!’ creations, the Principal to share stories and writer and interactive of the school stands at celebrate their region. storyteller has Everyone’s excited the entrance and it’s This is just one example At the end of another collaborated with the about this interactive hard to know who is more of a state-wide program busy day, the school bell students to capture exhibition and nervous. But the night that has introduced in a primary school in narratives and oral performance, supported goes off without a hitch more creativity into regional South Australia histories from this by local businesses and is a great success. school life. What’s more, rings across the yard. remote area. Students who’ve helped with in- Everyone enjoys this new the program is being Instead of rushing have chosen a range kind goods and services. way of coming together embraced by primary to catch the school of different media to The family-run hardware and celebrating their schools across the bus, most students express themselves – shop donated the paint community. State.’ The crowd roars. Photographer: Grant Hancock Organisation: WOMAD Alina Bzhezhinska Quartet Artists:

23 Priorities Invest Develop Connect

Through open access Establish communities Facilitate artists transparent funding that collaborate connections that span and investment across artforms and the state, nation and models, a fellowships industries. Support globe. People-to- program, co- the sector to develop people links are the investment with expertise in curation basis of long-term philanthropists, and contemporary learning and artist industry partners programming, as collaboration and and other parts of well as business and exchange. Forging government. entrepreneurial skills. partnerships, residencies and Activate exchanges between Link artists, artist Optimise existing communities and spaces to nurture the Establish creative companies, has the independent and small hubs and laboratories potential to reshape Goal 2. to medium sector. Fill for the individual artist the identity of artists the city laneways and to learn, grow and and their role in the vacant spaces with work. Create space broader ecology. To empower South Australia’s artists and their art all for conversations, year round. Increase ideas generation, for makers and creators availability of studios, testing and exploring. Present workshops and Enable artists working Ensure artists can independent venues. in safe spaces to earn income from Such space activation network with creatives developing and will enable this from other art forms, presenting their work community to do what gaming, the screen locally and state- they are best at – to sectors, emerging wide, as well as on workshop, experiment technologies and the national and and create. digital media. international stage. cultural sector, and the broader community. and arts the for –agamechanger creators and makers artists, of generations cultivate and ecology whole the to transform aims It collaboration and long-term investment. T Australia, home. practitioners to call Adelaide, and South career early and students existing encourage and world, the country, and the across from artists more to time attract is community. It the of part valued and visible a proud, to become pathways artists for create and potential this to leverage opportunity an is there companies, small and artists for spaces performance flexible and hubs, artist spaces, studio increasing By housing. affordable and community welcoming Today, liveability, its for known is Adelaide to thrive. support and have space the companies to medium small and flourish ambition is fostered, independent artists cultural where aplace be can support, further with and makers, of aplace already is It many disciplines. across creativity of hub amajor as renowned globally become and ecology, cultural and arts the of part critical a are sector independent the and artists Individual potential. full their reach and creators’, grow ‘makers and the to flourish, supporting artist, the about is goal This his goal requires commitment, commitment, requires goal his

South Australia is in a strong position to to position astrong in is Australia South

and leading craft contemporary isJamFactory Australia’s JamFactory CEO, Parkes, Brian production.’ artisan of place submarine and to filmmakers brewers, from winemakers and of haveWe aFestival could lens. wider amuch ‘We need cultural entrepreneurship. cultural and production of artisan acity as Adelaide’s known, has contributed to ‘Jam’, is it as The Australia. South in artists and careers the supporting in it has been instrumental case study JamFactory

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25 The voice and presence of artists remains essential to the strength and resilience of the arts and cultural sector in the state today. Artists continue to seek out new spaces for galleries, create new and unique works for live performance, find new ways to connect with audiences and create opportunities for national and international touring. With limited resources our artists, makers and creatives are achieving great things, they are unstoppable, visionary and absolutely essential to the fabric of South Australia.19

Julianne Pierce, Executive Officer, Arts Industry Council of South Australia 20 An It’s fun to see film makers creative incubator. All imagined and leading international sorts of new ideas and and Australian links come from this future creatives, designers and that I’ll be taking back to a good living. At night I techologists from the Germany – and inviting From the perspective of Susanne, listen to local musicians gaming industry (now some Adelaide artists to an artist and curator, visiting from performing in a casual booming) work and present their work. Berlin in 2028 warehouse style venue. collaborate with artists I could be in Portland or from the performing arts, In my last week I tour Austin. visual arts and literature. the regions and visit an ‘I arrive into Adelaide lanes and streets and Aboriginal art centre excited and ready to start can’t believe the buzz I’m amazed how Although I’m physically with virtual reality my three-month artist – in the cafes, bars and activated the city is with far from home, because spaces to learn from residency. I don’t know even in the big busy pop-up galleries and it’s a GigCity, the super- elders. Wow! I buy much about the city but collecting institutions. creative precincts. So speed internet means an amazing piece of heard it’s going through Over good coffee I strike much new work is being I am connected to the contemporary glassware a period of renewal. up conversations with presented, it’s a place whole world. from a new gallery artists and makers from of connection, where in . It’s been During my first weeks, all over Australia who tell collaboration seems As my own work a lifechanging three as I settle into a very me how supported they easy. It’s clean and green develops, I’m invited months. I can’t wait to mild winter, I walk the feel. Plus they’re making and I cycle everywhere! to present as part of a return.’ Photographer: Andre Castellucci Organisation: JamFactory Hopkins Ashlee Artist:

27 Priorities Voice Learn Lead The centrality of the Intergenerational learning The creation of career Aboriginal voice within supports the younger opportunities in arts and this goal aims to ensure generation to learn from culture, and leadership that culture is not lost elders to preserve the pathways for Aboriginal or appropriated, and culture, enabling stories, individual artists and aboriginal communities skills and knowledge to collectives to pursue are not spoken for, rather, be passed down to future sustainable careers. their voice leads. generations. These opportunities range from practical learning through work placements, Share fellowships, mentorships A commitment to and traineeships. In reconciliation assists in addition, strategies to honest conversations, enable more Aboriginal enables intercultural people to participate learning, and can in the arts as artists, positively shape the wider administrators, managers public conversation about and as members of the Aboriginal history, culture audience. and people.

Place Establish culturally appropriate meeting spaces, in existing and future facilities, that are welcoming to the Goal 3. Aboriginal community for the development of ideas, story-sharing, making To champion Aboriginal and Torres art, networking and Strait Islander arts and culture collaboration. Aboriginal culture state-wide. embedding and sustaining in place of importance the recognises It forward. to move Australia South of all to enable past, the of acknowledgment adeeper and understanding intercultural in better assist to strives It Australia. South in stories and languages cultures, voices, Aboriginal of diversity the recognises goal This 2009. in cent 9per nationally), from increase an quarter ATSI a to (compared about events arts attended Australians South three in one 2017 in Australia: South in reflected is trend This arts. in Aboriginal interest say they have astrong more and culture, Australia’s of part important an are arts N Australians. all and nation the State, the of life the tois enrich objective Its generations. future of success the for to atrail blaze elders, and artists people, Australia’s Aboriginal South with pathways of participation and engagement new building in assists goal community. The and to family, country connected is that culture Aboriginal of nature holistic the and cultural landscape. It acknowledges Australia’s South in voice arts a leading ATSI having recognises goal This people ine in ten Australians agree that Aboriginal Aboriginal that agree Australians ten in ine 22

21 sustained, and their voice heard. and recognised culture their maintained, stories are championed, their languages and arts Aboriginal where aplace to reach objective an community, with Aboriginal newencourages conversations with the goal this Furthermore, communities. and for organisations Aboriginalbenefits artists, for significant cultural, economic and social aim goal this in priorities the Specifically, study Project case Kulata Tjuta Burton and otherBurton senior Kaika Willy of direction the under and Arts, Tjala at 2010 in Burton Hector by late the Initiated Yankunytjatjara lands. An the on Amata, of community the in program mentorship an intergenerational as began Project Tjuta many ways. Kulata The in lives transform can Art angu Pitjantjatjara Pitjantjatjara angu integrity of the stories stories the of integrity the ensuring forward, it is their vision that drives It project. the of centre voice remains at the Importantly, the A the Importantly, years. several lasting installations, multiple with project national arts into amajor evolved has maintenance of cultural W strength and pride. of asymbol are Spears making to younger men. spear of tradition the on to was pass objective original project’s the men, hat began as a form aform as began hat n

angu angu Aboriginal and Torres Festival of Contemporary at TARNANTHI, the 2017, In APY Lands. the in communities the of all across working artists, women including artists, now includes A culturally.and project The media, diverse across conceptually, expanding both ambitious, more installation has become each time, Over flight. in spears the of rattle the and singing men older of voices the by accompanied ceiling, from thesuspended —were —kulata spears of bristling Hundreds Art. of Australian Biennial AGSA’sat Adelaide 2014 Heart, Dark presented A the artists, other Australia (AGSA) and the at with curators partnerships that they share. Through

Art

Gallery n angu angu

of South South of n angu angu evident. is impact, social and cultural havethat both intergenerational projects other to inspire and to evolving, keep project this for possibility The proud.’ weare you and with are … We Emuat Junction test bomb the Mist, Black the from lost were who ‘a ones the for prayer Burton, Kaika Willy of words the in signified, spears 550 suspended of power The people. generations of Indigenous program which affected testing atomic Maralinga the of impact the on an arresting statement made Project Tjuta Kulata the by AGSA, presented Strait Islander Art 23

29 Ka wati yangupala tjuta-ya rawa nintiringkupai kulata palyantjikitja, wati tjilpi tjuta wanu. Ka wati tjilpi ngayulu purunytju tjana wiru palyalku tjitji malatja malatja tjutaku kuranyu kutu. Panya nganana rawa pikaringku-katingi manta nyanga palumpa kuwari kulu. Ka tjukurpa nyangatja kulata tjuta tjara.

We know if culture is strong, Anangu will continue the fight with a strong spirit. Young men have always learned to make kulata through the old men, and through the old men like me the fight will continue for a better future for Anangu.24

Willy Kaika Burton, Tjala Arts

An course. But these days the schools are much imagined better at it. A local tourism centre that has artist, Troy, just spent a just opened up in town, future week with the kids. Troy I signed us up. Lincoln showed them how to loved the spear-making From the point of view of Norma The town’s lost its way a find ochre and Lincoln classes. There were who lives with her husband and son, bit. But my son, Lincoln, did a painting. He never lots of video games and Lincoln, in Port Augusta, 2024 12, is happy at the local normally touches a pot interactive puzzles. Kids school and I like to help of paint but Lincoln was screaming and running out in the library and with proud of his painting. It’s round the place having a ‘Since the power station the sausage sizzle. up on the fridge now. great time. closed down, me and my husband have been I never learned anything Holidays are always a The new centre has wondering if we’d stay about Aboriginal history challenge. When I heard got amazing animation in Port Augusta. Finding when I was growing about the welcome day and editing studios. He work’s been a struggle. up. Saw Storm Boy of at the Aboriginal arts and hasn’t stopped talking about it. Now he wants to go back and do their digi- tech culture camp.’ Photographer: jkfoto.net Festival Fringe Adelaide Organisation: YabarraProduction: Photographer: Meg Hansen Collective Centre Art APY Organisation: Tjulyata Tjilya Artist:

31 Goal 4. To amplify South Australia’s signature strengths that define the character of the arts in the State

Explore Identify, experiment Priorities and encourage emerging and new areas of practice, Grow multidisciplinary work Put a spotlight Promote and activity, cultural on and prioritise Celebrate existing and and community investment in existing emerging specialist development – with a Invest signature strengths areas as a point of focus on technology Identify and invest with and specialist areas difference and unique and opportunities partners across and to reach a new level signature of South in gaming, screen outside of the sector. of local, national Australia, and ‘its and film, augmented Support and enable an and international identity’, both within reality (ar), virtual entrepreneurial, risk- recognition and the state, nationally and reality (vr) and artificial taking and experimental prominence. externally. intelligence. approach. This goal focuses on growing the State’s and organisations are known ‘signature strengths’, as a way to celebrate Slingsby Theatre for making and presenting its point of difference and accelerate Company case study distinctively Australian work, and its reputation as a hub of creativity. It is creating artistically adventurous, from the South Australian Goal 4. closely aligned and connected with Goal profoundly beautiful, intelligent Government, philanthropic 2 (to empower makers and creators of and outstanding theatre for donors and dedicated audiences, arts and culture) but the focus is to invest young audiences. They have Slingsby is thriving once again. appropriately in the existing strengths, Slingsby creates theatre for set the Australian and global Slingsby was able to achieve while identifying and cultivating new a ‘village audience’ of young standard. They are one of South this leap because of a strong opportunities. people and adults aged eight Australia’s signature strengths. and supportive cohort whose and up. Founded in 2007, collective reputation created For decades South Australia has been the company is one of an Despite a strong reputation a level of value beyond each known for its history of creative and cultural exceptional community of arts and international success, individual company or innovation. Leadership, matched with companies and organisations Slingsby almost closed its doors organisation. talent and an experimental mindset, has that call South Australia home, a few years ago. The company led to the development of these signature including Windmill Theatre Co., lost its Federal funding in 2016, Slingsby now wants to keep strengths, that include the theatre sector Patch Theatre, Gravity & Other but transformed its business building on these strengths

for young people, artisan, craft and design, Myths, The PaperBoats, Restless model and went on to achieve its to make South Australia one 33 contemporary music, the expanding Festival Dance Theatre, Carclew, and biggest year ever. of the best places in the world culture and the priceless collections. DreamBig Children’s Festival, for families. Andy Packer believes This goal aims to give each strength the as well as the theatres for artists Thanks to extraordinary that ’South Australia could be prominence it deserves, opportunities to with a disability, Tutti Arts and No determination and resilience, the world-leading play space for encourage further growth, and the possibility Strings Attached. as well as investment all generations and Australia’s of synergies and new partnerships between space for children, because we creative industries, technology and the arts. Recognised as world-leaders have 40 years of investment into in their field, these companies this practice.’ Each signature strength is central to the strong identity and character of the creative community, and the State, and is integral to the artistic and cultural ‘brand’ of South ‘We’re doing something different in South Australia. We don’t Australia. These signature strengths fuel the local and export ecology. Collectively, they want to be Sydney or Melbourne, we’re our own thing. We are tell an exciting story about the community, independent thinkers with unique ideas,’ the State and its creative and cultural power, now and into the future. Andy Packer, Artistic Director, Slingsby Theatre Company 25 channels, and new An commissions popping up imagined all the time. Things changed when I ideas have become major future got a two-year Creative projects, others don’t From the point of view of Accelerator Fellowship get off the ground, but Malcolm, an Adelaide musician from the SA government. that’s okay. We know it’s and collaborator, 2026. That gave me access to all part of the business of affordable studio space, creating and making. help with business skills & partnered me with a Government, business tech group. It’s been a and philanthropists ‘I was sitting in my win-win. Those guys initiated the Program. studio in a lane off wanted to know how All are genuinely Hindley Street, when my to be more creative in interested in creating Like our world-class wine smart device pinged. A their business. They’ve something new. It’s message to hotfoot it to taught me how the whole helping shift minds industry, here in South the Creative Accelerator agile thing actually as much as giving us Program, part of works. It’s more than tools. I’ve learned how Australia, we produce Adelaide’s Creative sticky notes on a wall! to build a sustainable Labs. I’d already done business and I get online outstanding export-quality a two-day interactive Now I’m part of the patronage for my songs. Virtual Reality workshop Creative Accelerator It’s all the crossover music. As South Aussies there when a group of us Program and I’ve got of ideas that makes a mapped out our creative access to programs difference. Theatre we’re blessed with the perfect journey, from the first globally. It’s all about makers, musicians, note and idea, to sale. people coming together gamers. They’re all here. conditions to cultivate a thriving Since I’ve started this and matching that with I remember as an arts new way of working audiences and potential student Adelaide never and diverse music sector and we my online sales have investors, so that we had enough venues or gone through the roof. keep creating. Some 26 places to meet. Those have the world at our feet. I’ve got audiences in days are long gone. 15+ countries through Now I wouldn’t live Angelina Zucco, Chief Executive, Australian String Quartet my website and social anywhere else.’ Photographer: Carnival Cinema Organisation: GOM Circus Production: Backbone Photographer: Trentino Priori Festival Fringe Adelaide Organisation: Gingzilla Artist: Photographer: The Other Richard Australia South Company Theatre State Windmill Theatre Co and Organisation: Rumpelstiltskin Production:

35 Priorities Future Access Protect Develop Identify and plan for Revolutionise accessibility Invest in and protect Invest in the human capital, future needs of the to the state’s remarkable key cultural institutions the cultural leaders and community on major collections and take a new in Adelaide and across arts administrators, who cultural infrastructure. approach, particularly in the state through the lead and work in the cultural Include arts and culture the areas of digital access development of a long- institutions and arts as part of the state and collection storage. Plan term asset maintenance organisations across the infrastructure planning for the creation of purpose- program. Such a plan will state. Create opportunities cycle, to ensure the state built storage spaces for enable the institutions and invest in the development supports its signature the collections to ‘open up’ to focus on the issues of of people in the sector strengths (referring to goal collections - such storage greater public access, through coordinated skills 4) and keeps pace with facilities will become places collection curation, development, networks, community needs. of learning and scholarship acquisition, presentation career pathways and other for the community, and storage. development opportunities. students, and academics.

Goal 5. To enhance the physical and organisational arts and culture infrastructure in South Australia development, the cultivation of networks, formalsupport skills peer strong with characterised alinked-up environment create to aims It administrators. festival and historians librarians, curators, administrators, arts leaders, cultural –the organisations these in work also addresses the people who goal this So institutions. these of organisational and cultural makeup the must to so thrive, infrastructure physical the for order In optimised. and preserved is Australia South in infrastructure physical current the that and engagement, forthe meaningful opportunity have community the of sectors all that to is ensure goal this of Therefore, the overall objective new approach. a require experience, digital and access of terms in public, general the changing expectations of the exists, infrastructure strong this while that recognises goal This events. and festivals collections, buildings, in infrastructure an have provided public general the and by governments thinking term long- and investment historical that fortunate is Australia South generations. generations. future for shared and showcased maintained, appropriately is Australia South of history the that and collections assets, the from benefit communities all that imperative is It collections. recognised globally the for facilities considerations with storage environmental identified also has and Lot on Fourteen Gallery Cultures and Art Aboriginal an to establish commitment a major made has Government State The for future generations is critical. consideration and planning careful so future, the in facilities new from benefit would sector culture and arts the that identified has community collections is changing. The access public the how that mean and emerging digital technologies collections, developing practice arts of growth the Meanwhile, maintenance and future planning. long-term leadership, management, require assets and age Buildings organisational, is facing challenges. and physical both infrastructure, the matures, sector the as Furthermore, succession. career and support gaps pathways to address career of establishment the and ideas, fresh vibrant mix of film, TV TV film, of mix vibrant a SAFCthe supports Australia’s sector, screen promotion of South in the development and Aleader fund. investment and a commissioning to work make new capacity the both has –which Australia in screenoldest agency Corporation (SAFC) – the Film Australian South the with begins story The infrastructure. and organisational a robust physical by supported spirit, enterprising an and by collaboration is characterised industry State, the home-grown the for story success cultural and economic a becoming Quickly and industry. screen film to abooming home is Australia South South Australian screenindustry casestudy infrastructure investment. policy and leadership with to sector the funding in underpinning role played an important has Government The reputation internationally. Australia’s South strengthened has Festival The award-winning films. industry, including ATSI Australian the in talent forplatform exciting new a as areputation built has It country. the in boldest the of one as itself rapidly established event has the Australia, in festival film youngest sector. Despite being the interrelated this of part important an also is Film Festival Adelaide The creative people. by driven industry, agrowing become has foundation for what acritical provided has It companies. and artists and online productions, range of projects. a on creatives and artists mentor emerging screen to as well as works, screen new create and produce to shoot, facilities film state-of-the-art the of cluster, Closer makes use the creative industries Adelaide Studios within the at Based audiences. diverse for works reality and virtual documentaries series, TV films, feature and thought-provoking entertaining creating filmmakers local winning award- of a collective Closer Productions, is partner such One partnerships. local fostered and projects high-profileattracted Adelaide Studios has and to State, the projects national and international incentives have brought Ambitious production

37 We shouldn’t just put money into the architecture, not just the collections, but into curatorial… so we get a combination of old world and new world. The old world contains the magic. Artefact with digitisation behind it, storytelling and education…The Aboriginal Art and Cultures Gallery could be a world-first.

Elizabeth Ho, Chair, History Trust of South Australia 27 An imagined travel in an electric tram along the coast and then future visit the recently opened Adelaide Acoustic From the perspective of a group of Music venue to hear a attracts talent and international academics, visiting answers for the future. major piece of work by a partnerships from policy analysis and Adelaide in 2030. It truly is the meeting local experimental jazz across Australia and development. This is of the old and the new ensemble. internationally. also being established world. South Australia’s to export business On 1 January 2030, the leaders and digital Indigenous collections While the sandstone Aside from this development. After doors of the new Arts + specialists who are have become a source of Adelaide’s streets organisational and their time in Adelaide, Space + Tech incubator attending the Adelaide’s of global interest as still holds tradition, physical infrastructure, the academics feel fling open. This is the inaugural Festival of the projects working with co-investment between Adelaide is also about they’ve experienced a second Artisan Valley Future. local communities and governments and the ideas and forward- journey to the stars and accelerator to open harnessing cutting-edge private sector has thinking. back, with Augmented on and Adelaide is part of technology uncovers changed the arts and Reality experiences it’s been garnering a global network of fifty-thousand-year cultural infrastructure. Adelaide is at the heart of at the new space media in the academic leading universities. solutions to surviving The capital is now the national conversation centre, and a cultural communities. Among These institutions are drought. leading the way in leading futurist thinking tourism excursion to the first group to visit drawing upon their Aboriginal curatorial in contemporary The Coorong with local are one hundred visiting access to collections After their conference, training, programming governance, leadership elders. It’s been quite a academics, thought- of the past to provide the festival delegates and research, that decision making, week. Elizabeth Ho, Chair, History Trust of South Australia Australia Trust South of Chair, Ho, History Elizabeth 27 Photographer: Russell Millard Russell Photographer: Organisation: Adelaide Symphony Orchestra Production: Symphony of Angels

39 Priorities

Position Arts and culture at the heart of South Goal 6. Australian policy to drive long-term social and economic to streamline funding To drive a connected approach impacts, supporting and generate new creative, healthy and resources, accelerate to advocacy and future resilient people and activity, maximise communities. efficiencies and government investment in increase the value to community. arts and culture Inspire Integrate arts and culture into education Explore and lifelong learning Forge public private to establish South partnerships with Australia as a leader in allied industries in this field. technology, industry, skills and innovation, science and health. Amplify Identify existing opportunities for Measure collaboration and co- Establish and manage investment within and longitudinal data-driven between governments research to accurately – local councils, report on the impact of federal and interstate, public investment into arts and culture. arts and culture culture and arts government investment in to advocacy and future To drive aconnected approach within the arts and culture sector, culture and arts the within required is collaboration of type this that recognises also It co-investment. collaboration, and partnership deep greater for calls It Government. within silos rigid sometimes and established way in –not –connected unified more a in operating means this climate, social and economic current the In wellbeing. and growth State’s the on delivering in culture and arts of role the of departments, across understanding, an to integrate aims It brings. change this opportunity but also to the harness incredible challenges, its and disruption, this to is embrace goal this of objective The broadly, community. entire the more and culture, and arts on impact have will asignificant policies long-term implements and develops responds, Government the how landscape, Given this increasinglyshifts. complex usage, demographic and population environment, energy generation and and climate the in changes significant to advancement, technological rapid –from disruption facing are nations all of Governments future. the in culture and arts of potential the harness can way Government anew that signals and change unprecedented of era an is this that recognises goal This and culture have a vital role to in play role have avital culture and arts that and interdependent, are communities of resilience the and cities of liveability the people, of health the that realising are governments Worldwide, people! is here element common purpose and connecting the that surprise no as comes It approach. this different to welcome mindset in ashift achieve to practice best profile and awareness agreater to create leadership, strong require will community. This the and overseas… This powerful is cultural advocacy for the State. diplomacy and marketing in economic arenas both interstate and state collections and cultural activities in particular hooks as for soft The state an has incredible opportunity to the use Arts in general and Jane Lomax-Smith,Jane Chair, Museum Australian Chair, South

28

current examples. current are Zealand New and Denmark UK, the in – Wales indicators and measures implementing connected reporting are world the of regions and countries Other health. and tourism, industry, education, in part important an play culture and arts that addition, In people. its of empowerment future the and anation’s identity, wellbeing supporting

41 The fundamental value of evaluation frameworks to consider arts and culture demands our longer term frameworks capable of Capturing attention. Over the past decade defining, capturing and measuring arts agencies, governments, how change is achieved, encapsulated researchers and organisations for example by ‘theory of change’ have invested in new frameworks methodologies. value and and methods to better capture the value contributed by arts In short, the effectiveness of and culture to diverse aspects of measurement requires clear impact society, economy and community. frameworks for data collection and indicators of change, underpinned by For example, the Australia Council agreed definitions of value and impact. for the Arts has developed an Artistic Vibrancy framework, The Cultural Recognising that many of the benefits Development Network has a ‘white of the arts are not only instrumental in box’ data collection concept, the Welsh their ‘impacts’, but in fact embodied in government links arts and culture the particular qualities of diverse arts to well-being, and New Zealand to a and cultural practices in themselves, Living Standards Framework, including attention has also focused on how to natural, social, human and financial/ better capture the intrinsic cultural physical capital as just some examples. value of arts and culture. South Australian researchers are among This work of capturing and measuring Australia’s most passionate advocates value is complex. It requires of new cultural value frameworks, investment in appropriate, long-term through existing partnerships with the evaluation frameworks aligned to best South Australian Government. This practice methods of measurement work demonstrates that South Australia and indicator development that are is well placed to continue to lead in this specific to relevant fields of impact, area. whether health, education, economic development or social inclusion. Arts advocates and policy makers now recognise the need to move beyond short-term, or post-investment this Plan. this in outlined key goals against progress ofinitiatives measurement that support interlinked of aset as recommended Value Cultural and is Arts Capturing arts. the in investment government to approach aconnected of success to the fundamental is This programs. and investments arts-based of impact the measure turn, in and, to capture which through framework agreed an of development the on critically depends Plan this of success The ongoing monitoringongoing evaluation and over time. Investment in a public-facing dashboard to support Government. Australian South AustralianSouth researchers in partnership with the Value Cultural by frameworks Progressing initiated government agencies and organisations. current practice, best in partnership with relevant frameworks and data collection methods, aligned to improved social and impact culture of arts evaluation This work to underpinned be by investment in sources and, where possible, open data. Indicators by to supported be robust evidence data education and economic development, as examples. outcomes, impact value social investments, cultural progress against key Goals, taking into account Confirmation indicators to measure agreed of Initiatives couldinclude:

43 Footnotes

1. M cHenry, Ross. Adelaide composer and 10. G anz, Marshall. https:// 20. Pierce, Julianne. Executive Officer. Jazz Musician , interviewed during the workingnarratives.org/article/public- Arts Industry Council of South Arts Plan Consultation March 2019 narrative/ Australia

2. Independent artist at March 2019 Focus 11. http://www.abc.net.au/local/ 21. Arts in Daily Life: Participation in the Group for the Arts Plan photos/2014/09/09/4083966.htm Arts, Australia Council, May 2014, p. 38. https://www.australiacouncil. 3. Archer, Robyn. AO 12. Thomas, Dr Jared. Curator, Aboriginal gov.au/workspace/uploads/files/ and Torres Strait Islander Art and research/arts-in-daily-life-australian- 4. www.abs.gov.au/ausstats/abs@nsf/ Material Culture, at the South 5432524d0f2f0.pdf mj/3218.0 Australian Museum 22. Source: Australia Council for the Arts 5. While SA as a whole has seen overseas 13. Thomas, Dr Jared. Curator, Aboriginal National Arts Participation Survey migration decline since 2010, there are and Torres Strait Islander Art and 2017. Connecting Australians: The regional areas that are seeing growing Material Culture, at the South National Arts Participation Survey levels of overseas migration. In Mt Gam- Australian Museum 2017’, ‘South Australian Highlights’ p. bier, for example, close to 18 per cent 3, viewed 25 June 2019. https://www. of the overseas born population has 14. Falcinella, M. Ku Arts. Interview, australiacouncil.gov.au/workspace/ arrived in the five years to 2016. March 2019. uploads/files/naps__sa-highlights_14- july-596938d084ce8.pdf 6. http://www.abs.gov.au/ausstats/ 15. Falcinella, M. Ku Arts. Interview, [email protected]/Previousproducts/3218. March 2019. 23. https://www.adelaidereview.com. 0Main%20Features352016?opendoc- au/arts/visual-arts/tarnanthi-kulata- ument&tabname=Summary&prod- 16. https://theconversation.com/ tjuta-spears-festival-contemporary- no=3218.0&issue=2016&num=&view= songlines-tracking-the-seven-sisters- aboriginal-Torres-strait-islander-art/ See also: https://www.saplanningpor- is-a-must-visit-exhibition-for-all- tal.sa.gov.au/data_and_research/popu- australians-89293 24. Burton, Willy Kaika. Tjala Arts lation_change 17. https://www.sbs.com.au/nitv/ 25. Packer, Andy. Artistic Director, 7. Interview with Leonard Amadio, former article/2017/12/21/songlines-tracking- Slingsby Theatre Company, Interview Arts Officer, and arts administrator, seven-sisters-must-visit-exhibition- 2019 in the consultation for the 1973-1995, interview undertaken, all-australians-1 Arts Plan May 2019 18. The Australia Council for the Arts 26. Zucco, Angelina. Chief Executive, 8. http://theconversation.com/explainer- National Arts Participation Survey Australian String Quartet whats-the-difference-between-stem- found 99% of people in the State and-steam-95713 engage in the Arts, 72% attend live 27. Ho, Elizabeth. SA Arts Plan interview, events , including festivals , music, March 2019. 9. Sumner, Allan. ‘Pirkurna Wiltarninthi literary events, dance and theater, First tapa Purruna-ana’ ‘Strengthening Nations arts and visual arts and crafts. 28. Lomax-Smith, Jane. Interview, June Communities through Culture’ is the 2019. title of his artwork for 2019 Student 19. Australia Council for the Arts National Handbook, Tauondi Aboriginal Arts Participation Survey findings College, Port Adelaide, https:// showed a big jump in support for the tauondi.sa.edu.au/wp-content/ impact of the arts, increasing in these uploads/2019/02/2019-Student- areas by close to 20% between 2013 APY Gallery at 9 , Adelaide. Handbook.pdf and 2016. Organisation: APY Art Centre Collective Photographer: Meg Hansen Photographer: Sam Roberts Organisation:Party SALA Closing 2018 SALA Event: cover Back Photographer: N/A Organisation: TAFE SA N/A Artist:

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