Creative Production Synergies in Penrith and the Blue Mountains
Report June 2020
Cecelia Cmielewski, Phillip Mar, Ien Ang, David Rowe and Deborah Stevenson The project team
Professor Deborah Stevenson Emeritus Professor David Rowe Distinguished Professor Ien Ang Associate Professor Liam Magee Dr. Cecelia Cmielewski Dr. Phillip Mar
DOI: 10.26183/3p8b-x436 https://doi.org/10.26183/3p8b-x436
COVER IMAGE: illuminart and Evelyn Roth Illuminated Bilby for Real Festival. 2019. Photo: andre&dominique.
To cite this report:
Cmielewski C, Mar P, Ang I, Rowe D and Stevenson D. 2020. Creative Production Synergies in Penrith and the Blue Mountains. Western Sydney University.
Disclaimer
This is an independent report produced by Western Sydney University for Penrith City Council and Blue Mountains City Council. The accuracy and content of the report are the sole responsibility of the project team and its views do not necessarily represent those of the Penrith and Blue Mountains City Councils.
2 Acknowledgements
With respect for Aboriginal cultural protocol and out of recognition that its campuses occupy their traditional lands, Western Sydney University acknowledges the Darug, Eora, Dharawal (also referred to as Tharawal) and Wiradjuri peoples and thanks them for their support of its work in their lands (Greater Western Sydney and beyond).
This project was commissioned by Penrith City Council and conducted by a research team from Western Sydney University’s Institute for Culture and Society (ICS). Penrith City Council and Blue Mountains City Council in collaboration with Blue Mountains Economic Enterprise contributed resources for the project.
The project team would like to acknowledge the contributions of: Anne Hurni, Rachel Pagitz and Karen Harris (Penrith City Council), Lin Mountstephen (Blue Mountains City Council) and Ann Niddrie (Blue Mountains Economic Enterprise). The transcription services of SquidInkle were also invaluable in preparing this report.
We also express our gratitude to the cultural venue operators, individual artists, creative enterprises, and cultural organisations who participated and shared their experiences in interviews with us. Without their generous insights this research would not have been possible.
3 Table of Contents
Acknowledgements ………………………………………………………………………3
Executive Summary……………………………………………………………………….6
Introduction ……………………………………………………………………………….10 Background Objectives Methods About the LGAs
Strategic and Policy Context…………………………………………………………….13 Cultural infrastructure in New South Wales Cultural infrastructure in Western Sydney Cultural infrastructure in Penrith and the Blue Mountains
Penrith City Council: Cultivating Creativity in a Growing Region…………………19 Cultural landscape Educational landscape Governance and support structure Council-led cultural development and city activation Penrith Performing and Visual Arts (PP&VA) Direct delivery of cultural and creative projects Real (River Environment Arts Lifestyle) Festival Resourcing challenges Cultural infrastructure provision Policies and plans for the future Conclusion
Blue Mountains City Council: Maximising the Potential of a City of the Arts…….30 Cultural landscape Governance structure Resourcing cultural infrastructure and programs Major cultural facilities Direct Council support for arts and culture Blue Mountains City of the Arts grants program Direct delivery of art project initiatives Creative sector development Cultural infrastructure provision Future policy and plans Conclusion
Significant Regional Cultural Institutions……………………………………………39 Joan Sutherland Performing Arts Centre Penrith Conservatorium Penrith Regional Gallery and The Lewers Bequest Blue Mountains Cultural Centre Blue Mountains Theatre and Community Hub MTNS MADE Creative Industries Cluster (Blue Mountains)
4 Dance …………………………………………………………………………………..57 Wagana Aboriginal Dancers (Blue Mountains) Performance Art Western Sydney (PAWS) (Penrith)
Digital Arts and Culture………………………………………………………………63 DiG Space Program (Penrith) TAFE NSW (Penrith and the Blue Mountains) Digital Ecologies Lab (Penrith)
Film and Screen Media………………………………………………………………..70 Independent filmmaking (Penrith) Filmmaking industry cluster (Blue Mountains) illuminart (Blue Mountains)
Music……………………………………………………………………………………75 Former all-girl punk band Violent Minx (Penrith) Live and Local Lockdown; Open Mic (Penrith) Music Hunter and other Blue Mountains music entrepreneurs (Blue Mountains) Penrith Symphony Orchestra, Penrith Youth Orchestra, Choral groups
Theatre …………………………………………………………………………….…..84 Q Theatre (Penrith) The Acting Factory (Penrith)
Visual Arts……………………………………………………………………….…….89 Modern Art Projects Blue Mountains Sculpture at Scenic World (Blue Mountains) Collaborative activation and presentation (Blue Mountains) Local Charm (Penrith) Black Door Gallery (Penrith)
Writing and Literature………………………………………………………………100 Varuna, The Writers’ House (Blue Mountains) WestWords Centre for Writing (Western Sydney)
Creative Co-working Spaces and Shared Facilities………………………………104 Nauti Studios Hazelhurst (Blue Mountains) Creative Fringe (Penrith) Blue Mountains Tool Library and Artist Resource Centre (Toolo)
Findings and Recommendations…………………………………………………..111 Further Considerations
References…………………………………………………………………………….125 Image Credits
Appendix 1: Creative Production Enablers and Support Survey Summary…..134 Appendix 2: Interviews……………………………………………………………..139 Appendix 3: Researcher Biographies……………………………………….……..141
5 Blue Mountains Cultural Centre Library.
Executive Summary
Regional leadership in arts and the Australia Council for the a need which has now cultural production is evident Arts announced a reduction in significantly increased. It is in Penrith and the Blue the number of organisations to important that PCC and BMCC Mountains through the receive four-year contracts. strengthen their alliance to different yet complementary These environmental and support artists and creative approaches of the City health catastrophes, coupled producers and to advocate for Councils. This research project with a reduced capacity in the equity in State and Federal arts began in August 2019, the arts and cultural sector, have and cultural development interview phase was significantly and negatively funding to increase cultural completed in early December impacted on the region’s arts investment in Greater Western 2019, and this report was and cultural life. The loss of Sydney. PCC and BMCC need completed in June 2020. Australia Council funding to to encourage and establish key Therefore, the research the Australian Theatre for strategic partnerships to enable spanned a very challenging Young People, for example, further investment and period of drought and severe reducing opportunities for development for a sustainable bushfires over the summer young people in the region. arts and cultural sector in across New South Wales, Penrith, Blue Mountains and followed almost immediately The realisation of the Greater Western Sydney. by the COVID-19 pandemic. importance of the arts, cultural Businesses in arts and and creative practices to The survey established in recreation services were among people’s daily lives has come conjunction with this research the first and most severely to the fore during the means that the Councils affected by the need to enforce pandemic (Cantillon 2020), but understand the region’s Government social distancing also underlined its precarity creative practitioners current restrictions, with 94 per cent of and the extent to which artists needs. the sector reporting an adverse and cultural practitioners impact of the Government largely exist outside the usual By taking bold actions that restrictions in the March employment categories. This include the establishment of a Business COVID-19 survey report has shown the need for Cultural Technology Centre, a (Australian Bureau of Statistics investment in creative Contemporary Art Centre, and 2020). Also, during this period production capacity building – creating dispersed creative !6 hubs with high level digital existing regional facilities program. Bold investment in capacity, momentum will be provide opportunities for cultural infrastructure would maintained. Flexible, cutting- cultural and creative signal a creative and socially edge cultural infrastructure is practitioners, with the aid of responsible agenda on the part now needed more than ever. both local governments, to of the both Councils for the become involved in reshaping benefit of the entire region. The emerging Aerotropolis, the region’s cultural landscape. government attention under The Quarter health precinct the Western Sydney City Deal could also be encouraged to and the investment in the develop an arts and cultural
Key Strategies and Recommendations
Five key strategies have been identified that will lead to greater creative production and development in the local area and broader region.Under these five strategies the following recommendations could be converted into actions over the coming decade.
Strategy 1: Continue and strengthen the work that the two Councils have already begun, both independently and jointly, and advocate for new funding and partnerships to enhance and expand opportunities for creative practitioners in the region.
Recommendations
1.1 The PCC and BMCC strengthen partnerships with entities, such as those in the Penrith’s The Quarter (Health and Education Precinct) and Aerotropolis precincts, and explore opportunities through the Western Sydney City Deal to foster regional creative industries growth.
1.2 The Councils review regulations to enable and support creative production spaces and consider broader utilisation of existing neighbourhood or community facilities for creative purposes, and in any upgrades or refurbishment programs engage with artists and creative practitioners about their needs.
1.3 PCC and BMCC continue their efforts to understand and address the needs of small-scale entrepreneurs and attract new audiences, particularly visitors from outside the area, to local cultural events and venues.
Strategy 2: Expand and establish regional creative hubs, nodes and digital facilities that are coordinated by cultural staff to lead and support professional development programs and networking opportunities in the Penrith and Blue Mountains region.
Recommendations
2.1 Establish a major regional Creative Technology Centre in Penrith servicing the Nepean and Blue Mountains that is co-designed with creative producers in the region.
2.2 Explore options for accessible contemporary art galleries/cultural centre in the Penrith City Centre.
2.3 PCC and BMCC continue to advocate to TAFE NSW to develop and resource creative production facilities and to support start-up enterprises.
7 2.4 Establish a range of affordable makerspaces and adaptable studio spaces in collaboration with artists and creative practitioners.
2.5 PCC and BMCC collaborate to establish a unique training and performance centre, such as circus and physical theatre in the Penrith area.
Strategy 3: Increase the education and training opportunities offered by institutions to deliver comprehensive creative courses which include employment/self-employment pathway programs across the Penrith and Blue Mountains region.
Recommendations
3.1 Encourage TAFE NSW and Western Sydney University to provide pathway programs with industry experts, business training and career development coach/mentors to assist in bridging the gap to employment, professional career opportunities and or business ownership within the creative industries.
3.2 Encourage Western Sydney University to reintroduce theatre, dance and visual arts education and introduce a public art and sculpture program for the Nepean region.
3.3 PCC and BMCC collaborate with Nepean Creative and Performing Arts High School to expand its creative reach and support young performers, musicians, designers and artists by working with local creative practitioners.
Strategy 4: Expand professional development and collaboration opportunities that promote Penrith and Blue Mountains creative practitioners.
Recommendations
4.1. PCC and BMCC undertake discussions with a number of leading state and national creative institutions and cultural organisations to expand their professional development and collaboration opportunities, particularly aimed at increasing career pathways in the region.
4.2 PCC and BMCC work together with PP&VA, WSU, PSO and the Penrith Conservatorium to support and advance musicians’ and composers’ professional development and the growth of the region's music scene.
4.3 Establish a regional writing program that builds on existing Blue Mountains writing networks and supports an increased presence of writers in Penrith.
4.4 Provide an increased focus on the needs and participation of young people when programming Council-led events and creative initiatives.
4.5 PCC and BMCC establish intergenerational creative practitioner mentorship programs.
Strategy 5: Continue to actively pursue cross-institutional partnerships that benefit the growth of the creative and cultural sector in the Western Parkland City.
Recommendations
5.1. PCC and BMCC continue to profile and celebrate home-grown creative practitioners.
8 5.2 Councils’ respective transport planners consider accessibility, efficiency and frequency of public transport across the region with a view to better servicing creative practitioners and cultural facilities.
5.3 Advocate for reliable and affordable internet connectivity with service providers and government as an essential element of cultural infrastructure.
Summary
The research has uncovered unique creative production synergies between Penrith and the Blue Mountains City Councils. With continued collaboration, greater complementarity of creative production and presentation will deliver lasting benefits for communities across the two LGAs. The raison d’etre of building cultural infrastructure and creative educational programs in decades past across the region is still relevant today - if not even more so. For example, the dual role of much of this infrastructure, in particular The Joan Sutherland Performing Arts Centre (aka The Joan), is to present quality artworks and to facilitate creative training and practices for this region. The next cycle of cultural development investment is now due, the benefits of which will be enhanced by regional collaboration to capture the value of the cultural and creative sectors in the coming decades.
The new needs are clearly identified through the case study interviews and the results of the survey undertaken by both Councils. These are to establish:
1) A facility for creative technologies. 2) A series or hubs of informal creative production and presentation spaces. 3) A contemporary multi-artform cultural centre in Penrith’s CBD. 4) A review and modification of regulations to encourage creative expression. 5) Expanded training and professional development programs. 6) Continued discussions with TAFE and Western Sydney University, and commenced with state and national creative institutions, to expand the region’s professional cultural and creative education.
9 Q Theatre with ATYP Bathory Begins
Introduction
Background
This report is designed to assist This earlier research spaces due to gentrification as Penrith City Council, Blue documented the need to be about an absence of industrial Mountains City Council and proactive in providing cultural building stock, although land the Blue Mountains Economic infrastructure, particularly in use regulation remains a Enterprise to collaborate in contexts where artists and relevant matter. In Penrith, the developing regional strategies creative producers are key issue is the distance to to nurture an active, increasingly facing the loss of production facilities, although productive arts, culture and affordable, suitable spaces to a loss of affordable spaces for creative sector. It follows work as a consequence of artists is becoming apparent. previous research conducted trends such as gentrification, between 2016 and 2018 for the disappearance of industrial In the Greater Sydney Sydney City Council and Inner building stock, and inflexible Commission’s vision of a West Council, which mapped land use regulation. Some of Metropolis of Three Cities, and analysed creative these trends are evident to Penrith and the Blue infrastructure needs in these different extents in the Penrith- Mountains are positioned inner city LGAs (Ang et al. Blue Mountains region. In the within theWestern Parkland 2016, 2018; Pollio et al. 2018). Blue Mountains, the issue is City (Greater Sydney slightly less about unaffordable Commission 2018a).
10 The Western City District Plan to be a source of income time to seize this policy forecasts that this part of the generation for the region and a moment to ensure that local metropolis will see population key element in strategically cultural communities and growth of 43 per cent by 2036, enhancing its profile. The creative industries are an and that new, high-quality jobs Greater Sydney Commission integral part of the region’s in the region will be created recognises the importance of future. This report assists in following the development of a arts, culture and the creative this task by providing a better new international airport at industries for successful urban understanding of the social Badgerys Creek and its development: and economic contexts within associated Aerotropolis. which artists, creative Great places are made when Penrith is designated to producers and cultural artistic, cultural and creative become one of the key urban organisations work in the two works are visible, valued, nodes in the Western Parkland LGAs, focusing on a range of distinctive and accessible. … City (Greater Sydney artforms and on the important Growing the arts sector will Commission 2018b). Although facilitative role played by these draw greater participation the rate of population growth two city Councils. from both residents and may slow somewhat as a result visitors, boosting the economy of the COVID-19 pandemic Although Penrith and the Blue and attracting investment. … (Wade 2020), the region will Mountains are very different Creative industries have a nevertheless be a site of LGAs in terms of demography, growing role in the region’s considerable economic environment and cultural productivity, with creativity, development and social landscape, synergies exist due entrepreneurship, technical change over the next decade. to their geographical ability and collaboration being This expansion must be proximity. In relation to essential skills for the future matched by the provision of infrastructure provision for the workforce (GSC 2018a: 57). appropriate and innovative arts, culture and the creative arts and cultural resources. industries, these synergies can The New South Wales Indeed, given the significant be strengthened and made Government, through level of cultural activity more effective through locally Infrastructure NSW, has already occurring in the and regionally sensitive policy, focused on developing a region, this is a critical time to planning and investment to cultural infrastructure strategy provide increased - but foster a more energetic and that is place-based and carefully calibrated - support sustainable arts and cultural involves artists, cultural for arts and cultural facilities. sector. organisations and local This investment will ensure the councils. For both Penrith and sector’s survival and set it up the Blue Mountains, now is the
Objectives
The objectives of this research are to:
● provide detailed knowledge of the circumstances within which cultural and creative producers conduct their work in the Penrith and Blue Mountains LGAs; ● assess trends and needs related to the two Councils' arts and cultural initiatives, including the management of creative venues and cultural infrastructure; and ● indicate collaborative cultural production opportunities that are embedded in Penrith and the Blue Mountains.
11 Methods
The research consisted of three strands: 1. A literature review of the strategic and policy context of cultural infrastructure planning and investment in New South Wales and in Greater Western Sydney more specifically; 2. A survey, conducted by Penrith and Blue Mountains Councils and the Blue Mountains Economic Enterprise (BMEE), of current arts and cultural practitioners in the two LGAs designed to understand their infrastructure and support needs in facilitating their creative practice; 3. In-depth case studies of 31 cultural organisations, spread across Penrith and the Blue Mountains. These case studies covered seven artforms, and three creative enterprises. In total, 23 interviews were conducted with key players in most of the case-study organisations. The case studies were selected from a range of options suggested by the Councils, BMEE and as they arose from WSU’s own preliminary research, and are included as exemplars rather than constituting a comprehensive list.
12 MAP 1. Penrith and the Blue Mountains
Strategic and Policy Context
Cultural infrastructure in of cultural infrastructure for consumption, complemented the State: by supportive land-use New South Wales planning, is considered of key Supporting a culture of importance to successful There has been growing creativity is essential for New cultural precincts or hubs. The attention to cultural South Wales to succeed in a NSW Cultural Infrastructure infrastructure in New South global innovation economy, Plan defines cultural Wales for more than a decade. but for culture to truly flourish infrastructure as the buildings The NSW Government’s it needs a home – places where and spaces that accommodate Cultural Infrastructure Plan it can be created, shared and or support culture, ‘the places 2025+, published in 2019, was enjoyed (2019: 2). where the cultural sector and the first such plan in the broader community come history of the State. It is In the policy literature, together to create, share, learn designed to guide the planning ‘cultural infrastructure’ and store products or and delivery of cultural initially implied large experiences’ (2019: 11). infrastructure in regions across presentation venues such as the State to ‘support a thriving major concert halls, galleries or Adapting a typology and dynamic cultural sector’. sports stadia, focusing developed by the ICS Cultural A key strategic priority of the primarily on cultural Infrastructure research Plan is to integrate cultural consumption. While these are program team (Ang et al 2016), infrastructure planning with still important spaces, policy the Plan distinguishes the state and local government makers have gradually come to following types of cultural planning processes. In his see the importance of infrastructure according to Foreword to the Plan, the infrastructure that supports their principal function: Minister for the Arts is arts and cultural production emphatic about the importance and education. A focus on • Presentation (e.g., live cultural production as well music venues, galleries,
!13 Aboriginal Keeping Places, Mountains): ‘Cultural will be how to develop cinemas) infrastructure helps drive new productive cultural • Community and locations for jobs and infrastructure and facilities participation (e.g., investments’. Integrating that more broadly and community venues and cultural infrastructure as part sustainably support arts and centres) of the new Western Sydney cultural ecologies across LGAs • Libraries and archives (e.g., airport and Badgerys Creek and the region. local libraries) Aerotropolis is encompassed • Practice, education and within its strategic focus, as is This view is supported by development (e.g., art the co-location of culture Infrastructure NSW’s Cultural schools, rehearsal spaces, within emerging centres of Infrastructure Strategy: Advice to studios) creative industries, technology the NSW Government (2016), • Commercial and enterprise and innovation. which recognises the need for (e.g., creative retail, co- there to be a good fit between working spaces) But how these jobs can be infrastructure provision and • Festival, event and public created is not stated. This local social and cultural (e.g., outdoor event spaces, crucial question can be easily conditions and activities. The public art) overlooked alongside issues of Strategy places considerable • Collections (e.g., storage, transport, logistical and emphasis on the role of digitisation) industrial infrastructure. cultural infrastructure in urban • Digital (e.g., websites, Viable new cultural regeneration and the activation online communities and infrastructure will need to of public spaces, particularly databases, social media). complement what has already when clustered to form been developed, particularly 'cultural precincts'. Cultural Policy for cultural the ‘soft infrastructure’ of precincts need to be relevant to infrastructure provision is now organisations and networks of local communities: much more closely interlinked artists, creative workers and with larger urban planning cultural industries. The Cultural precincts also help to agenda, particularly with the Western City District Plan (2018) distinguish a city or metropolis of three cities outlines target areas for neighbourhood; but the art and concept developed by the development across the region. culture inspired, created or Greater Sydney Commission These include the Aerotropolis engaged within that cultural (GSC) and the Western Sydney south of Penrith and precinct must be local to or Airport development. In this supporting nodes like St informed by the area itself. context, Western Sydney has, Marys, where the rail link will This leads to the creation of belatedly, become more than a connect to the Western Line, distinctive, organic, civil peripheral zone in the eyes of and Katoomba, which is slated spaces and cultural central planners. It must now for development in light of experiences. (Infrastructure have its own infrastructure projected increased tourism NSW 2016: 29) accessible within the GSC’s flows as a consequence of the concept of a ‘30-minute city’. In new airport in western Sydney. In the Cultural Infrastructure the process, traditional The Plan envisages 'a major Strategy, productive divisions between policy areas tourist, cultural, recreational infrastructure is given strong are diminishing with the and entertainment hub' in emphasis within a vision of increasingly explicit Penrith, the kind of planned precincts: ‘Large coordination of functions such development that has been flexible, dynamic spaces are as service provision, proposed in local planning created and maintained for employment, economic growth documents such as Penrith cultural production and and place-making. For Progression (2015). There are presentation such as “maker- instance, the NSW Cultural clear opportunities for spaces” for contemporary Infrastructure Plan 2025+ developing cultural artists and musicians and provides this 'vision' for the infrastructure that converge venues for collaborative and Western Parklands City (which with such major urban satellite exhibitions and includes Penrith and the Blue planning projects. The question international travelling blockbuster exhibitions’. The 14 strategy also contains a reality presents challenges for through the adaptive re-use, framework for evaluating the limited resources of local expansion and maintenance of infrastructure. The cultural councils and arts organisations, existing infrastructure’ (Goal infrastructure investment particularly if it is coupled 7). All these measures will framework proposed in the with a commitment to work require more detailed planning report (and eventually adopted closely with artists, cultural and collaboration at local by the NSW government) practitioners and stakeholders government level and imply presents a set of objectives and in order to ensure that whole–of–council criteria to assist in the infrastructure is well-matched commitments. consistent planning of cultural to regional realities. infrastructure in NSW. It sets Arts and cultural policy is, up requirements for projects to The NSW Government’s therefore, increasingly demonstrate the benefits that Cultural Infrastructure Plan understood as intertwined they seek to deliver in 2025+ (2019), which builds on with larger planning and achieving public value, such as the Strategy’s development agendas. There job creation, international and recommendations, further are increasing opportunities to interstate visitation, details plans to develop develop cultural infrastructure, development of the cultural cultural infrastructure in the but these may be positioned and creative sector, and Western Parkland City. The within very different cultural participation of local Plan envisages 'world class partnership and funding residents. The broad objectives cultural infrastructure' and contexts. For example, in 2019 and criteria are: opportunities for 'new models the federal government for delivering cultural abolished the Department of • global competitiveness infrastructure', in recognition Communications and the Arts (visitation and tourist of the considerable innovation and moved its responsibilities growth, enhancing the in arts and cultural provision to a much larger Department state’s attractiveness as a in Western Sydney. It proposes of Infrastructure, Transport, place to work or live or do that investment in cultural Regional Development and business, filling particular infrastructure be ‘aligned with Communications, with market gaps) centres, transit hubs and uncertain implications for arts • productivity (jobs, planned transport upgrades, and cultural funding innovation, strengthening [which] will have a catalytic (including funding for cultural sector) effect on the emerging Western infrastructure) at the national • sustainability (economic Parklands City’ (2019: 59). This level. Opportunities may not sustainability only Plan is ambitious and wide- be clearly labelled as arts or considered) and equity ranging, with an emphasis on cultural infrastructure — (equitable opportunities the integration of arts and accessing them will require and increased cultural cultural planning with urban proactive engagement as they participation) planning. It recommends ‘the present themselves. In these • urban and regional integration of cultural emerging conditions, it will be development (urban infrastructure planning with important to ensure that top– renewal, precinct land-use and precinct planning down policy and planning development) and the embedding of cultural does not override the (Infrastructure NSW 2016: infrastructure within other importance of detailed local 11). government portfolios’ (Goal 1, cultural planning based on a 10). Increasing flexibility is a knowledge of what will work This framework creates a strong theme, for instance by on the ground with existing heightened emphasis on easing planning regulations to cultural practitioners and demonstrating extrinsic facilitate cultural infrastructure communities. outcomes of cultural by simplifying planning infrastructure planning and requirements and better Local government and local investment, rather than on utilising digital technologies. cultural organisations will be intrinsic cultural values such The Plan recommends crucial to this policy and as artistic merit. Responding to ‘increasing making space planning process. this highly ‘integrated’ policy 15 Cultural infrastructure in Western Sydney
The 2015 report by Deloitte, Building Western Sydney's Cultural Arts Economy: A Key to Sydney’s Success, found that, on a per capita basis, the Western Sydney cultural and arts sector has been grossly underfunded and supported in recent decades. While Western Sydney represents 10 per cent of Australians, it only attracted Be Right Back. 1 per cent of Commonwealth arts funding and 5.5 per cent of COVID-19, the region will The SGS report provides the the State’s arts, heritage and remain the State’s centre of best overview of Western events funding. The region has growth for the foreseeable Sydney’s cultural a significant shortage of future. infrastructure to date, mapping cultural venues and events the region by artform and compared to Eastern Sydney. The importance of local LGA, and including both None of the major State- government to building privately-run and publicly- funded cultural institutions is production-focused cultural funded venues. Differences located in Western Sydney, a infrastructure in Western between LGAs were very situation which will only Sydney was highlighted in SGS stark. Not counting general change with the scheduled Economics and Planning’s 2018 community spaces - which are move of the Powerhouse report for Create NSW, not purpose-built cultural Museum (MAAS) to Mapping Arts and Culture in infrastructure - the Blue Parramatta. The Deloitte report Western Sydney, which noted Mountains had 69 arts and found that local government that almost all significant cultural spaces, bolstered had provided the bulk of purpose–built cultural particularly by 45 visual arts support for the cultural arts infrastructure in the region had spaces (primarily privately-run sector in the region ‘through been provided by local galleries and studios), more the establishment, ownership government. This historical than all the other LGAs and maintenance of situation is a strength, as these combined. By contrast, Penrith performance venues, facilities are generally attuned had only 14 dedicated arts and promotion of local and major to local needs, but there are cultural spaces (SGS 2018: 53). events [and] facilitation of also many gaps in cultural Penrith’s strength lay in its Cultural Arts activity including infrastructure that local regional infrastructure assets, industry development’. It government has little capacity in particular the Joan argues that there are to support. For instance, the Sutherland Performing Arts favourable conditions to take SGS report found that there Centre, along with the Penrith advantage of opportunities to was a lack of infrastructure for Regional Gallery/Lewers develop the cultural sector in film production - there is only Bequest. The Joan reported the Western Sydney, such as a one publicly accessible place to highest attendance figures of growing economy, large-scale edit film and a lack of 292,000 for a Council-operated audiences, lower establishment opportunities to screen locally- arts facility (SGS 2018: 59). costs, and fewer regulatory made films (SGS 2018: 87). issues. Although some of these SGS also found a lack of maker Neither Penrith nor the Blue conditions may be under spaces in Western Sydney and Mountains has dedicated challenge as a result of across artforms (SGS 2018: infrastructure for digital art, 100). and Penrith has no dedicated space for writing.
16 Multipurpose community two campuses of Western infrastructure with urban infrastructure, such as Sydney University. These development and place- community halls, was institutions have well management goals, and to identified in the audit as developed creative production enhancement of its role as a important for cultural and education programs (see regional hub. The Blue expression across Western PP&VA Strategy 2015) that Mountains has developed, by Sydney. Outdoor spaces, such support cultural value chains contrast, an enterprise support as showgrounds, gardens and at various points extending model applied to a relatively parks, were also important for across creative ideas, well-developed arts cultural activities such as production, dissemination and community. The Blue festivals. However, it should be audience participation (for the Mountains Creative Industries noted that spaces such as concept of the cultural value Cluster and the brand identity community centres are not chain, see Ang et al 2016). MTNS MADE, for example, always suitable for cultural were developed within the activity, as they often lack Penrith City Council has Blue Mountains Economic specific facilities such as pursued the further Enterprise, an independent storage spaces or equipment. development of arts and body funded by Blue Overall, the SGS report cultural infrastructure as part Mountains City Council. confirms that there is limited of an attempt to ‘progress’ purpose-built cultural Penrith, largely through the The Mayoral Arts and Culture infrastructure in Western development of central Summit organised by Penrith Sydney. Penrith. It has cultivated a City Council in 2015 is an strong place-based approach to important reference point for cultural development, such as this research, forming a kind of through the Magnetic Places policy benchmark. It was a Cultural Infrastructure: program that encourages large- regional collaborative event, scale public participation in involving artists, creative Penrith and Blue developing public art and local entrepreneurs and other Mountains identities (PCC Magnetic cultural stakeholders from Places Grants Program 2019). Penrith, the Blue Mountains The Penrith and the Blue Place-based approaches have and Hawkesbury LGAs. Mountains Local Government also been important in the Blue Creative infrastructure was a Areas are very different in Mountains, partly due to its major theme of the Summit. terms of cultural activities and demography and geography Detailed priorities and networks, and the locally- — a string of small townships associated strategies were put generated infrastructure that along a ridge line surrounded forward that seem to have a has developed over time. by a national park. This strong resonance with policy Different kinds of environment has encouraged documents such as the Western environment, with different artists and other creative City District Plan and Create populations and urban producers to cluster in NSW’s Cultural Infrastructure structures, have led to different dispersed groupings; the Blue Plan 2025+. These strategies cultural facilities, artist Mountains has long been focus not only on hard clusters, organisations and recognised for its home-grown infrastructure (such as spaces, cultural enterprises. Penrith cultural networks, with a high buildings and venues), but also CBD has a role as a significant proportion of jobs in the on soft infrastructure such as regional centre in arts and creative industry sector (7.4 the institutions, policies and education, with significant per cent of jobs compared to human resources to facilitate regional infrastructure such as the state level of 4.7 per cent; the development and delivery the above-mentioned The Joan BMEE 2018). of cultural infrastructure and Sutherland Performing Arts facilities. Relevant strategies Centre and the Penrith Different policy emphases are articulated by the Summit Regional Gallery and Lewers apparent in Penrith and the include hard and soft Bequest, as well as the Western Blue Mountains. Penrith has infrastructure. Sydney Conservatorium and tended to link cultural development and 17 Hard infrastructure programs to engage and rehearsal space and nurture children and collaborative spaces. young people’s creativity Affordability is a key • Establish and resource • Undertake a skills audit of requirement mentioned by accessible creative hubs/ the region’s artists to respondents. More affordable incubators that support identify professional spaces, along with artists to grow their development needs and multipurpose creative hubs, practice and generate employment pathways are at the core of what professional opportunities. (Penrith City Council participants say could be • Build an environment 2015). improved to expand creative supportive of innovation production in Penrith and the and creativity including Blue Mountains. supporting artists and artist workspaces as Reconsidering these strategies anchors around which to in the present context can form build creative industry a sound basis for a In Penrith, the largest clusters. collaborative cultural proportion (38 per cent) of • Identify local council infrastructure plan and respondents was willing to spaces and shop fronts strategies across the region. travel throughout the Penrith across the region and The Mayoral Summit’s and Blue Mountains region for develop a program of pop- proposed directions have their work, with 30 per cent of ups to increase the number affinities with local Penrith respondents willing to of artists who have access government policy activity and travel within Western Sydney. to work spaces activities in both Penrith and In the Blue Mountains, • Cluster arts organisations the Blue Mountains. respondents were less inclined and creative pop-up spaces to travel outside their LGA, as retail anchors and The Penrith and Blue Mountains with 43 per cent stating that activity generators to Creative Production Enablers and they would be willing to travel attract and support other Support Survey (Penrith City within the Blue Mountains enterprises Council 2020) was initiated by only. Despite this reluctance, 29 • Establish and resource Penrith City Council, Blue per cent of respondents were digital multimedia hubs/ Mountains City Council and happy to travel to Penrith. incubators to enhance artist Blue Mountains Economic Thus, at least two thirds of capacities, contemporary Enterprise to understand better Penrith and more than half of arts practices, audience and the infrastructure and support Blue Mountains respondents reach needs of people currently were willing to travel within • Research how the arts can working in the arts, culture the region. These survey be integrated into new and creative industries in the findings suggest that creative commercial and residential two LGAs. Of the 167 production synergies between development projects in respondents, 68 per cent the two LGAs can be enhanced the region. resided within the Blue with the provision of Mountains LGA, while 23 per affordable and suitable cultural cent came from the Penrith infrastructure, both local and LGA. This response rate region-wide. More detailed Soft infrastructure reflects the comparatively information and analysis greater size of the creative relating to the survey is community in the Blue provided in Appendix 1. The • Councils to work with the Mountains. Participants in the next two sections provide business sectors to broker survey identified a variety of additional information partnerships and key physical facilities (cultural concerning the LGAs that are sponsorship infrastructure) that they the subject of this report. • Develop partnerships with believe is needed to support schools, colleges and their creative practice. These universities, including facilities include small creation artist-in-residency spaces, performance space, 18 MAP 2. Penrith Topography Penrith City Council: Cultivating Creativity in a Growing Region.
Located on the banks of the culturally diverse community investment through the Nepean River at the foot of the with speakers of 79 different Western Sydney City Deal, Blue Mountains, Penrith City languages. particularly with regard to lies on the western fringe of transport infrastructure. the Sydney metropolitan area. Greater Penrith is strategically Established as one of Sydney’s located as the closest urban Penrith is self-described as ‘a earliest colonial towns, Penrith centre to a new international city of pride and progress’ is now home to a growing Western Sydney Airport and ideally positioned in ‘a region population of 213,000 people its associated Aerotropolis. To of opportunity’ (Penrith City and services a catchment of ensure that the City continues Council 2018). It is set to over 1.5 million people. It also to play its role as a vital hub experience considerable has a proud Aboriginal for communities in the region, change in the coming decades heritage, having Sydney’s as well as for Central and with significant investment in second largest Indigenous Western New South Wales, it is residential, commercial and population (after Blacktown receiving significant industrial property, and in LGA), as well as being a government attention and transport infrastructure. !19 Penrith’s population is one of increase in the level of funding be an even greater challenge the fastest growing in Australia for cultural arts venues and and requires urgent and and, according to some programs, and the dedicated action. estimates, is projected to grow investigation of new cultural by another 100,000 or more arts venues in Penrith. Yet, in the context of its future people by 2041, in a Western growth Penrith’s ambitions are City region of 1.9 million Following from the Penrith not unrealistic. There is a people (NSW Department of Progression action plan, burgeoning pool of creative Planning, Industry and Penrith’s Economic Development talent in the Penrith Environment 2020). As already Strategy (2017) nominated ‘arts community and region. With noted above, however, the and culture’ as one of the six around 70,000 people aged COVID-19 crisis has suggested target sectors for growth. The under 25 years in 2016 (ABS that this population growth Strategy set a highly ambitious 2016), there are almost as many may slow for several years. target to generate more than young people in the Penrith With around a third of its 5,000 new jobs in arts and LGA as the entire population population aged 24 or under, culture by 2031. It notes that of the Blue Mountains LGA Penrith will be home to many one of the actions required to (75,000). These young people talented creatives. achieve this growth will be to represent 35 per cent of focus on ‘Improving urban Penrith’s resident population, amenity to attract new a larger proportion of young investment, particularly in arts people than that of Greater Cultural landscape and culture, recreation and Sydney as a whole, where 32 bespoke services and per cent of people are in that A sense of pride and ambition manufacturing’ (2017: 6). younger age group. The is reflected in many of Penrith number of people aged 15 to 34 Despite the relatively high City Council’s recent strategic years who are most likely to numbers of people who documents in which artistic, attend and participate in arts, participate in creative arts and cultural and creative culture and creative industries cultural activities in the production are identified as is projected to grow by 58 per Penrith and Blue Mountains important contributors to cent in Penrith in the next two region (Australia Council of community wellbeing. Both decades. This cohort will be a the Arts 2017), the creative the Mayoral Arts and Culture primary source of creators and industries sector in the Penrith Summit and internal work on consumers of arts and culture, local government area could be cultural infrastructure needs and it is for these young said to be embryonic, with just identified the development of a people that the value of 76 businesses engaging in creative industries hub as a investment in creative creative and performing arts priority for the City. Penrith production will be of most activities. The majority of these Progression: A Plan for Action benefit. businesses fall within the (2015), an initiative of Penrith subcategory of Creative City Council, proposed the Artists, Musicians, Writers and further development of the Performers. There are 1,117 creative economy in the CBD Educational landscape people employed in the Arts by supporting new businesses and Recreation industry sector and providing new prospects Penrith has an advantage of in Penrith in 2019, of which for knowledge and creative having Western Sydney only a fifth (200 people) were workers. An important goal is University located relatively employed in the Creative and attracting and keeping the so- close to its city centre. In 2017 Performing Arts sub-sector (.id called ‘dream demographic’ of there were 7,850 students 2019). Penrith has a long way 15-35 year old, tertiary- attending its Penrith to go to reach its ambitious educated professionals to campuses, and 1,738 students target of 5,000 new jobs in Arts improve the city’s economic enrolled in the University’s and Cultural activities by 2031. and cultural vitality. These Creative Arts courses (WSU In the wake of the 2020 proposed strategies include a 2017: 59). There were 2,925 COVID-19 health and 'talent attraction' program, an Western Sydney University economic crisis, this task will 20 students living in Penrith. The that climbs every year. There objectives and operation nearby Nepean campus of has also been an increase in the managed by a Board of Western Sydney Institute of number of students attending Directors in accordance with TAFE is also a Centre of group vocal ensembles outside the constitution of the PP&VA, Excellence in Arts and Design of private tuition over the last and is a company limited by and offers screen media five years. This was a response guarantee. courses. to the demands of the Penrith community for educational In 2016, the Penrith LGA had music programs that develop Council-led cultural 66,059 students from pre- confidence and build school to Year 12, representing performance skills in students development and city an 8 per cent growth in student within a group environment, activation numbers since 2011; in 2019 rather than just focusing on the there were 54 government technical skills of learning an Penrith City Council employs schools in the Penrith LGA. instrument. Established in 1963, Nepean professional cultural staff High School in Emu Plains The greatest potential for whose focus is on community draws students from Penrith nurturing ‘locally grown’ and cultural development, and the lower Blue Mountains creative production in Penrith supporting creative industries and has a longstanding is to develop opportunities and and professional development reputation for cultivating the pathways to support the programs, projects, events and creative and performing arts. participation, learning and place activation. The collective In 2010, Nepean High School future employment in the experience of the staff provides began a specialist stream for creative sector of the young the necessary expertise in the the Creative and Performing people of the region. delivery of high-quality Arts, by audition, and changed Investment in regionally outcomes for the City and its name to Nepean Creative significant creative production community. Several staff and Performing Arts High infrastructure will help retain maintain their creative School. It had an enrolment of and attract emerging artists activities as curators and/or 1,120 in 2018. In 2012, the and creatives. Facilitating the arts practitioners. These staff Nepean Arts Centre (NAC), a engagement of established include a Senior Cultural purpose-built facility that hosts creative practitioners with Development Officer and school and regional arts young people and emerging Cultural Project Officer performances, was constructed creatives will, in turn, help (Community and Cultural on the school site. The school expand their opportunities. Development Department), offers a range of These directions are evident in City Projects Officer (City developmental opportunities, the approach to creative Renewal Team); Cultural such as (in 2016) working with production adopted by Penrith Engagement Officer an artist-in-residence, and City Council and its creative (Neighbourhood Renewal), participating in NSW School organisation, Penrith and Neighbourhood Renewal Spectacular performances. It Performing and Visual Arts Coordinator (Place also offers participation in ‘Art (PP&VA). Management). Both the City Dreaming’, a platform for and the Neighbourhood young Indigenous artistic Renewal Teams are located learners. within the Place Management Governance and support Department. Their activities Penrith’s role as a regional encompass the diverse structure centre for school age students neighbourhoods and of creative and performing arts environments that comprise is exemplified by the use of the Penrith City Council supports the Penrith LGA. Joan Sutherland Performing creative production through Arts Centre. On average, there direct delivery of creative The City Activation, are approximately 13,000 initiatives and to the PP&VA. Community and Place school student attendances at The PP&VA is a controlled Department of PCC is a The Joan annually; a number entity of Council, with its dedicated team (in all senses of 21 the word) engaged with October 2019). In her view, residents into Council decision- ‘activating’ twelve identified activation is generally seen as making processes. In the city underprivileged ‘enlivening the city centres’, centre, it’s about revitalising neighbourhoods across the which includes ‘having strong and trying to support small Penrith LGA. Activation has relationships with the business businesses in those become a buzzword that runs and resident communities. (interview 21 the risk of under-delivering communities’ (interview 21 October 2019) given the challenging October 2019). Locally circumstances within which empowering programs nurture Penrith Performing and local governments often have and support the development Visual Arts (PP&VA) to work. The staff distinguish of local talent, investment and between the needs of the enterprises. Manager, Jeni Penrith Central Business Pollard, elucidates the Apart from the direct delivery District (CBD) and the ‘particular approach of PCC’, of arts and cultural activities, surrounding neighbourhoods. which aims to: Penrith City Council supports The roles, according to the City its regional organisation, the Projects Officer in the City break through on important Penrith Performing & Visual Renewal Team, Dimity issues for people in particular Arts (PP&VA), which ‘offers Mullane, involve looking at the places. In disadvantaged more than just the performing ‘entire community and having communities it’s pretty much and visual arts – it offers a a different approach to what about trying to increase vision of a creative Penrith for that activation is’ (interview 21 decision-making for those the whole community’ (Penrith
Audience Engagement with Victoria Garcia’s work in Landing Points. 22 Performing and Visual Arts Performing and Visual Arts classes and seminars, n.d.). The PP&VA is an Ltd. presentation opportunities umbrella organisation for the etc. (p. 19); major Penrith-based cultural More detailed description of • extending opportunities for institutions and oversees the these two institutions, as well students and educators in management of the Joan as the Penrith Conservatorium, the region through Sutherland Performing Arts is provided in the section on partnerships with schools, Centre, Penrith regionally significant cultural TAFE, WSU. Conservatorium, Q Theatre institutions. Penrith and Penrith Regional Gallery Performing and Visual Arts & Lewers Bequest art hosts a detailed program of collection. In addition to activities to maximise Direct delivery of cultural Council’s ongoing funding, the resources for creative and creative projects PP&VA is supported by the production and creative development alongside its public sector as well as by Many of the creative and programming and presentation private funding. Hania Radvan cultural projects developed, functions (PPVA Strategic Plan has been the CEO of PP&VA delivered or facilitated by PCC, 2017). Notable elements of the since 2013. Prior to this as illustrated in the case strategy include: position, she was in Darwin for studies provided in this report, 22 years as the Marketing focus on mentorship and • promoting inter-arts links Manager of the Darwin professional development to by dedicating ‘space and Performing Arts Centre and assist with careers goals and opportunity to explore then Director of Arts NT. possible employment for those creative possibilities creative practitioners, sector Her main priority has been to offered by our joining of development, networking create ‘a really strong theatre, music and the opportunities and social leadership team and enabling visual arts’ (p. 10); engagement. These areas could them to lead’ (interview 21 • encouraging new, form the framework for a October 2019). independent work in the future PCC arts and cultural performing arts that policy agenda. Such activities Both of Penrith’s two support new partnerships include the DiG Space regionally significant arts and resonate well with Program for early career digital venues are managed by the audiences, especially media producers, Queen Street PP&VA. They are: young people (p. 11); Riches and Textures Annual • forging partnerships with Projects, community • Joan Sutherland arts and cultural entities engagement, mentorship and Performing Arts Centre - such as the Australian partnerships, the Music concert hall (capacity 660), Chamber Orchestra (ACO), Pathways Program for senior drama theatre (capacity Museum of Applied Arts high school students, Magnetic 380), studio space (capacity and Science (MAAS), Places to provide opportunities 100), 23 music studios, two Western Sydney University for local artists and orchestral and two (WSU), Classic FM (p. 18); communities, Open Mic nights ensemble rooms. It is • working with new and to support local musicians, and operated by Penrith City emerging technologies to Barefoot Beats to engage local Council through Penrith build technical capacities; school students in music (see Performing and Visual Arts drawing on a diversity of the case studies for more Ltd. local and visiting artists to detailed description of these • Penrith Regional Gallery & 'develop pathways through programs). The major arts the Lewers Bequest – four initial engagements and event delivered by PCC is the gallery spaces, artist residencies through to Real Festival. It aims to garden, collection storage, production and ‘transform’ Penrith into a space and Modernist research. It presentation' (p. 19); characterised by the inclusive is operated by Penrith City • extending opportunities for celebration of art, culture and Council through Penrith regional practitioners creativity. through residencies, master 23 Real (River Environment adventures come together in a illuminart is one example of Arts Lifestyle) Festival spectacular fusion of fun. There’s bringing attention to something new and exciting endangered animals and the around every corner of the Real Australian environment, and is The Real Festival is an annual, Festival (Penrith City Council a successful instance of two-day, free access, multi-arts 2019b). accessible, crowd-pleasing festival held on the first programming at REAL weekend of November at the PCC invests the major part of Festival. It also represents Tench Reserve on the Nepean the $600,000 that the festival good regional cultural River. By presenting a bold costs to stage, with production synergies, having contemporary program that contributions from sponsors, been created by artists in South evokes curiosity and celebrates grants (for example, from Australia and the Blue the unpredictable, Real hopes Destination NSW in 2019) and Mountains for the Penrith to attract tourists, entertain local businesses. The audiences festival. and create new experiences for are predominantly (67 per audiences to connect, engage cent) from the local An open-air public park offers and enjoy. Council’s vision is government area of Penrith, flexibility for this type of arts to develop and deliver an with 32 per cent coming from festival, despite its associated internationally recognised arts other parts of Greater weather dependence. Each and cultural festival that: Metropolitan Sydney and other year, the festival designs a new areas of NSW. Attendance is experience (to attract repeat • positions Penrith as a rather weather dependent visitation), hires temporary leader in major events and because the festival is in an hard infrastructure (such as an attractive visitor outdoor venue, but is steadily marquees, stages and mobile destination growing: from 18,000 in 2016, sound systems) and also • attracts local and overnight 20,000 in 2017, 25,000 in 2018 involves many PCC staff in its visitors to the region and reaching 27,500 in 2019. delivery. The festival is an • stimulates the growth of According to Glasson, Real example of how different local creative industries audiences are predominantly Council-organised cultural and creation of new jobs aged between 25 and 44 years projects are leveraged by • creates a sense of local (62 per cent), with the 18-25 ‘showcasing’ them together. pride. age group increasing slowly, Some of the projects from other According to PCC Events and ‘it is an audience we are creative initiatives, like the DiG Officer Christine Glasson, who looking to grow in the program, were screened in the has been the festival future’ (interview 3 December 2018 festival. Real Festival also programmer since its inception 2019). She also notes that aims to develop and produce in 2016, the Real Festival also adults without children in their new works allowing for aims to foster and develop early 30s are attending, international and Australian local creative and cultural particularly for the evening collaborations and artistic expression. Glasson uses an programs. The 2019 program mentorship opportunities. expression-of-interest process presented a range of workshop These include the 2019 to encourage participation in activities, exhibitions and Headline Performance All That the festival program, and performances that were We Are, an aerial spectacular receives around a quarter of ‘family- friendly’ and might created exclusively for Real total responses from artists in also be described as ‘middle of Festival through an the Penrith or Blue Mountains the road’, reflecting the international collaboration areas. This family-friendly ambitions of the festival to be produced by Penrith Council, program includes scheduled inclusive and accessible. The and directed by renowned and roaming performances, themes embedded in the REAL Spanish director Younes Bachir alongside workshops: acronym (river, environment, arts and lifestyle) are reflected and Australian choreographers You’re in for a real treat when in the programming. The Strings Attached. acclaimed entertainers, live music, popular giant light bilby fun activities and active puppet by Evelyn Roth and
24 Real Festival All That We Are (Todo lo sue Somos).
The 2018 Headline sponsorships and partnerships supports established musicians Performance of Mountain by can be more valuable and to diversify and develop their Stalker Theatre, an innovative, flexible. Under the Create practice. physical and visual NSW Arts and Cultural performance commissioned by Funding Program – Round 1 The financial contributions of Real Festival, has since toured 2020 grant programs, Penrith private individuals and nationally and internationally. Symphony Orchestra Inc. companies are important for received a $38,332 grant to the arts and cultural sector, Resourcing challenges present its regular season of especially in Penrith, where its four symphony concerts, an regional gallery was Creative production in Penrith opera gala, a children's concert established through a generous relies largely on the financial and a Family Christmas bequest. As the Mayor, contribution of Council and concert, and to continue to Councillor Ross Fowler OAM, the private sector. Apart from support young and emerging noted in his weekly column in the DiG Space Program, which artists and to promote a love of the Western Weekender (13 fine music to Western Sydney September 2019): was notably successful in and the Lower Blue receiving a grant from Create Mountains. In Penrith, we are in debt to the NSW in 2017, grant Lewers family, who in 1981 not applications to either state or PP&VA received $19,580 for only gifted a wonderful federal arts bodies for Street Notes, a series of site- collection of works by Gerald Council’s activities have had specific classical music and Margot Lewers and their limited success. However, the interventions in the contemporaries to our activities of the PP&VA have streetscapes of Penrith. community, but also their received a number of grants, Produced by PP&VA through property, house and gardens. although many require Penrith Conservatorium, Street The Penrith Regional Gallery matching funding from Notes delivers eight mentoring and Lewers Bequest, its garden Council, which can be cost- opportunities for musicians and the artworks it contains, are prohibitive. In some cases, aged 18-26 years old, and such a rich treasure for our City 25 … This is because art matters, PCC delivers to a high that are available to artists, and gifts to art galleries can standard on its allocation of producers and designers to make a very real difference to funds, its intention to increase access as maker spaces/ generations of a community. the number of employed artists studios, rehearsal spaces, and cultural practitioners from storage areas for equipment/ While private funding does the current estimated 1,285 props, exhibitions, and to make a valuable contribution, (profile.id, 2019) by 5,000, as enable general networking, for Penrith to become a targeted by Council’s mentoring and to bring regional hub for creative Economic Development creative partners together for production it cannot rely on Strategy (2017), will require projects or programs. serendipitous private substantial investment from all generosity. The reliance on three tiers of government as external grants or well as industry. philanthropic funds to support Lack of creative production creative production projects, facilities such as DiG and Music Pathways (see the case studies Cultural infrastructure While The Joan does have below), leaves PCC vulnerable professional standard rehearsal provision regarding its capacity to spaces, access to this facility is increase professional limited by its already tight As noted, Penrith is forecast to development and creative schedule and the need for grow (COVID-19 employment opportunities. creatives to have sufficient notwithstanding) significantly The perception of several PCC funds to pay the hire fee. Many in the coming decades as a key creative and cultural staff of Penrith’s creative projects node of the Western Parkland consulted for this report is that require intensive professional City, one part of the the ambitions articulated in the development and creative ‘metropolis of three cities’ 2015 Mayoral Report could be labour inputs, and frequently envisaged for the Greater rejuvenated. PCC employs, as operate in non-traditional Sydney Region (Greater noted, a number of staff who spaces such as parks, schools, Sydney Commission 2018). For engage in cultural ‘activation’, footpaths, community halls PCC to keep pace with, and and its approach to employing and the like. Some cultural take advantage of, predicted artists through particular activities depend less on hard demographic, population and programs is to be commended. infrastructure but require high-tech industry changes There is also a strong culture of places that connect and will require a broadening and partnership development. But, provide professional facilities. deepening of its cultural and there is just one staff member These issues are similar across creative opportunities, whose central role is to deliver artforms and cultural activities. including the provision of educational and professional For the Place Management adequate cultural development opportunities team, the example of infrastructure and venues. across all artform areas. Blacktown Arts Centre (BAC) is an ideal centre, as it is open Fundamentally, then, the enough to be able ‘walk in challenges faced by Penrith are there without a reason’. BAC Lack of meeting spaces related to inadequate resourcing. does not, according to the Council expenditure on team, feel like a facility, and its Across all the stakeholder internal initiatives and external ease of access, including interviews conducted for this programs has made an proximity to trains and research, the need for Penrith important contribution to shopping centres, is a real City Council to identify and Penrith’s cultural life, but it is advantage. not sufficient to meet the many maintain places for artists to identified needs. Employment meet and collaborate was Cultural Engagement Officer of creative practitioners is one consistently and strongly Donita Hulme says that the of the areas that the City has expressed. There are Centre has ‘interesting strategically identified to be remarkably few, if any, curatorial stuff, that doesn’t significantly upscaled. While physical structures and spaces 26 feel curatorial. It doesn’t feel points to the need for greater communal pride. (A New affected’ (interview 21 scale and scope of cultural Approach 2019: 20) November 2019). infrastructure in the region. PCC has demonstrated a There is also evidence linking Another effective model capacity to invest in emerging increased employment mentioned by staff is The artists through its various prospects to arts education and Studio, a media and creative initiatives, and so is in a good programs. Through the DiG technology hub in central position to capitalise on and Space ProgramProgram, for Sydney, which was established extend this investment to example, the creative mentees in 2018 with private funding advance creative production were able to advance their and co-investment from the and cultural activity in the careers, with employment in federal government through its region. Penrith Council is also new commission works, Incubator Support Fund+. It in the early stages of creating a development of professional houses 140 resident startups ‘City Park’ in the heart of the networks and/or full-time and provides access to City Centre. It would be ideal employment (see the digital recording and green screen for Council to consider arts and culture case study studios, a private edit suite, opportunities to bring a below). Arts and culture-based meeting rooms, and creative aspect to this education has been found to be networking and development development, as well as to any beneficial in developing opportunities. future redevelopment adjacent intellectual skills and to this site. enhancing educational Penrith needs an equivalent impacts. Not only does this central hub and creative help to ‘future-proof’ incubator (both physically and Australia’s workforce, it also socially) where local creative Future policies and plans contributes to mitigating the and cultural practitioners can impact of disadvantage (A New meet and work regularly, and There is gathering evidence Approach 2019: 16). Both types where Council-initiated regarding the returns on of value are demonstrated in professional and cultural investment in arts and cultural Penrith’s arts and cultural development projects can be programs, such as those initiatives. scaled up and made more provided through PCC. Recent sustainable. Within the Penrith studies into the connection In the absence of an arts and LGA, there are several venues between art and social culture strategy per se, Penrith that could be considered for cohesion have found, City Council has endorsed a adaptive use or re-use for such according to a recent survey of number of strategies that guide purposes, such as: the field, that: its approach to arts and cultural activity. These include • TAFE campus in Henry the arts and culture are the Penrith Night Time Economy Street, Penrith (no longer particularly effective in creating Strategy (Urbis Pty Ltd 2017) used for large-scale social networks among different and the Draft Penrith City teaching) sorts of people who would not Library Strategy 2017 (Penrith • St Marys Corner, Queen otherwise have come together, City Council n.d.). Penrith Street end (close to the therefore providing cohesion Progression identified the railway station). across otherwise divergent creation of an evening demographic groups. The process economy as an important Making these or similar spaces of ‘creative place-making’ that element in the revitalisation of available requires the will of occurs through creative the Penrith City Centre. A Council to negotiate the terms enterprise and community-based night-time (or evening) on behalf of creative arts and culture, such as economy is fostered by producers, while activating festivals or installations of public businesses that offer dining or them requires consultation art, has been found to connect entertainment activities after across Council teams in disparate members of a sunset. The vision for Penrith conjunction with creative community. These kinds of City’s night-time economy is producers working in the celebrations can bridge social for it to be safe, diverse and region. This report consistently barriers, fostering a sense of busy. It includes identifying 27 linked precincts, creating large The LSPS acknowledges the cultural activity and creative and small spaces for indoor value of cultural infrastructure production. and outdoor fun, and a range and incorporates it into its of activities suitable for the planning priorities. Planning whole community at different Priority 1: ‘Align development, Conclusion times of the evening and night. growth and infrastructure’, The Penrith case studies Penrith has many strengths, while not making specific throughout this report such as diverse businesses, mention of the need for new illustrate some of the many leisure and recreation assets cultural infrastructure, refers to and diverse creative and and a diverse urban landscape, community facilities such as cultural initiatives managed by which lend themselves to parks and libraries and PCC staff that are helping to building a strong night-time remarks that ‘[o]ur need for nurture creative production in economy. The Penrith Night infrastructure to meet our Penrith. While not Time Economy Strategy (Urbis growing demand is one of our comprehensive, the selection Pty Ltd 2017) aims to build on community’s strongest provides an indication of the these strengths, as well as priorities’ (2020: 27). In this depth of attention brought to create an environment to context, advocacy for cultural developing and delivering support a diverse range of infrastructure would need to these projects, and of PCC’s activities and attractions to be advanced through Action contribution to stimulating show that Penrith is an active, Item 1.1, ‘Determine the local creative employment and bustling City with flexible infrastructure needs for our cultural engagement with daily rhythms. communities’. Planning limited (even inadequate) Priority 14 proposes to ‘[g]row resources. Libraries are significant our Tourism, Arts and Cultural providers of technology, digital Industries’, noting ‘the The artist- and cultural access and support, and the potential to further expand our practitioner-centred projects all library strategy proposes to arts and cultural industries, create opportunities that aim to ‘encourage digital creativity particularly the opportunity generate professional e.g. learning opportunities and for new cultural development and possible maker spaces’, and to institutions’ (2020: 71). Council employment for artists and ‘showcase new developments proposes to work with the creative practitioners from and innovations (leading edge NSW Government to explore across the region. Emerging technologies) for community the potential for new facilities, artists and other creatives are creative and learning particularly within the Western assisted to find a peer network opportunities’. The strategy Sydney Aerotropolis and in and career pathways, and also proposes investigating a capitalising on the tourism professional artists and library publication option to economy. Recommendations cultural practitioners are support significant local relevant to cultural employed to improve social content. infrastructure include: and cultural engagement in reviewing planning controls to lower socio-economic areas, as Council’s recently endorsed ensure that there are well as in public events such as Local Strategic Planning opportunities for tourism, arts the Real Festival. The Statement (LSPS), Planning for and culture; and preparing a programs aim to integrate arts a Brighter Future (PCC March joint-study with Blue and cultural activities into the 2020), confirms the idea that Mountains and Hawkesbury local and regional social libraries are ‘evolving into City Councils to determine context. With its dedicated and facilities for community and needs and key linkages to ongoing resourcing for arts cultural gatherings and events, support the growth of arts and and cultural production, display spaces, bases for cultural industries. The former Penrith has a strong outreach programs, and hubs activity could provide an foundation for becoming a for our digital future’ (2020: opportunity to make planning centre that supports creative 41). regulations more amenable to production across the Greater Western Sydney region.
28 Sevket Uruk Guden Queen Street Riches and Textures
29 MAP 3. Blue Mountains.
Blue Mountains City Council: Maximising the Potential of a City of the Arts
The City of Blue Mountains is population of between 70,000 from but still accessible to located on the western fringe and 120,000. According to the metropolitan art resources and of the Greater Sydney Region, 2016 Census, the Blue venues. The area is relatively and is one of only two cities in Mountains had a population of sparsely populated, with the world surrounded by a 76,902. settlement largely located in a UNESCO-declared World string of small townships Heritage Site. It is also the only The City of Blue Mountains is along a narrow east-west ridge council in NSW designated in a rugged and beautiful area line. Artists have long been under the Australian that is largely a national park. attracted to the area because of Classification of Local The Blue Mountains is, its attractive landscapes, Governments as a ‘Category 12 nevertheless, a peri-urban ‘village’ lifestyle, affordable Council - Urban Fringe Large’ region on the edge of property and strong sense of as a result of its location and metropolitan Sydney, distant community. Being a tourism !30 destination provides enhanced 1995, the Blue Mountains was outcomes and directions set by cultural opportunities in the announced as the pilot City for the Blue Mountains Cultural area. Activity levels in the arts, NSW’s City of the Arts Strategy 2006-2016, which arts festivals, artisan markets program. Funding was involved extensive and community-based art provided for 1996–98. This consultation through 24 sector activities in the Blue concept originated in the Blue workshops (various artforms Mountains far exceed overall Mountains, and the Council plus cultural heritage and levels in NSW (Blue Mountains and community have religious and spiritual City Council 2017: 153). continued to use it, although practices) held across the city the State government program and involving over 500 people. no longer exists. The City of This initiative set the Cultural landscape the Arts concept has become framework for ongoing policy an enduring part of Blue development over the Mountains City’s identity and subsequent four years. A new The NSW Government’s is reflected in Council’s Creative Strategy is currently in Creative Industries Taskforce policies. The City of the Arts development. (2013: 32) described the Blue Trust administers Blue Mountains as a place where Mountains City Council’s The 2006-2016 Cultural Strategy ‘natural creative industries annual arts grants programs. had a strong focus on the precincts, clusters and hubs’ provision of much needed had developed: 7.4 per cent of Blue Mountains City Council cultural infrastructure such as the working residential has developed a distinctive the Blue Mountains Cultural population is employed in the approach to supporting the Centre in Katoomba as well as creative industries, around 60 creative industries. Realising the provision of affordable and per cent higher than the State that the Blue Mountains had accessible facilities and venues average of 4.7 per cent. limited access to land and that for performance, exhibition, Compared to NSW, 18 per cent the area had little additional training, studio space, and of Blue Mountains residents capacity for industrial or real heritage collection storage and are employed in the creative estate development, Council treatment. It also focused on industries (2,696 in the Blue was an early adopter of a improved presentation and Mountains compared to sustainable planning approach. marketing of Blue Mountains’ 148,000 in NSW) which is the This adoption involved cultural attractions and fifth largest source of recognising that the Blue products, and on the potential employment in the Blue Mountains’ environment, of the creative industries to Mountains (BMEE 2014: 4). heritage and cultural activities reach a self-sustaining critical The standing of Blue were key assets for the region. mass. Mountains-based professional The development of the Blue artists and companies is Mountains as a centre for the The Strategy reflected a indicated by the receipt of 23 arts and creative industries is a concern with the low level of successful Australia Council key priority for the BMCC. paid employment in cultural for the Arts grants in This emphasis on the central occupations. Blue Mountains’ 2018-2019. importance of the arts and creative producers and the 'soft supporting creative industries infrastructure' that they Consulting group SGS is strongly reflected in the Blue generate are regarded as Economics and Planning’s 2018 Mountains Local Strategic necessary to ‘sustain a vibrant study of cultural infrastructure Planning Statement Blue and self-replenishing creative in Western Sydney identified Mountains 2040: Living industry’. A key priority was 69 cultural infrastructure items Sustainably (BMCC 2020), that ‘artists [would be] able to in the Blue Mountains - by far which was endorsed by live and practice in the Blue the largest number for any Council in March 2020. These Mountains, supported by LGA examined (SGS 2018: 53). cultural policy emphases have affordable studios and reliable Almost two thirds of them are been established through wide work opportunities’. Actions to privately-run commercial art consultation guiding policy support this goal included galleries catering to tourists. In directions and reflect the advocacy for employment
31 assistance to develop artists’ Directorates; Economy Place direction of the Arts and business skills, investigation of and Infrastructure and Cultural Services branch that a cultural business incubator, Environment and Planning I now lead. I think this can be and promoting the concept of Services. The newly created done with our increased artists’ studios and co-location Arts and Cultural Services resources and by better of cultural enterprises. These branch sits within the Cultural integrating with other parts actions point to the direction and Community Services of Council to get results. that the Council has taken in Directorate. Council has a Given the Council's very developing an enterprise number of staff involved in limited rate base, I’m also approach to supporting the arts and cultural program wanting to see if we can get arts, as is exemplified by the delivery and activities, government support for a founding of the Blue including cultural really dynamic Mountains Economic development staff, arts staff transformation of our public Enterprise (BMEE) in 2013, and (performing and visual arts) domain. (interview 17 the subsequent development of within Council’s major cultural October 2019) the Blue Mountains Creative facilities, library staff who also Industries Cluster and the carry out arts activities, events The Branch’s Cultural brand MTNS MADE (see and marketing staff, and staff Development Unit has one discussion below). employed in heritage, full-time Cultural recreation and planning. Development Coordinator Blue Mountains City Council Paul Brinkman is the Manager position, whose responsibilities operates two regional level of Arts and Cultural Services, include strategic cultural cultural institutions, the Blue which includes cultural planning, cultural initiatives, Mountains Cultural Centre in development and the the BMCC’s City of the Arts Katoomba and the Blue management of Council’s grants program, and the Mountains Theatre and major cultural facilities, the promotion of the arts in the Community Hub in Blue Mountains Cultural Blue Mountains through the Springwood. The Cultural Centre, Blue Mountains City of the Arts social media Centre comprises the City Art Theatre and Community Hub, platforms. A Cultural Gallery and the World and Braemar Community Development Projects Officer Heritage Interpretive Centre, Gallery. The Branch delivers (part-time) was engaged in as well as workshop and cultural programs, arts grants, 2020 in a temporary capacity to seminar spaces, a gallery shop public art provision and further the provision of art in and café and a viewing manages the Council's cultural the public domain. platform. It is co-located with collections. It promotes the the Katoomba Library, artists and arts activities of the In addition, other Council employing five full-time, seven Blue Mountains. The Branch’s departments support arts and part-time, and also casual staff. role is to strengthen the unique cultural activities. The Tourism The Theatre and Community identity of the Blue Mountains and Events section facilitates Hub is co-located with the as a City of the Arts and a community and commercial Springwood Library and the centre of culture and creativity. cultural events throughout the Braemar Gallery. It has five The intention is that cultural City (such as Winter Magic, full-time and four part-time activity is seen as a whole-of- which attracts 40,000 visitors staff, plus casuals. Council activity, as Paul per annum), as well as Brinkman states: providing events information for regional and state-wide Governance structure Ideally, given Council’s promotion. Library staff are renewed push to have all involved in a range of arts parts of Council working activities programming such as In 2019 Blue Mountains City together to increase the level Poetry under the Stars, author Council created several new of public art activity, we are talks and story-telling. Directorates: Office of the CEO; determined to see much more Recreation, town planning and Strategy and Corporate visible quality art in the environmental staff are also Services; Culture and public domain. This is the involved in public art Community Services 32 Blue Mountains Cultural Centre Cinema Under the Stars provision and integration of fine arts, writing, design, creative infrastructure. The artistic design elements into artisans (who have their own main ways in which Council the urban fabric. Planning staff network and brand, Blue currently supports cultural are involved in providing Mountains Makers), and a infrastructure and programs advice and assessment small but active film are through: regarding particular cultural production sector. The Blue infrastructure needs, including Mountains also has a strong • Operating two flagship those related to heritage. creative producers network. regional cultural institutions: the Blue Council supports arts and Mountains Cultural Centre cultural practice (at both (Katoomba) and the Blue Resourcing cultural community and professional Mountains Theatre and infrastructure and levels) through direct Council Community Hub programs programs. It also supports (Springwood) creative industries • Funding the Blue professionals ‘at arm’s length’ Mountains Economic The Blue Mountains has a through its funding of the Blue Enterprise (BMEE) and its particularly well-developed Mountains Economic Creative Industries Cluster, arts community, with a mature Enterprise, which manages the including the MTNS arts ecology. This cultural industry-focused activities of MADE campaign ecosystem includes the the Blue Mountains Creative • Operating the Braemar presence of many professional Cluster/MTNS MADE Community Gallery artists and companies, program (see the section below (Springwood) commercial arts venues, and on regional cultural • Partnering with a range of strong community-based arts institutions). Both funding arts providers, such as organisations. Arts activity is strategies are necessary and, to Sculpture at Scenic World broadly spread across the a large extent, complementary. • Facilitating many local and spectrum of artforms, with The goal is to maximise the major arts and cultural particular strengths in music, capacity to work together to events and festivals extend both hard and soft 33 • Providing a range of arts Morris 1999). The Blue study on regional institutions and cultural programs Mountains Cultural Centre below), including by • Providing information and was conceived as increasing outreach activity (a promoting local arts-based incorporating a City Art good example is the Street Art cultural events Gallery and World Heritage Walk in which the Cultural • Providing and facilitating Interpretive Centre reflecting Centre was a partner). There is educational and skill-based the community’s strong an identified need to increase public programs attachment to the arts and cultural services activities by • Funding arts projects culture, and its identity as a extending infrastructure for through the Blue City within a World Heritage cultural and creative Mountains City of the Arts National Park environment. production across the LGA. Grant program ($50,000 Funding took many years to be annually) to support local acquired. The building artists, arts organisations involved a partnership Direct Council support for and their projects across between Council, the State arts and culture artforms (including film) government, and the • Providing small grants to developer and also included non-profit arts significant contribution from BMCC is concerned to support organisations through the the federal government in the creative sector and Community Assistance recognition of the City’s World professional artists, as well as Grants program; Heritage site status. After a community participation in • Supporting artist long development period, the arts and culture. Interaction residencies in locations Blue Mountains Cultural between professional and such Big Ci in Bilpin and at Centre opened in 2012. community-based arts and the Old School, Mt Wilson cultural activities are (up to 2019). The Blue Mountains Theatre important as a strong cultural and Community Hub opened ecology involves intersections in Springwood in 2015. The of professional and amateur activity. Local arts Major cultural facilities facility was entirely developed and built by Council. This organisations across the cultural precinct has a Mountains, such as the Blue During the past decade, substantial theatre and Mountains Creative Arts Council has established two performing space, as well as Network (BMCAN), Blue regional arts and cultural spaces for community Mountains Creative Arts institutions, the Blue organisations and services, Centre (Glenbrook), Mountains Cultural Centre connected to a library and the Springwood Arts Centre, and the Blue Mountains adjoining Braemar Gallery. The Modern Art Projects Blue Theatre and Community Hub. two flagship cultural Mountains (MAPBM) and the Blue Mountains residents had institutions, Blue Mountains Blackheath Arts Society, as well long sought a publicly-funded Cultural Centre and Blue as many other performing arts regional art gallery and in 1997 Mountains Theatre Hub, are groups and choirs, reflect this Council initiated research into business units of the Council. broad arts participation. the feasibility of a regional City This means that a considerable Continued support is also Art Gallery within a Cultural proportion of the Council's needed for amateur and Centre concept. In 1998, limited cultural budget goes professional arts activities, Council also commissioned a into running these larger such as open studios, arts Charrette - an intensive entities, leaving relatively trails, annual awards, community urban design limited resources available for assistance with grants and process exploring urban other creative production other career development redevelopment in Katoomba. infrastructure (hard/soft or activities. The community strongly built and social). There are supported the regional gallery, opportunities to extend the along with other cultural production element of the infrastructure, being located in large venues (see the case Katoomba (Kaufman and 34 Street Art Walk.
Blue Mountains City of the case study below). David not-for-profit cultural Arts grants program Brazil’s photographic project organisation which describes involves rephotographing and the project as ‘not-for-profit reimagining early 20th century learning-by-doing platform to The City of the Arts grant postcard images of the Blue fill in the gaps not being filled program is focused on Mountains and the sites of by mainstream tertiary supporting the arts sector and places in the present. Sewnup education’. Finally, the grant community involvement in the by Modern Arts Projects Blue supported Varuna, the arts. The total investment is Mountains (also discussed in National Writers’ House in around $50,000 annually, and the visual arts case study) Katoomba, in holding the between 6 to 10 projects are investigates ‘the tension inaugural Blue Mountains usually funded. The maximum between beautiful textiles and Writers Festival in 2019 (see the grant is $10,000, with most clothes and the often writing and literature case projects receiving between questionable aspects of their study below). $5,000 and $7,500. A quick product cycle’. The remaining glance at the six grants three grants were for programs The grant program supports awarded in 2019 shows a high to support arts and artists in ephemeral projects that standard of artistic projects. Of the Blue Mountains involve professional artists and these, three could be described community. FunKtion @ The cultural practitioners as contemporary arts projects Junction is a youth mentorship delivering projects that benefit investigating aspects of the initiative for musicians both the arts sector and local social and environmental culminating in a performance communities. Its predecessor, world. Miriam Williamson’s at the Junction 142 venue in the Cultural Partnerships Birdland explores Katoomba. The Blue Mountains Program, had an annual ornithological images found in Pluriversity Project is an arts budget of $100,000 that was co- the Mount Victoria Museum and culture education pilot funded by the NSW and the National Parks program for young people government (the-then Arts collection (see the visual arts provided by ‘The Big Fix’, a NSW, now Create NSW) until 35 2009. Council then solely musicians were paid a fee, as vandals’ (Hall and Harris funded the Partnerships were community organisations 2006). The Street Art Walk is an Program, investing $50,000 per such as school groups. ongoing and dynamic art annum until 2013, when it was space, being periodically replaced by the City of the Arts Street Art Walk at Beverly repainted as befits an Program with the same Place, Katoomba is another inherently transitional/ amount of funding. example of Council working ephemeral art form. Other with a wide range of partners public art initiatives were also and stakeholders. Partners in mounted through partnerships Direct delivery of arts the project included Street Art between Council and State Murals Australia (SAMA), Blue government entities such as project initiatives Mountains Cultural Centre, , Sydney Water and State Rail, and landowners in the producing a number of Katoomba Live and Local is an precinct. In 2013, SAMA came artworks on water reservoirs example of an arts initiative up with a proposal to produce (from the lower to the upper directly delivered by BMCC. It aerosol murals on the alleyway Blue Mountains) and on State involved local musicians site. It took around 18 months Rail property throughout the activating the town of to sort out legal, heritage, LGA. Katoomba on April 7, 2018. planning and stakeholder Live and Local is a ‘flexible, best requirements, and crowd- Creative sector practice model’ initially funding for the project before developed by the City of the precinct was launched in development Sydney to activate a place June 2015, when some 30 wall through the work of local sites were painted in a single The Blue Mountains Economic musicians. Council and a local weekend by international, Enterprise (BMEE) was committee successfully applied national and local aerosol founded in 2013 as a not-for- for funding from the Live artists to create an outdoor profit company. It is funded by Music Office and Create NSW. gallery. The Street Art Walk has Blue Mountains City Council Music promoter and music been credited with facilitating but operates as an independent industry activist Meg Benson urban renewal for an entity. In response to local (Music Hunter) acted as underutilised part of the city, demands, BMEE launched the curator for the project. Further generating a new tourism Blue Mountains Creative value was added by a two-day attraction, and contributing to Industries Cluster, which workshop for young musicians the creative economy, developed the MTNS MADE held at the Mountains Youth particularly for young people. brand for locally-made creative Services Team (MYST) to build For street art, streets and products. The Creative the capacity to promote accessible wall space provide Industries Cluster manager themselves and their work by both a studio and living works with creative producers preparing submissions, exhibition space; soft to support development in the obtaining an Australian infrastructure was developed creative industries. Its Business Number (ABN), by extending networks activities range from producing quality photos and through SAMA to local supporting the MTNS MADE music videos, and compiling communities and by giving brand through website listings written music descriptions. legitimacy to what is often and promotions, advocacy for Katoomba Live and Local was seen as an ‘outlaw’ art form. resources and opportunities, promoted as ‘a free family According to independent networking including forums friendly festival with the evaluation, digital technologies and events, and by supporting objectives of stimulating local played an innovative role business skills workshops. business, employing local which improved community Paul Brinkman commented on musicians & gathering a engagement with young street the success of this initiative: diverse crowd’. It involved 180 artists by challenging musicians, a quarter aged perceptions of street art and The MTNS MADE campaign under 25 and 10 per cent of young street artists as ‘illegal’ was fantastic. I actually know whom were Indigenous graffiti’ or ‘faceless artists who have engaged with musicians. Participating 36 that program and moved here interrelated needs and The proposal, informed by because of it. That clustering requirements. survey feedback, had the mentality of MTNS MADE is following elements: setting an identity for the Blue Facilitation of infrastructure Mountains as a place for for cultural production and Maker space: 1) training creative producers. We're arts education can include workroom 2) an artisan promoting that brand through providing access to hub with working what already exists up here. underutilised spaces. equipment 3) meeting area And that’s good for both Temporary support was given to meet clients 4) digital attracting new residents and for two such projects by the hub with high data artists to the region. But it's Council provision of reduced capacity and design, audio also about establishing our or free rents for a fixed period and visual editing identity as a place of quality (see the Toolo and Digital software 5) a photography arts. Arts with integrity. Ecology Lab case studies studio and editing suite. (interview 17 October 2019) below). They were: Co-working space: 1) A more detailed description of • an artist in residency desks to bring your own MTNS MADE and the Creative initiative at a temporarily device 2) lounge area and Industries Cluster is provided vacant Council commercial casual work space 3) in the section on regional property, The Kiosk, an workshop room for cultural institutions. initiative of Modern Art training 4) room to meet Projects Blue Mountains in with clients 5) high partnership with Toolo, capacity data upload Cultural infrastructure and facility. (2015: 17) provision • Toolo’s Digital Ecology Lab located in the former While the Blue Mountains has Katoomba Library. recently seen the development Space for cultural and creative of some commercial co- production remains in short working spaces relevant to supply in the Blue Mountains. Council also supported the creative production such as With limited resources across a Mind the Gap artist initiative Nauti Studios in Hazelbrook, geographically spread-out that sought to utilise vacant there is still a significant LGA, planning needs to shops in Katoomba. In shortage of workspaces for a address how additional addition, Council provides range of creative purposes. creative infrastructure can best built spaces for community- While short-term artist spaces be distributed to match diverse based arts organisations have been beneficial (e.g., The cultural needs. Council needs including the Braemar Kiosk), longer-term facilities to consider how it can best Community Gallery, are also needed. support and facilitate both Springwood Art Centre and professional artists and Blackheath Arts Society Centre. cultural practitioners seeking Future policy and plans to earn a living, and the many In 2015, BMEE submitted a community-based arts and proposal to develop a maker Blue Mountains City Council is cultural activities and and co-working space in a site committed to expanding organisations. The possible use in Katoomba - Maker and resources and infrastructure of Council-owned spaces for Innovation Space (2015). for creative and cultural creative purposes will be Although the proposal was not activity. Some relevant actions further clarified by a building successful, it is useful to from the recently endorsed audit currently being consult it for its consideration Local Strategic Planning undertaken by Council. The of the needs of artists and Statement, Blue Mountains 2040 new Creative Strategy will other creative producers. A Living Sustainably (BMCC address these issues and survey of nearly 300 2020), include: integrate them into an respondents established that ongoing, long-term approach 82.5 per cent would use a that can bring together maker or co-working space. 37 Short term Braemar Gallery in recognised in Council policy • Working with the NSW Springwood, among other documents; however, progress Department of Planning, locations (action 4.10) in developing infrastructure Industry and Environment • Updating and beginning to relevant to cultural production to amend the Standard Local implement the Blue has been fairly slow. In part, Environmental Plan to Mountains Cultural Strategic this slowness is due to limited provide greater flexibility Plan, incorporating the resources, including a lack of for events and temporary NSW Cultural Infrastructure suitable infrastructure such as uses, and opportunities for Plan, and a Blue Mountains industrial warehouses, which certain events to be Public Art Policy to are more readily available in considered compliant transform the public metropolitan areas, and to the developments (action 4.5) domain of the City over overall challenge of providing • Working with the NSW time (action 4.11) facilities stretching across the Department of Planning, • Investigating opportunities LGA’s ridgeline. Moreover, the Industry and Environment and seeking funding Blue Mountains has a limited to investigate options for sources to incorporate ratepayer base, with resource amending the Standard smaller, multi-purpose needs spread across 27 towns Local Environmental Plan to performance and teaching and villages over 100 provide opportunities for spaces within Springwood kilometres of mountainous studios or maker spaces Theatre and Community terrain. within town centre areas Hub and other locations (action 4.6) (action 4.12). The well-developed Blue • Investigating ways of Mountains arts and cultural The plan also recommends that facilitating the integration ecology in a sense presents its home-based industry is of sustainability measures own challenges, with the need supported through (water sensitive urban to consider the requirements of opportunities in town centres design), creativity/art and many different creative for co-working spaces, flexible heritage where individuals, groups and work arrangements and appropriate, within all new organisations across artforms. improved digital technology works on public land (s4.8) Research into the specific (see actions 7.8 & 7.13). • Seeking to elevate the requirements of creative importance of culture and production practices as creativity through an different as sculpture and update to the objectives of Conclusion music performance is needed. the Blue Mountains Local Partnership opportunities have Environmental Plan 2015, to Despite the achievement of emerged with the recent urban recognise cultural events creating two major regional plans for Greater Sydney and (action 4.9). cultural facilities in the past the new Western Sydney decade, significant challenges Airport, which have Medium term remain for the Blue Mountains recognised the need for • Investigating opportunities City Council in furthering and developing cultural to establish an Artist in sustainably supporting infrastructure in Western Residence program, with a creative production in the Sydney. These opportunities potential site being at region. This aim has long been need to be quickly grasped.
38 Significant Regional Cultural Institutions
Joan Sutherland Performing Arts Centre 597 High St, Penrith NSW 2750
Penrith Conservatorium 597 High St, Penrith NSW 2750
Penrith Regional Gallery & The Lewers Bequest 86 River Road, Emu Plains NSW 2750
Blue Mountains Cultural Centre 30 Parke Street, Katoomba NSW 2780
Blue Mountains Theatre and Community Hub and Braemar Gallery 106-108 Macquarie Rd, Springwood NSW 2777
Blue Mountains Creative Industries Cluster and MTNS MADE 2 Civic Place, Katoomba NSW 2780
Joan Sutherland Performing Arts Centre (aka The Joan)
Opening in 1990, the Joan for $5.5 million of technology managed to get a bid for Sutherland Performing Arts upgrades to bring it up to additional teaching rooms, at Centre initially housed the current professional standards, that point Railway Street Penrith Conservatorium of the expansion is particularly Theatre company moved in, Music, Allan Mullins Studio needed in light of the extensive renamed back as the Q Theatre and the Richard Bonynge outreach programs being Company as an independent Concert Hall. The organisation undertaken. Hania Radvan, operating out of these premises. which managed it was CEO of PP&VA (discussed So there was this organisation originally called the Penrith above), the umbrella that managed the gallery, the Bicentennial Performing Arts organisation which manages Conservatorium and The Joan, Centre, and is now named Penrith’s three significant with the Q Theatre sitting as an PP&VA Ltd. An upgrade in cultural institutions, explains independent. (interview 21 2005 added the Q Theatre, that the organisation consists October 2019) extended Conservatorium of three distinct ‘proud and facilities and the foyer. long’ histories: Radvan envisages The Joan as Colloquially known as ‘The part of a regional arts hub Joan’ and another 15 years on, The history is that this Centre producing artworks that will it is due again for update and and the Conservatorium grew generate long-lasting impact. expansion. As well as the need up together. And then when they To achieve this aim, annual 39 Joan Sutherland Performing Arts Centre programming with attention to of the existing assets of the mediums tour to. (interview 21 budget, subscription base and future Western Parklands City, October 2019) audience development has there is little sign of State or gone hand-in-hand with federal funds flowing to assist The burden of being the most providing development with the upgrade of The Joan. prominent arts institution in opportunities for young and Radvan feels that this makes the city comes with an emerging artists from the area. the PP&VA ‘quite vulnerable’ expectation that The Joan must In terms of funding, Penrith and sees increasing levels of provide for everyone. But, as City Council provides $2 competition for State funds in Radvan points out: million per annum and federal the absence of a dedicated funding is limited, according Western Sydney arts strategy. We can't be everything to to Radvan, to ‘tiny bits of Project applications to the everybody. We actually have to capital funding through minor Australia Council for the Arts be specialists. When we're the grant programs, that have to be (ACA) have not been only organisation there's a matched’. Create NSW successful in a long time and tendency to try and make us supports PP&VA with funding Radvan is concerned that the everything for everybody. We of $375,000 per year, the ACA: have 30 staff basically, across majority of which underwrites both sites [The Joan and the the creative program of Q has never really grappled with Penrith Art Gallery], plus Theatre and a portion this part of the ecosystem. It has casuals. And within that you supporting the Penrith very little interest or idea in can't do everything at the same Regional Gallery. terms of regional venues, level. You have to work out because they just aren’t where what's the most important Despite being named in the their majors [performing arts because otherwise you go Create NSW Cultural companies] and their small to backwards. I've got some staff Infrastructure Plan 2025+ as one working at home because we
40 can't actually fit them on site! at The Joan, was expanded Penrith City Choir, Inspire (interview 21 October 2019) some years ago to include Choir, Penrith Musical young musicians. There is a Comedy Company, and The reach of The Joan’s well established and evolving various theatre groups. The audience extends to the Blue annual Youth Theatre Festival Conservatorium is open until Mountains, but postcode 2750 - which gives high school drama nine every night, and group the suburb of Penrith - always students the opportunity to classes also have regular times. ‘comes top’ as the source of work with industry This level of community audiences across its programs. professionals to create an engagement is enabled Radvan notes that, in the last original performance. A further through dedicated resourcing five years, there has been a 10 initiative was to enable and and the availability of venues. per cent increase in audiences support artists to ‘make work The Joan supports many non- overall. The Mountains’ that you weren't controlling professional community audiences come mainly from necessarily’; for example, by activities by charging lower Springwood and further down. establishing a Director of New venue hire rates. As CEO, The Springwood Theatre Hub Work position in the Q Radvan directs her attention to opened within the last 10 Theatre, who in turn is enabling such activities. She is years, which may have encouraged for their sceptical about the tendency of increased an interest in ‘individual artistic the arts sector to marginalise attendance, possibly due to exploration’. community efforts in the arts, increased awareness and deeming them ‘unimportant appreciation of the performing The Joan operates with a and amateur, instead of seeing arts. Radvan also notes that the limited budget, so local them as - how fabulous that demographics of Penrith are productions tend to involve the entire community wants to changing and that the area is predominantly early-career dance?’ (interview 21 October becoming ‘far more middle artists focused on establishing 2019) class in terms of the new pathways. This approach was residential developments’. She reinforced when, in 2015, the Radvan sees several challenges points to an increase in Australia Council decided to in her work. In particular, there professionals attracted to the end its Artstart program for is an absence of a network of area due to the establishment emerging artists because of a independent professional of Penrith as a health hub, reduction in its funds. As a artists working in the region including the new and response, The Joan carried on with which The Joan can upgraded hospitals at The with its paid industry mentor partner. She understands the Quarter. programs and established a importance of working with fellowship award, professional artists, strong Alongside the changing Breakthrough, which consisted directors, and having good demographic, The Joan has re- of a $5,000 stipend and a final processes that support the energised and professionalised open studio for a theatre artist, artists. The need for its programming whilst visual artist or musician to professional creative networks maintaining PP&VA’s present their work to a general in the region is a common constitutional core focus on audience. This initiative was thread identified throughout education. To address supported by philanthropic this research. There are also Radvan’s concern with ‘what funding, which has two main audience challenges. happens once the kids leave unfortunately been One is the difficulty of school?’, The Joan began to discontinued. The Joan’s attracting enough interest for establish pathways to advance activities are extensive, and its weekday programs because the creative careers of young inventiveness could inspire many audiences may work, artists. A range of formal major CBD cultural but tend not to live, in Penrith. residencies was advertised. institutions. The Joan is never Secondly, although a recent Originate, Q Theatre’s annual ‘dark’ (closed) because, when survey indicated audiences’ skills development project for there are no performances wish to be challenged by new early-career theatre artists that there are rehearsals involving works (Carter n.d.: 19), Radvan results in a public performance Penrith Symphony Orchestra, has found that several works
41 Penrith Regional Gallery Spring Exhibition Gifting. which were presented for (Carter n.d.: 8). Create NSW practice changes, there is no different types of audience did sees the redevelopment of space to show that kind of not meet box office predictions: existing cultural assets that work in Western include the Penrith Regional Sydney’ (interview 21 October The Ugliest Duckling, we were Gallery and the Joan 2019). In operating within one hoping that because it was a Sutherland Performing Arts of those ‘other places’, Radvan fairytale everyone knew it. We Centre as: sees the need for a city gallery moved it into the Q Theatre as uppermost. While the quite deliberately because it had a key ingredient in the paradigm Penrith Regional Gallery is an ambitious set. Still, because it shift for cultural infrastructure very special, Radvan observes wasn't on the back of a book, it across Greater Sydney. It will be that, for a city the size of still didn't translate into the big home to new models for Penrith, and the city that it will sales of audiences that you delivering cultural become, Penrith will need a would hope. (interview 21 infrastructure, unique and contemporary art gallery in the October 2019) experiential cultural CBD. She identifies the need opportunities linked to tourism for a purpose-built gallery Despite this cautious response and global talent attraction. with contemporary from audiences across (Create NSW 2018: 59) performance and exhibition 2017-2018, The Joan saw a 10 spaces, more akin to the per cent growth in Box Office Radvan also recalls this Redfern based multi-artform over the year before and a 21 constant refrain at the 2015 complex of Carriageworks per cent growth in the number Mayoral Arts and Culture than the Sydney Opera House. of performances, with almost 8 Summit: ‘We need those other per cent growth in attendances places. As artforms merge, as
Penrith Conservatorium and oversight from a disburses those fees to the Conservatorium Director. Staff tutors. In 2019, there were 330 also devise group programs individual tuition students a The Joan was originally built to and hire tutors to lead them. week enrolled, which Radvan house the Penrith The Con works on an agency says is ‘massive’. This Conservatorium and was model whereby independent impressive number of students established with a Director, tutors are supported by confirms the level of and now has a part-time PP&VA, which collects the committed interest in music in Manager, specialist leadership fees, enrols the students, and the Penrith region. It also 42 demonstrates the demand for Penrith Regional your food, it's the way you make music tuition in the context of your kitchens, it's the mosaics low investment in it in the Gallery & The Lewers you put on the floor, it's the public education system in Bequest dresses you make. All of that NSW. As a result, only a small stuff is wonderful in the history proportion of students actually here. It speaks to that story very learns to play a musical Penrith Regional Gallery (PRG) well. (interview 21 October instrument. Radvan is is the ‘anchor’ visual arts 2019) expanding the Con’s mission gallery for Penrith. It is the beyond that of an educational home of the Lewers Bequest, White, whose experience facility to one which has an which was gifted to the people extends from the Wollongong ‘artistic ambition’, such as of Penrith in 1980 by the family Art Gallery to the Art Gallery through the establishment of of artists Margo and Gerald of NSW and Sydney’s Museum ensemble groups and creative Lewers. PRG is built as an of Contemporary Art, sees the projects that bring theatre extension to the Lewers home Gallery’s exhibition program practitioners and musicians with four exhibition spaces, as directed to the local together to create new work one of which is a large space population, but one which still and performances: alongside three much smaller has the capacity to draw spaces, and two studio spaces. international interest. In 2019, A Con should do more than Lewers House was refurbished guest curator Julie Ewington, teach technique. It needs to be a to display the collection previously of Queensland Art place where people actually feel including works by Margo Gallery, produced an like they belong and they're part Lewers alongside curated exhibition that attracted critical of something. It needs to teach exhibitions in the purpose- attention from a New York art performance as well as built Main Gallery, which is magazine, as well as from technique. But it also needs to located about 3 kilometres inner-Sydney, Canberra and have students that consider west of central Penrith in the Brisbane audiences. But, fewer themselves artists. (interview suburb of Emu Plains looking local people were interested in 21 October 2019) onto the Nepean River. The it. White quips that, unusually, Nepean Creative and the reach spread across Penrith Conservatorium and Performing Arts High School is ‘London, New York, Emu The Joan are building closer close by. It can get very hot in Plains’ (interview 21 October connections to the Western Emu Plains and in the 2019). On such occasions the Sydney University music summers of 2019 and 2020 the Gallery attracts, as noted, precinct at Kingswood, for temperatures on several inner-Sydney audiences, but example by co-organising the consecutive days reached 45 there is generally a high level first Penrith Music Network degrees Celsius. A small sign of awareness and visitation Forum in 2019. The Forum encourages visitation to the from local and Blue Mountains aimed to demystify the music Gallery because it is ‘air- residents: industry and identify career conditioned inside’. The co- paths and options, employing located cafe regularly attracts Because there's not much else in WSU students as more patrons than the Gallery the way of cultural facilities in Conservatorium tutors. on a weekday, yet provides a the Greater West and Blue Radvan is interested in sense of energy and activity to Mountains. Yes, there's Blue developing this relationship the space. The Gallery seeks to Mountains Cultural Centre. It's while the students are still embrace painters Margo and terrific. But we’re very different studying, so that they are Gerald Lewers’ sense of to the Cultural Centre in aware of the resources and modernism as a lifestyle. As Katoomba because we’re an art opportunities at the Con after Sheona White, the Director of museum with an established graduation: ‘It's that early the Gallery since January 2019 collection. (interview 21 career space where I think we comments: October 2019). can make a difference’. Modernism isn't just a A study undertaken in 2019 painting, it's the way you cook found that audiences to PRG
43 Penrith Regional Gallery Workshop. are more likely to attend The PRG also has a role to play cultural events locally, in the You need a car. The buses don't in local cultural production, Mountains and in Sydney, but come past here. You can't catch but has yet to realise what that not in Parramatta (Carter n.d.: a bus here. You can walk from role is and how it can best play 37). This finding underlines the Emu Plains train station. It's out. The Gallery runs strong regional support from about 25 minutes. Most people workshop programs audiences in Penrith and the don’t walk that distance and employing local artists Blue Mountains, as well as the they can get lost. (interview 21 alongside local artist choice of many to travel to October 2019) exhibitions. As with most central Sydney to find specific galleries there are artist cultural offerings (this finding White’s view is that an arts educators for workshops for may have relevance to the precinct, which has a range of children, but it is more future of MAAS in arts presenters and producers, challenging for the PRG to Parramatta). Despite the is essential to the development build a clientele for adult attractive location and the of a greater presence that workshops. Nevertheless, the clearly professional curatorial attracts ‘foot fall’ attendance, Gallery will continue to offer approach to the collection and not just those who come by car. workshops with, and talks by, exhibitions, the Gallery faces The sense of discovery is artists. Limited space is a significant constraints in encouraged via programming, critical issue. The studios on developing its presence, but a location within a precinct site are suited to providing creative engagement and would also be beneficial, as it school-age and adult visitation numbers. Space, would enable a wider audience education, and workshops human and financial to discover it through an during busier holiday periods. resourcing, signage, transport overall experience. White sees that studio spaces and parking are key issues. As for individual artists similar to White observes: the Parramatta Artists Studios 44 would work well in the area, Without that, then there is the The 2015 PP&VA strategic plan and would free up the Gallery idea of artist studios. Though describes an important spaces for engagement and you need a whole program regional education role for broad arts education services around those residencies in order both The Joan and the PRG. to the local population. The to make them porous enough so This emphasis continues to decision over 20 years ago by the broader community gets to inform the programming and Western Sydney University to engage with them. There’s a lot approach of the PRG, dismantle its art school of professionalism that needs to including by expanding its continues to be felt as a great go into that as well. It's not just creative remit to applied arts loss, as White notes it was a the real estate. (interview 21 practices. For example, there ‘wonderful art school which October 2019) are plans for a fashion had been brilliant’. exhibition profiling two well- Such a program includes known designers, and PRG is One result is that a patchwork critical writing about the work, keen to offer exhibition and or ‘make-do’ approach has facilitating connections among workshop opportunities to developed to fostering a artists and between artists and some of the local TAFE and creative milieu. At exhibition local groups. For White, high school design students. openings the Gallery becomes cultural vitality is about much The ambition of this small an informal hub where artists more local engagement and gallery in a Western Sydney find each other and ‘hang out’ local awareness, and about suburb is indicated by its well past Gallery closing times. what's available and support extensive outreach programs. It is seen as somewhere that for the people who can make Those delivered in 2019 artists feel a sense of that viable. White identifies the include: Summer Studio ownership. As White observes, need for expansion, potentially Residencies; Modernist ‘they will sit out there, take when neighbouring sites come Research Centre; Teacher over the chairs, long after all up for sale. Ideally, a purpose- Professional Development; the catering's finished and built exhibition presence in Emerging Teachers cook up projects’. In this way Penrith CBD would really Professional Development; the Gallery becomes a create an arts precinct. As part Early Childhood Educator networking space for of monthly public Mentorship (Penrith City practitioners to collaborate and programming, alternating Council); Internships and expand their horizons and music and art history lectures Work Experience Placements; form part of a cultural ecology. are currently held at the Joan Art Workshops for Children & A cultural ecology implies a and the Gallery. Persistence is Families; Art Club Workshops; thriving ecosystem that important, according to White: Classrooms without Borders enables cultural practitioners, she draws on her experience Home School Workshop artists and creative producers starting up Art After Hours at Program; Night Garden to make culture within an the Art Gallery of NSW, which Creative Arts Pop-Up Festival; interactive system of mutually now attracts many hundreds of MAAS – Virtual Classroom beneficial and generative people, but where in the Project and AGNSW relationships with other beginning ‘there'd be three Partnership Project. cultural producers, presenters people sitting in the front row, and users (Holden 2015). and they were probably staff’. The hard-won trust and White, who used to teach at Another, very successful ‘after appreciation built up by the the WSU art school, is aware of dark’ initiative engages with Gallery, however, can at times the necessary elements to school children, their teachers be ignored or exploited. For create a sustainable cultural and parents, in which the example, it is a missed ecology: children bring their art and opportunity not to include the craftwork and make their own PRG as a site for the annual If you’ve got people who go to exhibitions. This is another Council-supported Real art school, it's a way of building example of catering to the Festival (see the above case those artistic communities and specific interest of the local study of Penrith City Council). in building them it also filters community. There are also unfortunate out into the broader community. examples of major Sydney-
45 based institutions, receiving engagement. (interview 21 special funding to engage with October 2019) Conclusion Western Sydney, who then expect underfunded local Challenges entities such as the PRG to This case study provides an ‘partner’ with them to deliver insight into the high-quality There are many Blue the projects, essentially as an arts initiatives, production and Mountains artists who exhibit in-kind contribution. What is presentations that occur in and participate at the PRG, then delivered in such Penrith, and into the which confirms the creative scenarios is usually a one-off, continuing complementary synergies that exist between piece-meal project, rather than relationships within the region the two LGAs. However, co-funding regional partners encompassed by Penrith and expanded studio spaces and a who engage equally in project the Blue Mountains. The case contemporary arts precinct in development and delivery. For study also reveals a tension in the Penrith CBD would enable White, this practice flies in the The Joan’s capacity to maintain far wider regional engagement, face of the Gallery’s its role as the home of the specifically with a view to the commitment to building long- Conservatorium while high-end health and term relationships with building the professional engineering facilities that are practitioners and audiences: status of the PSO and the PYO. planned, and which will This tension, combined with require equally high-end arts I think there's a great capacity the similar needs for a and cultural facilities and the for re-engagement here which is contemporary visual art artists to produce them. The not really based in physical gallery in the Penrith CBD, PRG is now connected via the capacity so much. It's to do with highlights the need for a riverwalk with the Yandhai the programs, it's to do with the cultural centre that expands Bridge, yet visitation to the reputation, it's to do with the the capacities of creative Gallery is still mainly by car sense of history of this place production and presentation as and it will take some time to being a hub for artistic social Penrith grows. increase awareness of the benefits of the river bridge.
Blue Mountains Regional Institutions
The Blue Mountains has two the perspective of audience a difference to the situation in cultural institutions at a and participation numbers in Penrith, where a similar suite regional scale: the Blue major Council-run institutions, of regional facilities is Mountains Cultural Centre in the Blue Mountains, with administered at arm’s length Katoomba and the Blue combined attendance figures in from Council through Penrith Mountains Theatre and 2019 for both institutions of Performing and Visual Arts Community Hub in nearly 162,000, has higher (PP&VA). Brinkman was Springwood. Between them, cultural attendances than all Director and CEO of Cairns they comprise a considerable LGAs apart from Penrith and Regional Gallery before taking cultural resource. In Greater Parramatta. Both cultural up the position in the Blue Western Sydney, Penrith is the facilities are supported by the Mountains in 2011. only other LGA with two Blue Mountains City Council’s cultural venues that can be cultural services section, with classified as regional Paul Brinkman as Director of institutions (SGS 2018). From both. This arrangement marks
46 views of the Jamison artists to gain significant public Valley, which can exposure in a professional Blue Mountains accommodate up to 200 public gallery. The Exposé Cultural Centre people and is used for process also promises artists, ‘a events such as outdoor film chance to extend your artistic BMCC used its UNESCO screenings practice by exploring World Heritage status to secure • Coffee shop (which can exhibition concepts and federal funding towards the supply catering). utilising professional museum development of the Cultural display techniques’, according Centre, which as noted above In 2018-19 the number of to the program guidelines. A opened in 2012. The TAFE East visitors and participants to the recent Exposé exhibition was site in Katoomba was Cultural Centre was 118,238, a Wendy Tsai’s Drawing identified as the location for 3.75 per cent increase from the Kedumba, which traces her the Centre and development 2016-17 baseline of 113,962 mapping through drawings, went ahead as the (Carter n.p.). In line with our photographs, video and abovementioned collaborative focus on cultural production embroidery of ‘The Gully’, a enterprise between BMCC, the infrastructure, we are significant place for NSW government and Coles primarily concerned with the Gundungurra and Dharug Group. Federal funding role of the Blue Mountains City settlement before its included funds from the Better Art Gallery in this case study. development as the Catalina Regions and Green Precincts The Gallery has a large racetrack in the 1940s. Tsai’s Fund. The Blue Mountains exhibition space of 600 m² with detailed expressive Cultural Centre consists of the seven-metre-high ceilings and engagement through visual following facilities: 250m of movable exhibition means raised issues including walls that allow the space to biodiversity, Aboriginal • Blue Mountains City Art be divided into three areas. It displacement, colonisation and Gallery has sophisticated LED lighting current land management • Blue Mountains World systems complying with practices. Accompanying the Heritage Interpretive the National Standards for exhibition were artist Centre, with permanent Australian Museums and workshops for families and interactive exhibition about Galleries. The Cultural Centre adults in ‘framing the the World Heritage Site, its staff connected to the City Art landscape’ using drawing, environment and heritage Gallery play an important role black-and-white photography • Katoomba Public Library in supporting artists. These and lightboxes. These • Blue Mountains Cultural include an Exhibitions workshops were conducted in Centre Shop (which Manager, Public Programs situ at Katoomba Falls Reserve supports local and Coordinator, Marketing and back at the Cultural Australian designers) Coordinator, Curatorial Officer Centre. The exhibition • Meeting spaces including a and Gallery Technician. demonstrates the capacity of Seminar Room/Theatrette public programs to share artists’ visions and practices (accommodating up to 70 Programming people), the Workshop with the public, and to connect Multipurpose Room with local cultures, histories There are three strands to Blue and environments. (accommodating up to 70 Mountains City Art Gallery’s people), which can be used annual exhibition program: the The Cultural Centre team has as a ‘wet area’ for art Exposé Program, locally workshops, and other considerable curatorial skills curated exhibitions, and and curates a large proportion smaller meeting rooms externally-sourced touring • An extensive foyer area of its exhibitions. An example exhibitions. The Exposé of a high-quality exhibition that can accommodate up Program is for Blue Mountains to 150 and can be used for generated at the Cultural artists; around six artists per Centre is As far as the eye can functions such as launches year are selected for exhibition. • An outdoor courtyard and see, curated by Rilka Oakley in These exhibitions are an 2016. This exhibition features viewing platform with opportunity for emerging 47 Blue Mountains Cultural Centre Interpretative Centre Into the Blue. prominent Australian see toured regional galleries botanical subjects by Blue printmakers exploring local across Australia for two years. Mountains artists, James landscapes, including six Blue Blackwell, Ona Janzen, Angela Mountains artists: Locust Lobar, Edith Rewa, Jacqueline One of the Cultural Centre’s Jones, Judith Martinez, Janet Spedding and Jennifer Leahy. most successful exhibition Parker-Smith, Julie Paterson, What might be considered a programs, 2018’s Blue Gary Shinfield, Chris Tobin somewhat specialised area Mountains Botanica, was built and Freedom Wilson. While struck a chord with a public on strong partnerships with the exhibition included work attuned to plants; an estimated the NSW Botanical Gardens using traditional techniques 20,000 people engaged with and Domain Trust and the such as woodcuts and etching, various public programs and Mount Tomah Botanical it also included works using events at the Cultural Centre, Gardens. The exhibition was installations, 3D sculptural Mt Tomah Botanical Gardens curated by Sabrina Roesner forms, collages, monotypes and the Leura Gardens and focused on 200 years of and digital technologies. Festival. Public programs botanical exploration in the Associated public events included workshops on Blue Mountains. It presented included a panel discussion botanical art and discussions of historical botanical with printmaking botanical collections by Miguel illustrations, plant specimens professionals and a Garcia, a librarian with the and archival material drawn symposium involving Daniel Solander Library at from the National Herbarium exhibiting artists as a way of Sydney’s Royal Botanical of NSW, the Daniel Solander conveying the wide range of Gardens. A related exhibition Library and the Mount Tomah available print-making program was Freedom Botanic Gardens. Alongside practices. As far as the eye can Wilson’s exhibition Mycorrizal this historical material was Futurae Ferox – Inferius, contemporary work with 48 examining the mysterious some stand-alone workshops supporting a new residency synergy between the in artistic techniques, such as program at the state heritage- Mycorrizal fungus and the portrait photography, textile listed schoolhouse in Mount Buttercup Doubletail Orchid. art and calligraphy. Exhibiting Wilson. This interest in Botanical art in artists offer art-making the Blue Mountains is also workshops, including for It is apparent that evident in a more recent show school groups. While artist– environmental themes and at the Braemar Gallery in run workshops generally focus materials are a strong feature Springwood by a group of on visual arts practices and of work at the City Gallery, amateur artists under the techniques, they can whether it is more traditional direction of scientific sometimes be based more in visual artwork or more illustrator, Barbara Duckworth. performance practice, such as contemporary and ‘relational’ A further example of the fertile Weizen Ho’s 2019 workshop, art forms that engage across meshing of art, science and Memoria: Voice, Body, Memory disciplines with partners such culture was a six-week series based on the bodywork as the Botanical Gardens. This of programs organised by the practices used in her focus is probably because it is Blue Mountains Cultural performance art. The Cultural part of the aesthetic Centre to celebrate NAIDOC Centre provides support for background of Blue Mountains week, which was built around artists in other ways. Within artists; Brinkman considers John South’s exhibition the Centre there is little direct that most of the Expose artists Skyworld’s exploration of interaction between the City are ‘inspired by environmental Aboriginal astronomy through Art Gallery and the World themes’ in some way, which film and installation. The Heritage Interpretive Centre, gives the Blue Mountains public programs included which is an unchanging Cultural Centre’s program a workshops, talks, film interactive display about the strong identity and sense of screenings, education Blue Mountains environment place. The success of programs programs, stargazing, and and heritage adjacent to the such as Botanica and Skyworld family-friendly events, all City Art Gallery. However, the also suggests other possibilities aiming to draw connections Blue Mountains Cultural for developing cross- between Aboriginal art, culture Centre has hosted a World disciplinary collaborations and astronomy. Collaborators Heritage Artists in Residence with other institutions. A included dancers from Blue Program in 2016. A six-week notable project supported by Mountains-based Wagana residency at the Bilpin the Blue Mountains Cultural Aboriginal Dancers and Raven international ground for Centre is the aforementioned Spirit Dance Company Creative initiatives (bigci.org) Street Art Walk, which gave (Canada), scientists from the allowed Polish artist Magda some recognition to an under- Linden and Penrith Wegrzyn to develop her work acknowledged visual art observatories, experts in Error Strategy around the practice (see the Blue Aboriginal astronomy Kirsten concept of errors in Mountains City Council case Banks (Wiradjuri), Senior exploration, based on the 1813 study above). This project Euahlayi Law Man and Elder crossing of the Blue Mountains suggests potential for more Ghillar Michael Anderson, and by Blaxland, Wentworth and outreach programs to capture Aboriginal cosmology expert Lawson. Canadian artist Karen cultural practices beyond the Duane Hamacher. The Miranda Abel developed her fairly circumscribed visual arts ambitious program was sculptural work Gardens of and fine arts focus on which recently highly commended at Stone through the World the BM Cultural Centre has the 2019 IMAGinE Awards Heritage Artists in Residence tended to concentrate. An presented by Museums and Program, based on sandstone example is the Wollemi Artisan Galleries NSW. caves in the Gardens of Stone Market, which has been held National Park. These periodically at the Cultural While most public and residencies were followed by Centre since 2015, providing educational programs are an exhibition at the City Art an outlet for local makers of art organised around exhibitions, Gallery. The Blue Mountains and design products. The Blue the Cultural Centre also runs Cultural Centre is now Mountains Cultural Centre has
49 Blue Mountains City Art Gallery Weizen Ho “Cultural Mobility” in MAPSPACE. developed into an important artists to share aspects of tourist information. But, it also showcase for artists and creative practice, support suggests that the Cultural creative producers in the Blue creative education and extend Centre might further develop Mountains, particularly in the creative networks. its role as a community space visual arts. The City Art by providing greater support Gallery has created to the Blue Mountains’ artistic sophisticated programming Challenges community and creative that successfully balances the industries. Notwithstanding exhibition of emergent local The Blue Mountains Cultural the significant achievements of artists with the development of Centre was built with the the Blue Mountains Cultural strong programs curated in- expectation that it would be a Centre in developing a house, as well as hosting major tourist attraction. It no distinctive cultural institution significant touring programs. doubt does attract visitors built around a strong visual through the quality of its arts community and expertise While the Gallery program exhibitions and its World in the Blue Mountains, from primarily focuses on Heritage display, but for the perspective of our research exhibitions, its activities Brinkman it is primarily a there are challenges and incorporate many elements ‘community space’ for people opportunities to build on these which contribute to the in the Blue Mountains. Part of achievements. These include productive side of arts and the reason for this situation is to: culture in the Blue Mountains. that the Cultural Centre does • Extend the repertoire of art These include creative and not have an obvious entrance forms beyond the visual educational programs linked to (it is located above the Coles arts and fine arts that has public programs that supermarket) and is not visible been the main focus of the accompany exhibitions such as from the main thoroughfare, City Art Gallery workshops, artist talks, Katoomba Street. This point • Further develop synergies outreach programs, activities raises the challenge of finding between the component with partner organisations and ways of making the BMCC players of the Cultural residencies. They are means for more visible through signage, Centre, including the entrance ways and improving World Heritage 50 Interpretive Centre and the Associated Forces Inc., Blue promoter Music Hunter (see City library, and Mountains Recreation and the case study below on Music • Investigate the potential for Respite Service, and Blue Hunter and music promotion making greater use of Mountains Food Services in the Blue Mountains).The spaces within the Cultural (Meals on Wheels). In 2018-19, Blue Mountains Theatre is Centre as arts the number of visitors to the primarily a ‘presentation infrastructure when not Theatre and Community Hub space’ to provide required for other was 54,419, a 25 per cent entertainment, but is also able purposes. increase from the 2016-17 to provide experience for local baseline of 43,658. These talent. As Brinkman puts it: figures are based on ticket sales Blue Mountains Theatre and attendees to theatre events Approximately one third of the and do not include library theatre program each year is and Community Hub visitors. BMTCH staffing dedicated to major local groups, and Braemar Gallery includes a Facility Manager, including the Blue Mountains Programs Coordinator, Venue Music Society and Blue & Theatre Services Officer, Mountains Concert Society. The The Blue Mountains City Venue & Theatre Services Blue Mountains Music Society Council developed the Blue Assistant, Marketing Officer, supports the development of Mountains Theatre and Administration Officer, Acting many emerging actors, stage Community Hub (BMTCH) in Theatre and Building workers, lighting and sound Springwood in recognition of Technician and Theatre specialists and set designers. the city’s need for a major Technician. Our focus in this Many of these participants have performing arts venue. The case study is on the Blue gone on to develop professional complex has a substantial Mountains Theatre rather than careers in the arts. (interview theatre and performing space, other community activities in 17 October 2019) as well as spaces for the BMTCH. community services. The The program occasionally building, which was opened in features workshops, for March 2015, was built entirely Programming instance in circus skills that by Council, drawing on a was meant to be presented in federal government grant of The theatre’s program at April 2020, associated with a $9.5m allocated for a present largely draws on show called Varietyville: Acts of Springwood Cultural Facilities touring programs, generally Absurdity. Unfortunately, this Upgrade. The complex, self- popular music acts, including and many other activities and described as a ‘vibrant, classical music concerts and performances were cancelled dynamic new cultural children’s programs. The due to COVID-19. But precinct’, was also linked to programs cater to a range of workshops and educational the Springwood public library tastes, the 2019 program programs are not consistent and the Braemar Gallery (see featuring diverse offerings features of the Blue Mountains discussion below). The Theatre from artists such as Bill Frisell, Theatre. Unlike the Blue space seats 418 and has a Kaki King and Xylouris White Mountains Cultural Centre, the theatre stage and full lighting — all musical acts. Parts of the Blue Mountains Theatre does and sound systems. program are organised in not have a Public Programs collaboration with local Officer, yet as Brinkman promoters. The classical comments: The hub also includes some program is largely organised spaces available to hire for with the Blue Mountains I've got a Public Programs meetings, functions and Concert Society, a local non- Manager up here [at the events, as well as premises profit organisation that has Cultural Centre] who takes care tenanted by community been dedicated to presenting of all of our workshops, our services that include the classical music in the area since artist education programs and Springwood Neighbourhood 1996. An upcoming act booked bits and pieces like that. But I Centre, the Blue Mountains for 2020, Bandaluzia Flamenco, don't have anybody down there Vietnam Veterans and is co-presented with live music 51 Blue Mountains Theatre Dorian Mode Trio.
[at the Blue Mountains highly successful program. The Braemar Gallery is a Theatre]. That's a resource that There is a plan for iterative and community gallery that hopefully I’m working towards staged growth that takes time supports a program of securing over the next couple of to do well’. monthly exhibitions featuring years, so we can actually use the the work of local and regional space to its full capacity. A notable exception to the artists. The Gallery is located at (interview 17 October 2019) overall lack of local theatrical production is the Blue Braemar House, an historical The majority of shows are one- Mountains Musical Society, building dating from 1882; it night acts that run on Friday, which usually presents two was acquired by Blue Saturday or Sunday. With this musicals per year at the Blue Mountains City Council in pattern of programming, the Mountains Theatre. The 1974 and, from 1974-1976, theatre is generally empty Musical Society trains housed the library. From 1988 a through the week, leaving performers and stage community art gallery opened considerable capacity for the managers and rehearses and in the building, which also theatre to be used more. For produces its whole program, houses the Blue Mountains Brinkman, there is capacity to including music and Library’s local studies do more theatre and choreography. For nearly 40 collection. The Gallery came performing arts work with years the amateur Blue under the control of the Blue young people, as well as more Mountains Musical Society has Mountains Cultural Centre in mature professional work. The been presenting operetta, 2015, although it still seems to theatre has the necessary musicals and youth concerts at function as a community-based production facilities such as a church halls, school auditoria organisation with local theatre stage, lighting and and other venues (including in volunteers. Braemar House sound, green room space and a Penrith – at Panthers and The adjoins the Blue Mountains tiered stage. There is capacity Joan), until finding a home at Theatre and the Blue for theatre training, and both the Blue Mountains Theatre Mountains library, and is not demand for engagement in from 2015. The example of the technically a part of the Blue theatre, and skilled Blue Mountains Musical Mountains Theatre and professionals living in the LGA Society shows that locally- Community hub. It is included to teach and direct it. based theatre can be done on here, though, because in Brinkman notes that the this scale with the practical terms it forms part of theatre is a very young facility organisational resources of a the cultural hub in and that ‘great strides have well-established and Springwood. Also, there are been made in developing its experienced company. plans to redevelop the 52 building; Brinkman spoke of the possibility of the Braemar Gallery being extended or being ‘turned into an artist residency space or to be turned into a workshop space’. The Draft Local Strategic Planning Statement, Blue Mountains Living Sustainably 2040, mentions that Council would investigate the establishment of an artist-in-residence program, with an initial site at Braemar House (BMCC 2019).
Challenges and opportunities
MTNS MADE Reveal. There are clear challenges to developing the BMTCH and its multi-purpose performance and Braemar Gallery, for example, potential to provide more local teaching spaces within would also enhance creative creative production Springwood Theatre and possibilities for the Blue infrastructure, particularly for Community Hub and other Mountains Theatre and the performing arts. The locations. (BMCC 2019) Community Hub as a whole. appointment of a Public Programs Manager able to While the Blue Mountains develop a program of public Theatre is a valuable MTNS MADE Creative events such as workshops and entertainment venue for the educational programs would Industries Cluster. region, it is still in its enhance its capacity to develop development stage and so it stronger creative programs and will be some time before it outreach. Greater utilisation of The Creative Industries Cluster realises its potential to support the Blue Mountains Theatre in is a project of Blue Mountains performing arts capacity down times would open up Economic Enterprise (BMEE), building in the area and the spaces for rehearsal, creative the peak regional economic creation of new work. Creative development and education development organisation for production will be assisted by programs, as well as extend the the Blue Mountains. It aims to accessing and deploying the range of performance stimulate economic capacities of artists, opportunities for local artists, development through organisations and educational both professional and amateur. advocacy, investment and institutions. The Blue Council has also recognised industry development. While Mountains Musical Society that there are opportunities for BMEE is largely funded by provides an example of an developing creative Blue Mountains City Council, experienced and capable local infrastructure by addressing it was established as a public arts organisation that can design issues within BMTCH company limited by guarantee, mount large-scale to provide multi-use spaces. with an independent Board performances. However, other One of the actions in the draft and constitution (BMEE n.d.). kinds of theatrical, musical, LSPS, Blue Mountains Living Hence, BMEE operates at dance and performance work Sustainably 2040, is that: arms–length from the Council. could be developed needing The Blue Mountains Creative considerably less resourcing. Council will investigate Industries Cluster was The development of an artist’s opportunities and seek funding developed by BMEE in 2013 in residency program at the sources to incorporate smaller, response to local demand for a 53 collaborative approach to five shared working spaces Blue Mountains Creative Arts economic development in the listed for the region. MTNS Network (BMCAN) and the creative sector. An earlier MADE also works in Blackheath Arts Society, which cultural industries initiative by ‘advocating for assets, whether cater for both amateur and a group of local publishing and they're private or Council- professional artists. The MTNS design practitioners, Publish! owned, to be used in a MADE Salon is a monthly Blue Mountains, provided a different way’. Examples of event that features Q&A model for the cultural cluster, this advocacy include ongoing presentations by artists about concentrating on the discussions with property creative ventures. The Salon’s publishing sector. The focus of owners to use buildings for effectiveness lies in what the Creative Industries Cluster cultural purposes, and happens afterwards, such as is to ‘increase the productivity facilitating development for introducing people, extending and competitiveness of [the productive uses such as networks and opening up creative industries] and further studios - for instance by possibilities for collaboration. diversify the local economic organising assistance from the MTNS MADE might connect base of the Blue BMCC planning department. people with each other (in the Mountains’ (BMEE 2014). In MTNS MADE regularly case of new creatives), with the 2015 the brand name MTNS receives requests from artists Blue Mountains Cultural MADE was launched to for spaces of different kinds Centre (facilitating plans for represent the Blue Mountains and of different duration. cultural activities), or with the creative industries and to Niddrie gives the example of, Cultural Centre’s Public position the Blue Mountains as ‘an artist who has a large-scale Program manager (where an a hub of creative excellence work that they've entered in a artist’s work might fit in with a (Sandbach 2015: 4). The MTNS competition and who might be future program). An important MADE Creative Industries doing something for Sculpture element of creative support Cluster was, until recently, by the Sea, something that they from an industry perspective is managed by Ann Niddrie, who need space for six months and how to translate arts activities saw her role as being to not ongoing’. This kind of into sustainable ventures. ‘facilitate opportunities and project-based need is While some artists are very connections between people of particularly relevant for entrepreneurial, others can the creative industries in the temporary but high-intensity struggle with the process of Blue Mountains, for work such as a film turning individual creative collaboration and work on production, which might endeavours and ‘lifestyles’ into various projects that help in require 18 months preparation, viable careers. As Niddrie industry development and then an intensive period of comments: throughout the creative six weeks or three months industries’ (interview 31 filming. Even relatively small- An artisan may start selling October 2019).. This facilitation scale film productions can their work at markets but can’t entails increasing generate considerable local earn enough. And then they get opportunities for cultural impacts (see the film and to this challenge of – how do I production, supporting people screen media case study grow? Do I get someone to help to work together and to pool below). me make my product? Do I now resources.1 get someone, pay them, to do my Soft infrastructure: MTNS paperwork? (interview 31 Tasks of the role include MADE is committed to October) advocating for cultural supporting the all-important production infrastructure. soft infrastructure, the people MTNS MADE is able to Artists often approach MTNS connections and capacity support people through its MADE to help find particular building that allow for a robust own business workshops kinds of production space, cultural ecology. To this end, focused on creative industries, including co-working or studio MTNS MADE works alongside through workshops in spaces; MTNS MADE now has arts organisations such as the partnership with Creative Plus Business and the Western
1Niddrie has become the Economic Development Officer at Blue Mountains City Council. 54 Sydney Business Centre, issues of locality and establish proposing that there be greater through referral to Business strong networks and consideration of tourism Connect advisors (a NSW collaboration across the LGA. development in the BM. There government program), and the is, it can be observed, potential BMCC’s business workshops. There are challenges as well as for stronger links between MTNS MADE also partners opportunities in BMEE’s arms– tourism and creative industries with local business initiatives length relationship with (for instance, see the sculpture such as Women with Altitude Council. One advantage is that, at Scenic World case study and the Men’s Altitude as an autonomous body, BMEE below). Network. (and MTNS MADE in particular) can apply for different sources of funding for projects. A smaller organisation Ideal scenarios Challenges can move more quickly than the Council bodies which, as How could cultural Niddrie puts it, ‘move at a infrastructure be further The Blue Mountains Creative different pace ... that sort of developed in the Blue Cluster/MTNS MADE faces agility allows for different Mountains? Niddrie says that complex challenges in things and a bit of risk-taking its creative facilities should supporting creative industries that maybe Councils can't match the environment and in a LGA with such strong necessarily take’. However, scale of the place, and be activity across diverse creative the challenge in being a distributed throughout the sectors. How are the needs of separate body entails the LGA, so that cultural different groups met? ongoing need to maintain production takes place not just Certainly, there is differing effective communication with in the main centres. Digital take-up among particular Council staff in order to, facilities are crucial, not just for groups – writers and ‘maintain relationships there film but also for sound designers, for example, tend to so that we are actually being recording and media keep to themselves and their effective – not doubling up or production. Niddrie’s view is own networks. This is largely a missing out on things that we that mixing education and question of resources, since should be across’. It seems production activity would be MTNS MADE has only one clear that MTNS MADE is ideal: paid staff member, and there making an ongoing are geographical challenges, contribution to supporting We have amazing businesses like with the Blue Mountains sustainable employment in the illuminart, who are award- townships being widely creative industries through its winning, travel around dispersed. This settlement facilitation of and advocacy for Australia and the world, making structure can generate a sense infrastructure, both hard and their projection artworks and of difference between parts of soft. However, it is difficult to telling the stories of the Mountains. Creatives in the make those gains visible, and communities around the Lower Mountains may have a to develop benchmarks or country. But they don't have a ‘city-looking focus’ because metrics to measure progress. space and they want to teach they are more able to connect Nevertheless, the BMEE people to do this. They're one of with events and facilities in through MTNS MADE has the only companies in the Penrith, for instance. People in played an important research country that do it in this the Upper Mountains are role in informing the Council particular way. What we need is perceived to be more ‘insular’ of the region’s development in space where makers of all kinds — or perhaps more self- the creative industries. While of digital creation can come, contained — because of the BMEE is legally independent connect and collaborate. greater distances to Sydney. of Council, its funding is (interview 31 October 2019) Nevertheless, some creatives in substantially tied to it. A recent particular artforms such as Council meeting resolved to She also sees a need for the film, artisanal producers and move forward an independent integration of more co-working craft foods/beverages have review of BMEE to April 2020, style facilities into libraries been able to transcend these throughout the Blue 55 Mountains, rather than having designs such as high-speed villages throughout the one large co-working space. Internet, meeting spaces or Mountains to get out of their Redevelopments in town little pods for private phone home-based business without centres and libraries could conversations. ‘This could really large costs,’ Niddrie incorporate facilities in their really help people in the emphasises.
Freedom Wilson Wollemi Markets Blue Mountains Cultural Centre.
56 Dance
Wagana Aboriginal Dancers, Wentworth Falls PAWS Studios, 3/92-94 Batt St South Penrith NSW 2750
Across Western Sydney, dance and multicultural dance and because the organisations have performance mainly utilises theatre across the region (SGS never had access to purpose built theatres, alongside site-specific 2018: 12). Many Western facilities. These spaces are outdoor spaces and festivals Sydney LGAs may have a largely inadequate for (SGS 2018: 100). There are only space for dance performance, professional practice. There are two dance festivals held in but they often fall short of also a limited number of Western Sydney which are the being dedicated spaces: professional dance organisations least of the region's many other based in Western Sydney, with a artform festivals (SGS 2018: 62) provision may not adequately significant artist drain to inner and may represent a cater to demand for exhibition Sydney noted by the professional development opportunity for spaces from artists and/or organisations consulted. (SGS Penrith and the Blue audiences, the spaces may not be 2018: 100) Mountains. Research into fit for purpose, the spaces may dance is often problematic as not be accessible for Western Two further issues emerge, one theatre and dance are often Sydney artists, and/or the spaces of which was echoed categorized together, which may not be in an accessible throughout the consultation limits understanding of the location. This suggests that for this research - the need for data. However, usefully SGS further work is needed to artist education in Western identifies Aboriginal and determine how existing Sydney. First, there are Torres Strait Islander (ATSI) exhibition spaces may best meet currently no degree level dancers with the highest level the needs of artists and if programs available in Western of creative engagement at 12 additional spaces are needed. Sydney for theatre and dance per cent, and also the second (SGS 2018: 99) (SGS 2018: 103, 110). TAFE highest in terms of interest in NSW at the Nepean Arts and audience engagement at 38 per The issue of a lack of purpose- Design Centre offers the only cent (SGS 2018: 12). The lack of built spaces for dance can be degree level visual arts and dance rehearsal spaces to addressed through design courses within Western support professional dance attachments to theatres, dance Sydney. Second, there are no and ‘little or no purpose-built schools, community halls professional Aboriginal arts infrastructure’ were issues (although generally these organisations which receive consistently raised by dance cannot supply purpose-built continuous public funding. practitioners throughout the needs) and multipurpose Wagana Aboriginal Dancers is SGS consultations in their community infrastructure. As a professional arts organisation report into Western Sydney SGS reports: yet it does not receive Infrastructure (SGS 2018: vii, continuous funding from the 98). This is a curious anomaly The use of local dance schools NSW Government (SGS 2018: given that increased and community infrastructure 103). attendance was noted in NSW has occurred due to the loss of for circus and physical theatre existing rehearsal studios, or
57 Wagana Aboriginal Dancers. (left to right) Jo Clancy, Michaela Jeffries, Becky Chatfield, Shana O’Brien.
Wagana Aboriginal Dancers
Wagana Aboriginal Dancers is mostly women dancers cost activities across the Blue a dance company founded and between the ages of 2-50 years Mountains (Mountains directed by Wiradjuri dancer (Ausdance Vic n.d.). Wagana Outreach Community Service and choreographer, Jo Clancy. has a strong educational focus 2020). Kindlehill School is a The company has achieved on local Aboriginal women Steiner-inspired school in international recognition, and girls. The Wagana has an Wentworth Falls, with a performing in Glasgow, education program performance space for hire for Denmark, Canada and Hawaii, encompassing pre-school, events relating to drama, qi as well as festivals across New primary and secondary gong, yoga and dance. The South Wales. Wagana ‘perform schooling. Wagana is auspiced space has basic theatrical traditional and contemporary by Mountains Outreach lighting, with audio equipment dances inspired by the Community Service (MOCS) to be supplied by the hirer. It beautiful Blue Mountains and and has a community has disabled access and can NSW Central West country. partnership with Kindlehill comfortably hold up to 150 They honour and respect the School. MOCS, based in guests. The school makes this Dharug, Gundungurra and Hazelbrook, has been in space available to Wagana for Wiradjuri peoples as the operation for 30 years and is a rehearsals and performances in traditional custodians of the community not-for-profit exchange for weekly dance lands they dance on’ (MTNS organisation funded through classes delivered by Jo Clancy MADE n.d.). Dharug woman, the NSW Department of to their primary school Jacinta Tobin, is one of Family and Community children. Wagana’s song women from a Services and the Department of respected local Aboriginal Education and Communities. Clancy trained with the family. The company has MOCS provides free and low National Aboriginal and 58 Islander Skills Development dance projects of Wagana dance work Yindyang, a dance Association (NAISDA) Dance include: Dancing My Dreaming, and film installation piece co- College in 1989-1990 and went Hawaii International Arts and created with Wiradjuri on to study a Bachelor of Arts Humanities Conference 2011; filmmaker, Jamie Murray, and in Dance, when it was still Marramarra, Arts OutWest Canadian First Nations offered at Western Sydney 2011-2012; Wagana Nguranbang, filmmaker, Gregory Coyes. The University, graduating in 1992. Dance and the Child tour continued to Hawaii and Her contribution to dance International, Taiwan 2012; the Australian Consulate in education has been as a Keep the Dragonflies Dancing, Honolulu, and the Honolulu freelance artist and teacher, as Blue Mountains and Western Convention Centre was a well as Head of Dance at Sydney 2012; Homeground venue for showcasing NSW NAISDA between 2005-2007. Festival, Sydney Opera House Aboriginal dance (Blue She is a member of the Board 2014 and 2015; Australian Mountains Gazette 2019). As of Studies for NAISDA and is Youth Dance Festival, part of their significant currently head of Cultural Melbourne 2017, and the educational focus, Wagana Practice at NAISDA. Commonwealth Games Art Aboriginal Youth Dancers and Cultural Festival 2018 premiered a new work by Jo It is a place of connection where (Clancy 2020). Clancy in Glasgow in 2014 at we can exchange ideals and the Commonwealth Youth learn from one another in the In 2019, Wagana embarked on Dance Festival. The company spirit of reconciliation, cultural a six-week tour of international successfully fund-raised to get affirmation and inclusion. It is a (as noted above) festivals that to Scotland for this festival place where we dare to dance saw the company perform at (Williams 2014). Wagana uses and tell the stories that cannot the Coastal First Nations or hires other sites to rehearse be told unless we move. Dance Festival in Vancouver and perform. In this regard, the (NAISDA Dance College with the local Raven Spirit company takes advantage of 2020) Dancers, with whom they have flexible education, production collaborated since 2017 on a and presentation spaces, but is Choreographed contemporary work entitled Wirawi Bulbwul. also at risk of an insecure and traditional Aboriginal Clancy then performed a solo foothold on facilities.
59 PAWS Ensemble The Wizard of Oz.
PAWS Studios
Performance Art Western group. The main focus, dance studios in Penrith is Sydney, better known as PAWS however, are children and partly because dance teaching Studios, is a dance and is not regulated, meaning that performance school in Penrith young people who can learn anyone can start teaching established by Rebecca Liu- ‘all styles of dance, circus, dance or open a dance studio. Brennan 15 years ago. PAWS acting, singing and piano’ and was based in Kingswood for are building their performing There are creative synergies the first seven and, in Penrith, arts options. Liu-Brennan with the Blue Mountains as for the last eight years. The states that dance and circus are some students travel from as school both teaches different very popular activities: the far away as Katoomba. The styles of dance (ballet, jazz, hip performing side is fun, creates catchment of students could hop) and singing, drama and confidence, and is preferable to increase with expanded circus. At present, Liu-Brennan after-school care or ‘sitting facilities, which is a has approximately 600 over an iPad’. Liu-Brennan development opportunity for students enrolled in the school, calculates that there are 20 the region. PAWS has an the youngest being two and dance schools (many now entertainment company the oldest 82 years old. PAWS teaching ‘cheer-leading’) attached to it, performing all has weekly ‘Over 55’ and tap within a 10 or 15 minute radius over Australia in cabaret classes to cater for that age of PAWS. The large number of shows, pantomimes, circus and 60 other entertainment acts for is not the main focus nor (interview 22 November special events such as necessarily parental 2019) conventions, shopping centre expectation, some students shows, grand openings and have become professional PAWS receives advisory Christmas parades. Liu- performers: ‘17 in 15 years. It's support from the Penrith CBD Brennan also established a new a hard industry out there’, Corporation, which aims to business, Teacher Tribe, a according to Liu-Brennan. promote progressive urban training platform for dance Some PAWS graduates are development in Penrith, studios and teachers. working on contract overseas, working closely with Penrith Another arm of PAWS, School such as on cruise ships, for City Council (PCC), and is Kids Can Dance, is more of an Disney Corporation or in a funded through a special rate outreach program to teach circus. Liu-Brennan’s head of levy collected from local CBD dance in primary schools, and circus is also one of the ‘biggest property owners. Membership includes a program for more circus agents in the world’, and is free to CBD businesses to remote areas where Liu- PAWS has close connections ‘unlock opportunities’ to be Brennan teaches via online with a Cirque du Soleil ‘ready for our city’s video. The intention behind producer. One of PAWS’s 15- future’ (Penrith CBD PAWS goes beyond the year old contortionists is Corporation 2020). PAWS physical aspects of dance to ‘earning about $1200 for a participates in the festival run create confident performers three-minute gig. So there's by the Corporation that through nurturing. Liu- good money in the circus for involves all local dance schools Brennan believes that dance these kids’. Many students also and performers, and is can teach children how to set become teachers; the PAWS attended by 20,000 people. their own goals: teacher training program is PAWS is also involved in the available from the age of Seniors Festival organised We're very big here on not fifteen. through the Corporation. feeling judgement from other children. So you are running Liu-Brennan pays $6,500 a your own race in your own lane. month to rent three large Challenges (interview 22 November studio rooms in a warehouse- 2019) style shopping centre. Spaces Key issues for PAWS concern include a ‘huge’ circus room infrastructure availability and PAWS delivers more than with circus equipment, which costs, and having greater teaching dance, performance cost $120,000 to set up. PAWS access to presentation and circus. The organisation employs 22 teachers and, opportunities. While the provides spaces and although the business is ‘doing business is viable, the opportunities for health and ok’, expansion has not opportunities for students to well-being across generations, necessarily improved its perform are limited. Some while developing public economic viability: students, for example, have engagement through gone to the Flying Fruit Fly presentation and performance. I think I was making the same Circus in Albury Wodonga. The focus on personal amount of money at 200 kids as However, it would be a wellbeing is part of the I am at 600, because there is significant improvement to be curriculum, where PAWS staff more admin, more expenses. able to offer a flying trapeze, have a theme that is We're trying to systematise for example, in Penrith. Liu- implemented during each everything. But I do find that a Brennan holds that access to class. PAWS has had some lot of the money that you make larger studio space would be notable successes, with a gets poured back into it, be it ideal, because then student performing in Evita at renovating or getting new circus performances could be the Sydney Opera House, equipment. You really do it programmed. The safety another in Billy Elliot, and one because you love it and you love aspects are crucial, which may working with leading actor the kids. You definitely don't do include circus schools without Hugo Weaving at Sydney it to make millions of dollars. proper trusses for the students Theatre Company. Although it and being taught by 61 unqualified trainers because industry here for 15 years. There stuff. I love the team there. the dance studio sector is not are amazing schools out here They're absolutely wonderful to regulated by qualification. with amazing kids that want deal with. But it is expensive. Liu-Brennan sees that as an opportunities to perform. (interview 22 November issue because, ‘a lot of these (interview 22 November 2019) kids are finishing full-time 2019) practice but then they're going The Joan costs about $11,000 on to teach with no The Little Mermaid is one of the for the rehearsals and concert qualifications whatsoever’. She PAWS productions that hire. Liu-Brennan collects the would like to see more support includes scripting, acting and box office, but after her costs directly from PCC and is film segments with live are taken out it is unlikely that frustrated because she feels performance. To present The any profit would be made. The that local talent and expertise Little Mermaid, PAWS hired The alternative, the Penrith is under-utilised: Joan for at least four rehearsals Panthers Leagues Club, costs and two concert performances: about $13,000, which is I am really about the local. I love prohibitive for PAWS. The local. I would love to have that The Joan is really the best place Penrith Anglican College has a opportunity to talk to Council for us. It's got a catwalk at the little theatre which PAWS can about more involvement because Q Theatre, which is great for us use for about $4,000 for an I've been working in this because we do a lot of circus afternoon hire.
62 Digital Arts and Culture
DiG Space Program, Allen Arcade, Penrith NSW 2750 TAFE Nepean-Penrith Campus, 117 Henry St, Penrith NSW 2750 TAFE Katoomba Campus, Parke St, Katoomba NSW 2780 The Digital Ecology Lab, Old Library, Civic Place, Katoomba NSW 2780
Creative practitioners across all advances for both creative observes that creating disciplines work in the digital production and distribution (in ‘hyperlocal’ works could space. In Penrith and the Blue particular international enable Western Sydney artists Mountains there is a dissemination), access to high- ‘to grow audiences in Western willingness to adopt digital end equipment and Sydney and beyond, as well as capabilities and to explore new professional education is make connections and options to extend their creative required to stay abreast of collaborate with other artists practice. Digital artists in these advances: across Australia and around Western Sydney are amongst the world’ (2018: viii). the most collaborative creative While some TAFEs in Western Practitioners in Penrith and the practitioners, according to Sydney are offering some visual Blue Mountains may find new survey research undertaken by arts and digital arts programs, opportunities through Western Sydney University, the analysis of sector trends improvements to the status of which shows that, among found that the majority of creative educational options, respondents, 86 per cent of professional artists hold a and also the establishment of digital artists also work across Bachelor degree or higher. new businesses spawned by film and video (Stevenson et al Limited opportunities for artist major public and private 2017: 29). However, as with education in Western Sydney investment in the development film and screen media, digital may have implications for the of the Western Sydney region, arts have ‘limited purpose- growth and development of with adequate support to built making spaces in Western professional practice in the stimulate collaborative spaces Sydney and no dedicated region. (SGS 2018: 110) and projects. The following exhibition spaces’ (SGS 2018: case study of the DiG Space 57), which means that non- The strong identification and Program shows how a State- traditional spaces (such as local engagement of Western funded arts program building facades and other Sydney artists (Stevenson et al stimulated collaboration and accessible public spaces) are 2017: 15) presents skills development and paved frequently sought to exhibit opportunities to produce the way for innovative work. While digital artists digital content for international attention from TAFE NSW. benefit from technological exposure. For instance, SGS
63 the Sydney CBD, a fee- charging but not-for-profit incubator. Penrith City Council (PCC) subsidised the DiG participants with payment for a 12-month Community Membership, giving them access to The Studio events, speakers’ series, networks and investor-focused opportunities.
The DiG Space Program offered mentorship by leading artistic entrepreneurs, ‘Creative + Business’ workshops, stipends, industry networking and professional development and collaborative creative project opportunities. The inaugural DiG Space Program was held in the first half of 2018 and saw five participants mentored by David Clarkson, Executive Producer and Artistic Director DiG Space Program Third Team of Stalker Theatre, to enhance individual professional DiG Space Program composers (not age related) practice and establish a multi- from Greater Western Sydney disciplinary team. The brief (Penrith) within their first five years of was developed by the PCC professional practice, to Sustainability Department to provide a bridge between explore imaginative DiG Space Program was a completing relevant creative storytelling about the mentorship and residency education at Diploma and importance of trees and program that showcased the Degree levels and ground cover, resulting in the talented creative producers in opportunities for employment production of Urban Futures, a the region. Initiated by Penrith and professional development contemplative 17-minute video City Council and funded by within the creative industries. installation with an original Create NSW (see also Penrith score. City Council Initiatives above), The DiG Space Program also with support from the Design exposed participants to The second DiG Space and Music academic programs marketing and business Program, held towards the end of Western Sydney University, development skills, including of 2018, was mentored by the Nepean Arts & Design experience in collaboration and award-winning Executive Centre at TAFE NSW, and project articulation. During a Producer Penny Robbins, Penrith Performing & Visual 16-week residency program, known for her social Arts Ltd. The creative briefs participants were required to documentaries with Film were developed by Council work in situ for a minimum of Australia, ABC, SBS, Canal departments, and participants two days per week in Council- Plus and the BBC. The creative worked under the supervision owned premises in the Penrith brief given to the five of established industry City Centre. The DiG Space- participants was to highlight professionals. The program mentored group was provided the values and benefits of was designed for emerging with access to The Studio in public library services, which digital artists, designers and led them to create Fox Tales, ’a
!64 collaborative e-resource aimed what I can offer the community with participants to produce at encouraging teenagers to from a creative perspective. The quality digital media outcomes explore their local libraries and creative process whilst was the cornerstone of its the world of books’ (PCC collaborating with like-minded success. The program also 2019). It is an engaging and practitioners has been generated interest and quirky interactive set of works invaluable. I would highly engagement across PCC around ‘fantasy’, ‘romance’, recommend this residency to departments, highlighting the ‘action’ and ‘sci-fi’ complete fellow creative producers in the willingness of Council staff to with reading lists of similarly Western Sydney region. work effectively together on themed titles. Former Head of (participant, quoted in Harris creative projects. For a number Television at the Australian 2019: 11) of artists, this aspect of the DiG Film Television and Radio Space Program went beyond School, Andy Nehl, mentored Several DiG Space Program just a professional the third DiG Space Program participants have gone on to development program, as it in the first half of 2019. The secure full time employment strengthened creative creative brief was for an ‘urban directly in their fields as participation and awareness living room, an urban graphic designers, through across the departments of PCC. soundscape’, to ‘develop positions within Western The program used a creative imaginative ways to explore Sydney University or by enterprise approach that community connection within establishing their own reflected the capacity of PCC to public spaces’ (Harris 2019: business. Others have been generate ‘start-up’ projects in 10). The outcome was a set of engaged with Symphony creative practice and eight videos, NepeanRIVR360, Orchestras, interstate film production that warrants which utilises 360-degree producers and commissioned professional development video-making techniques to for original compositions by attention to ‘scale’ the project immerse the viewer in the theatre companies and for up into a more sustained environment and social projects with Local program. The success of the activities (such as walking, Government and the Penrith DiG Space Program has, in theatrical practice and rowing) Regional Gallery. These part, been adapted for an found along the river. opportunities arose through ambitious program that TAFE Feedback from participants has the support of the program, Nepean-Penrith intends to been very positive. An opportunities for networking, deliver. This creative enterprise example is the following and bridging the gap from approach also reflects the statement from a composer education through to industry. capacity and ability of PCC and multi-media artist: staff to develop creative DiG Space Program is an production initiatives that exemplary professional This was a game changer for my attract the attention of development program. creative life and projects. It has educational institutions (such Attracting high-calibre opened new avenues of potential as TAFE NSW) to become part industry professionals to work work for me and showed me of the curriculum.
TAFE NSW Western Sydney (Penrith and Blue Mountains)
George Verghese is the Head of to reinvigorate the way in people tinker or make things, the Skills Team for Creative which TAFE delivers to such as furniture, and it's Design and Ideation for TAFE creative endeavours, for becoming a growing movement NSW Western Sydney. The example by providing where people really want to get creative design areas include accessible makerspaces or their hands on and start doing fashion, visual arts, what he calls ‘fab labs’: things. It could be sewing, it photography, screen and could be making small media, graphic design, interior Makerspaces have been around, products, from laser printing to design, dance and music and and ‘fab labs’, for about 50-odd 3D printing. (interview 21 gaming design. Verghese aims years. They're places where October 2019)
65 The Blue Mountains Economic Enterprise (BMEE) group is interested in establishing makerspaces and co-working spaces in conjunction with TAFE, which has a smaller footprint in the Blue Mountains than elsewhere. These spaces would operate closer to a studio model, working with artists and providing observational drawing and photography training in the first instance. Verghese sees the value of the Blue Mountains as having a distinct creative culture that is more ‘hands-on, tactile’. These TAFE NSW Lidcombe Campus Maker Space ‘artisanal’ Blue Mountains artists will also be able to Verghese is updating the for excellence in health care, access the TAFE production concept of the fab lab to be medical research and facilities through digital more than just access to education; the emergence of means. making tools, by extending the the Aerotropolis, which could activities across the ‘value create a, ‘whole new future BMEE has dedicated resources chain’ from concept to design perspective of what the West since 2018 to working with to manufacture to marketing is’; and the film and artisan NSW TAFE to establish more and business development. As activities of the Blue creative industries courses at he observes, there are, ‘so Mountains. These are distinct Wentworth Falls TAFE and to many individuals that cry out but complementary processes encourage the NSW TAFE for that type of space to make, for Penrith and the Blue skills point team to advance its to create in, to apply back into Mountains: the former was one idea of a maker space and society and into culture’. of the early adopters of some ideas studio at the TAFE Verghese’s fab lab concept of the ideas with which building on Parke Street in includes the fabrication of Verghese wanted to engage. Katoomba. BMEE prioritises ideas - ‘it is a physical space The concept draft of the TAFE the importance of connecting where we have brainstorming Co. F.A.B. Lab considers the parties involved in the sessions and workshops and Nepean-Penrith TAFE Campus establishment of trade and gatherings’. At this stage he to be ‘a digital hub, a creative creative industries courses at refers to it as the ‘TAFE Co. hub’. It would provide a much TAFE. BMEE conducted Fabrication and Business Lab broader range of activities than interviews with students aged (Co. F.A.B. Lab)’, which is skills training in specific 16-25 years for its 2019 Post envisioned as a distributed software, and would develop School Pathways report to model across the Western ‘over the next 10 years to be understand specific areas Sydney TAFE campuses. the real central digital hub’. It where young people would would include a green screen, like to be able to develop their His view is that Penrith is at an Oculus Rift, Augmented skills in a local context. interesting intersection of Reality, Virtual Reality and Meetings with NSW TAFE at several opportunities: the other digital platform types. the Wentworth Falls campus proximity to The Quarter (the DiG Space Program would be aimed to progress the Penrith Health and Education brought into TAFE so that it establishment of a sound Precinct located between can become a fully-fledged production course by Penrith and St Marys), which is program and have an partnering with a successful set to become a leading centre institutional home. Katoomba AV provider, KFM 66 media. Background research enrolment fees that allows require. There is a growing by KFM established that there artists to come on site. The aim group of creative digital was sufficient interest to begin is to attract industry, students entrepreneurs evident across the course, but the curriculum and other professionals who Greater Western Sydney, a development is yet to be can connect with each other number of whom are located completed. According to through workshops and around Penrith and in the Blue Verghese, options for gaining lectures, and ‘become a hub of Mountains. The Creative West access to TAFE are opening up. activity’. DiG Space, for website, developed by Western The training packages example, could be run on an Sydney University design ‘enhance understanding’ and open studio model at TAFE. academic Katrina Sandbach, include individuals of all ages Additive manufacturing and provides an interactive map of and backgrounds who are the digital transformation of ‘local creative businesses and working in the visual arts, the Internet of Things provide organisations, and a curated photography, screen and further opportunities. Verghese snapshot of what’s currently media, and want to update thinks that TAFE needs to be at happening in the cultural their skills and networks. the forefront of training: space [of Western Verghese aims to create a range Sydney]’ (Sandbach 2020). of different types of platform Granted, the universities have a Commercial enterprises that cater for skills-based research mandate. We have the include web developers and learning as well as creative mandate to deal with industry independent visual exploration for people from all that wants things done very communication practitioners backgrounds: quickly, which needs an agile found across the region. Those system. That's where the Co. in the Blue Mountains have And we're not just looking at F.A.B. Lab comes in - through started clustering, for example the elite student who has agility and nimbleness. in Katoomba, where creative ideas. We're looking at (interview 21 October 2019) practitioners are located in one all aspects of the community. He also sees this model as block. While those located in Refugee components. Aboriginal bringing in members of the Penrith and surrounding and Torres Strait Islanders. community to be part of suburbs are more spaced out, We're looking at correctional discussions with artists about they are nevertheless mainly services. How creative culture their work. The timeframe for located near centres. One of the can impact life for all walks of this vision is staged as one to objectives of the Creative West life. (interview 21 October two-year, three to four-year website is to assist creative 2019) and five to ten-year plans. practitioners from the design Verghese’s strategic field to find each other and to One way in which this proposition is backed up by inspire students working in the objective can be achieved is research from Europe and region, thereby contributing to through an open studio model Australia about the digital the often-expressed need for with low membership or transformation and what it will networking opportunities.
The Digital Ecology Lab (Blue Mountains)
The Digital Ecology Lab is a Morrissey explained the reason that stuff as it's happening, not project of Toolo (see the for the name: after it's happened. (interview creative co-working spaces and 22 November 2019) shared facilities case study Digital Ecology is essentially the below) that began in 2019. The term for how all the digital A major challenge is the lack of Digital Ecology Lab emerged media — the internet of things, formal arts training in the Blue from an impulse to provide our connectivity and all of the Mountains, and particularly in education for people in new devices that we use — how they newer technologies. While it is technology and emerging all sit together. As creative possible to do a short course media. Director of Toolo, Justin producers or creative on Photoshop at the local practitioners, they need to know TAFE, there is nothing in the
67 areas of new media, 3D sharing information around. The workshops, as Morrissey printing or robotics. The facilitators and presenters send attests: Digital Ecology Lab brings their slides and things forward together 10 creative to the group and then the group You can't just create a space and practitioners from different meets up every now and then. say 'there you go'. It's like disciplines living anywhere in (interview 22 November creating a fabulous building and western Sydney in a connected 2019) there’s no programming. So you learning environment need that programming fund facilitated by experienced new The Lab takes place in the and you need somebody to run media facilitators. Lab former public library in it. And it needs to be really well participants are paid a fee of Katoomba, which was given connected to make it happen. $500 for taking part, which is over by the BMCC rent-free for (interview 22 November funded by Create NSW's a year. Toolo approached Blue 2019) Western Sydney Making Mountains Council to apply Spaces initiative (Create NSW for funding to run the DEL Sydney’s The Studio also has 2018). A program of presenters program, and they discussed prestigious resident companies introduces participants to the suitability of the old library which assist in drawing others various aspects of technology site with MTNS MADE, who into making connections. The and new media and their gave them a letter of support experience of DiG Space creative possibilities. For for Toolo to access that Program is that those example, the sound artist particular site for the Digital connections need to be built in Damien Castaldi presented on Ecology Lab. The Digital the Penrith and Blue the possibilities of Adafruit Ecology Lab well illustrates Mountains regions – with electronics products and synergies with Western Sydney TAFE, universities, Arduino, the open source and Penrith in particular. A entrepreneurs and creative electronics platform designed field trip introduces experts. The experience of the for artists and hobbyists. Cindy participants to the Fab Labs at Digital Ecology Lab so far is to Drennan of illuminart also Western Sydney University (in maximise spatial flexibility, gave a workshop on Projection Kingswood just east of with all equipment and Mapping. Penrith). As Morrissey said, furniture in the old library site ‘Like, there are no 3D printing being on wheels to facilitate The 10 creative practitioners places in the Mountains. So changes in setup. Toolo has are exposed to new Penrith is our closest place. So been an advocate for creative technologies and encouraged getting that training in 3D producers gaining access to to explore their possibilities, printing has been part of that spaces that are unused (or being given access to the space project. And virtual reality, as I underused). At the same time, and equipment as an ‘open mentioned’. And there are networks increasingly work in studio’. They have the chance similarities to Penrith’s DiG both physical and virtual to try out equipment such as Space Program. space. For Morrissey, what is Google Tilt Brush, a 3D educationally important is the painting tool used in VR Connected, flexible and sociability in the spaces — applications, or the Oculus resourced hubs physical and digital — and the Quest headset, a VR gaming networking and activity that it device, both of which are can trigger: The Studio in Sydney is available through Toolo’s referred to as a good model by collection. Much of the energy My experience of learning has some Penrith City Council and initiative in the Lab comes been more and more that you staff, as it combines a recording from making new connections, only really need to touch base studio, green screen, as Morrisey comments: occasionally in a physical space, collaborative workspaces and so at this Lab, for instance, meeting rooms, all of which A lot of the stuff happens online people come here for a few days a are available for hire. The key in forums and groups and social week and they use the space as a is that the spaces are activated media, amongst the Digital campus. (interview 22 as well as managed - offering Ecology Lab participants all November 2019) courses, seminars and 68 partnerships being established willingness of students to train Yet it is clear that different between PCC and BMCC and in Penrith, and the proximity creative workers have very tertiary training institutions to significant employment different needs. Creative will require targeted and opportunities that will open up spaces should be maximising ongoing support from State in this part of Greater Sydney. ways to accommodate these and Federal government and differences. Morrissey industry to enable the Creative practitioners across all describes a very flexible space provision of flexible and arts disciplines work in the as needing, ‘to be able to accessible workspaces that digital space. In Penrith and facilitate large groups of offer access to up-to-date the Blue Mountains there is a people, small groups of people. creative technologies. The willingness to adopt digital I think that's where we're large, future-focused capabilities and to explore new moving to’ (interview 22 technological industries that options to extend creative November 2019). are widely anticipated to result practice. This case study shows from The Quarter and the how a State-funded arts The DiG Space Program and Aerotropolis precinct program that stimulated the Digital Ecology Lab are developments will require collaboration and skills examples that demonstrate the active partnership building by development, DiG Space, has demand for and benefits of the Council. These types of paved the way for innovative carefully considered needs of support are likely to attract attention by TAFE NSW, the local creative producers, and quality creative and cultural State’s post-secondary the need to support them to practitioners given the unique vocational training provider. work across digital and future inter-relations of professionals technologies. Strategic already in the area, the
69 Film and Screen Media
Independent filmmaking, Penrith Filmmaking industry cluster, Blue Mountains illuminart, Medlow Bath, Blue Mountains
Independent filmmaking in Penrith
As a small but growing sector and six short films in different In 2013, scenes from the of the creative economy in stages of production. Brendan international blockbuster Mad Penrith, filmmaking is spends approximately 20 hours Max: Fury Road were filmed at characterised by small a week on the business, Penrith Lakes. In the last 12 operators who balance their dividing the rest of his time months, approximately 47 days creative work with corporate between a full-time job in of filming have taken place in projects and those who juvenile justice and pursuing public space in the Penrith supplement their income with acting work. Both Biddle and LGA, covering a range of employment outside the Byrne remarked on how the projects including film and creative industries. Rocknbob established film and television television, commercials, and Media House is a videography industry in Australia is student films (based on business based in Emu difficult for newcomers to applications to Council). Heights. Owner Tom Biddle set break into. Byrne notes that Penrith has much to offer as a up the company in 2013 while many of his contemporaries location for filmmaking, as is working as a freelance chose to exit this ‘challenging evidenced by 25 per cent of cinematographer. Rocknbob industry’ and that Western applicants having filmed in the are visual storytellers, Sydney creative producers are area before. generating and moulding particularly prone to viewing creative ideas into video other creative producers as Challenges and content from pre- to post- competition rather than as opportunities production. Rocknbob’s day- potential collaborators. to-day projects are primarily corporate in nature, but Tom’s It appears that Penrith Given the opportunity, Biddle passion is in narrative filmmakers have chosen to would like Rocknbob to entertainment, and he is avoid the mainstream industry produce more entertainment currently working on a film in and have forged their own content in the future. With a the thriller-horror genre. The path. Rocknbob has grown to a much higher upfront company has also produced team of three and has investment required and music videos and short films. established its own studio and limited returns, these projects post-production facilities in are hard to fund on a regular Shadow Wolves Productions is Emu Plains. In the last three basis. Biddle feels that, because another example of a company years, several of Shadow the Australian film and in the Penrith filmmaking Wolves’ short films have been television industry is small and industry. Founder Brendan screened in film festivals tight knit, it is difficult to Byrne is an actor who created around the world. Another attract talent and funding. The his own production company component of the Penrith explosion of digital content to generate more work to serve filmmaking industry is the platforms such as YouTube and his passion. Currently, Shadow utilisation of its locations for Netflix provide additional Wolves has three feature films filming by external operators. 70 Rocknbob Media House. Production Shot for McGrath Foundation. distribution channels, but the price’. He envisages that a to do as it is typically not a upfront production costs are multi-purpose facility would natural fit with their skill set. still prohibitive. Funding is a cater to several needs of the While he feels that he has a big challenge for Shadow area: ‘handle’ on this now, Biddle Wolves too. With more secure would applaud and encourage financing, owner Byrne I have always wanted to set up a any initiatives that seek to estimates Shadow Wolves building and office space, that assist new start-ups in this would be able to deliver 40-60 gives access to meeting rooms area. The idea of building per cent more work than (for production meetings), an better connections between currently and could convert audition space (to hold your own local creative producers and more part-time creative auditions), a self-tape studio (as local business generally is one producers to full-time. that is where a lot of auditions that appeals to Biddle. Keen to are heading these days), and a support other local creative Another challenge for a rehearsal space with some producers, having a database filmmaker in Penrith is the limited furniture to help, for to source contacts would limited access to suitable example, with walkthroughs and encourage more collaboration. facilities. According to Biddle, blocking of the location. Similarly, more visibility having access to a larger studio (interview 5 April 2020) would lead to more locally - either one owned by commercial opportunities Rocknbob or available to hire - Having been in business for within the region, which would help to broaden several years now, Biddle has would help Biddle and other opportunities to create a more navigated the financial and local creative producers diverse range of content. Byrne legal requirements that come become more financially secure notes, ‘we have next to with setting up and running a and able to produce more nowhere in Penrith to hold small business. He creative work. auditions for a reasonable acknowledges that this is difficult for creative producers
71 Filmmaking industry cluster in the Blue Mountains
Filmmaking forms a small but believed there was a strong according to the REMPLAN significant part of Blue film sector in the Blue study. The report demonstrates Mountains creative activity. Mountains, which she said is, the strong economic impact of Around 6.25 per cent of ‘becoming more and more films that have relatively employment in the Blue connected and continuing to be modest budgets, particularly if Mountains creative industries supportive of each other and all aspects of the filmmaking is in the ‘motion picture and working on each other's are done in the region. sound recording’ category, projects’ (interview 31 October although not all of these would 2019). Challenges be involved directly in filmmaking (REMPLAN 2017: The Blue Mountains Economic The clustering and 3). This level of employment Enterprise (BMEE) interconnection of various points to a local cluster of commissioned REMPLAN to creative groupings and skilled industry workers in the carry out an economic impact businesses enabled by the Blue Mountains that suggests study of four films made in a establishment of MTNS MADE there is capacity to generate one-year period (2016-2017) has delivered real benefits to local productions. There are that they were supporting. The the film industry in the Blue several Blue Mountains four films were entirely made Mountains. Nevertheless, companies working in the in the Blue Mountains. All production opportunities are fields of animation and 3D were completed and still being missed. As Niddrie design (Taylor Films), video distributed across various recounts, recently a film could production (Falls Productions, international channels and not be made locally despite Wild Hive Studios), music and markets. Matt Drummond’s MTNS MADE spending three video recording and My Pet Dinosaur was months trying to find a postproduction (KFM Media). distributed worldwide and suitable space for the subsequently distributed via filmmaker, which was: Cinema, due to its industrial numerous airlines on DVD and scale and specialist on streaming services. Julia A space where they can back up technologies, is more reliant on Morris’ film Can’t I Sh#t In a truck and they can get out the clustering of creators, Peace? was a finalist at their gear and maybe set up a particularly in regions located Sydney’s Tropfest short film green screen. Physical space at a distance from production festival in 2017. Cul_de_sac is a where they can bring all their centres, such as Fox Studios in short film drama that is being actors in and do stuff for film. central Sydney. With the turned by the director into a But it would also require sound founding of the Blue series, and The Last Babushka dubbing facilities. Where they Mountains Creative Industries Doll screened at the St Kilda, can look at the rushes right there Cluster in 2013, one of the first Byron Bay, San Jose, Yonkers and maybe send them off to steps was to bring together New York and Lorne Film somebody. (interview 31 film and animation Festivals. These four films October 2019) practitioners. Included were generated around $13.5 million ‘local writers, costumiers, in turnover and have The challenge is to address the animators, directors, supported around 40 jobs in need for these kinds of space, producers, 3D modelers, the region, resulting in over $3 which may only be needed for voiceover artists, actors, digital million in wages and salaries relatively short periods, but effects specialists, designers, and over $5 million in value- which according to Niddrie event managers, musicians, added flow-on to the local ‘contribute to our economy composers, and sound economy. For these four film and also the sense of place and designers’ (Sandbach 2015: 4). projects, 'producers pride in what we're making up From these connections several acknowledge the role of the here, in the broader film projects were developed. cluster in facilitating local community’. Ann Niddrie of MTNS MADE producers, cast and crew'
72 illuminart. Local artwork and animation projections onto the Hydro Majestic.
illuminart
Multimedia artist Cindi Craig Laurendet because she and has a transformational aim Drennan is the co-founder and found that Sydney was ‘too at its core: creative director of illuminart, challenging financially to be an Beyond the spectacular, a company that creates, installs independent artist’ (interview illuminart’s visionary, and manages projection 29 February 2020). interactive storytelling and installations and permanent community engagement projects illuminated attractions that tell Drennan chose to work back are about reaching to the heart, ‘stories in light’. Working with and forth between both SA and and leading the transformation, local councils, museums and NSW, motivated by the of people and places. (MTNS businesses, the company’s broader creative opportunities MADE n.d.) process draws upon visual on the east coast for the arts, community development, growing team in both states. As creative director, Drennan digital media, creative writing Because Sydney is so difficult works with a large network of and illumination. illuminart for artists to live and operate creative specialists that was established in regional in, Drennan’s view is that the includes ‘artists, animators and South Australia in 2007 and choices are ‘Blue Mountains, projection mapping specialists’ now operates out of Adelaide Melbourne or Newcastle’. The to deliver projects around and Medlow Baths in the Blue work of illuminart is Australia and has a ‘mission’ Mountains. Drennan lived in associated with large-scale to employ artists based in NSW for 13 years, including outdoor festivals and art regional Australia. There are during her studies at the events as either mobile two full-time staff in the Blue Australian Film Television and installations (such as the Bilby Mountains, four busy casual Radio School (AFTRS) in at Penrith’s Real Festival) or staff in Adelaide, regional SA Sydney, and returning to projections onto existing and NSW. Adelaide to establish buildings. illuminart’s illuminart with co-director reputation has grown steadily 73 Drennan is also connected to evident in how the work of region. There are specific the Penrith area, having taken differently abled artists was challenges that Drennan advantage of the small presented to the wider arts acknowledges. The company is business training and community and in ways that heavily reliant on Internet mentoring offered by Western led to recognition and ongoing connectivity and has invested Sydney Business Centre (based engagement with those in various strategies to avoid in Penrith), which has added to communities and wider downtime. The need for the company’s capabilities. The audiences. The project affordable warehouse company has also worked with extended over a two-year accommodation to establish PCC on a number of projects, period and approached and maintain an ongoing including Real Festival, Digital inclusion as a creative creative lab is also crucial as a Salon and The GeriActivists, collaboration process. A high facility where the work can be which involved collaborating point of the work was a large- produced over a longer time with seniors from St Mary’s to scale projection onto the Joan period (i.e., that does not have generate ‘futuring’ models Sutherland Performing Arts to be removed at 17:00). While using 360-degree virtual reality Centre in September 2012. the company has recently technologies (illuminart 2020). Penrith City Council found one such space in the illuminart has received many committed to the project’s Blue Mountains with awards, including two at the continuation and formally comparatively low rent, the 2019 Australian Event Awards incorporated the No Boundaries tenancy is uncertain and, for the 2019 Adelaide Fringe Project into its disability action therefore, the scope for Signature project Yabarra – plan, maintaining the Visual development of the space and Gathering of Light; the 2018 Arts program of the project, related business may be Creative Industries Award at including two annual limited. The other issue is the Blue Mountains Annual exhibitions. The judges public transport: trains do not Business Awards; and in 2013 commended Penrith City always stop at Medlow Bath for PCC at the National Council for its commitment to and take over an hour to arrive Disability Awards for No Boundaries over the time in Penrith. Should Penrith ‘Excellence in Improving Social taken to produce the work, and wish to encourage artists from Inclusion' on the No Boundaries its evaluative process to the surrounding areas and Project. The No Boundaries understand the impact of the region, Drennan suggests that Project is described as: project. PCC evaluation found what is needed is a co-working that participants ‘emerged space that is near the railway an inclusive multimedia arts from the program feeling station that is more than a project demonstrating the confident, acknowledged and temporary hot desk, and is benefits of social participation proud of their work’. better set up for resting and through art for people with even overnight stays. The disability, the capacity of provision of such a space, technology to provide new Drennan suggests, would see a Challenges opportunities for participation, great improvement for and the influence their creative Penrith’s reputation as a illuminart is an example of a contributions can have for social cultural and creative hub for creative enterprise that inclusion. (illuminart 2020) regional artists and creative operates across state and enterprises. Many of the “co- national borders and manages No Boundaries Project was working spaces” offered in to have multiple sites of directed by Drennan and Sydney and Parramatta are activity. It is an example of a brought together a range of expensive and do not suit an creative enterprise that chooses partners that included Penrith arts practice, and Drennan its base location on factors City Council, the Sylvanvale suggests that opportunities for other than proximity to Foundation, Accessible Arts businesses and artists to co- markets. These aspects of NSW and artists and habit and co-create spaces in operating in a more global community members. The Penrith would be of more sense provide opportunities for merit of the project was interest to illuminart. creative producers in the
74 Music
Former all-girl punk rock band Violent Minx (Penrith) Live and Local Lockdown; Open Mic (Penrith) Music Hunter and other Blue Mountains Music Entrepreneurs Penrith Symphony Orchestra, Penrith Youth Orchestra, Choral Groups
The SGS Economics and Penrith hosted the who attend live music venues Planning report on cultural international franchise of ‘hard also go to festivals, with the infrastructure in Western rock’ festival DEFQON 1 in report noting that price, Sydney (2018) identified issues 2015, which attracted 25,000 awareness of events, and around music production and people (SGS 2018: 65) but was access to public transport were presentation in the region. discontinued following safety key ‘constraining’ factors (SGS While there is at least one issues for participants in 2018. 2018: 14). Data provided by making space designed for This attempt to differentiate Australia Council’s 2014 Art music in most LGAs of the types of musical offering and Daily Life research indicate Western Sydney, Live Music across the region could that music is the second most Venues were identified as a continue to be explored. popular artform of audience ‘specific gap in exhibition participation (after literature) spaces’ (SGS 2018: 99). The Live Music Office 2014 across Australia. It also notes Orchestral music activities in report into the Economic and that the age group of 15-24 has Western Sydney have largely Cultural Value of Live Music in the highest level of centred on the Joan Sutherland Australia provided an overview participation, with the 35-44 Performing Arts Centre in of live music production and age group having the largest Penrith, which as noted above attendance in Australia. The audience growth (SGS 2018: provides music performance report found that more 13). The relevance of these data and rehearsal space (SGS 2018: intimate venues and bars and for the Penrith and Blue 107). Katoomba is identified by clubs were preferred by NSW Mountains region concerns the SGS as a site for festivals, audiences as spaces to connection between young including music festivals such experience live music. Two people and participation in as Winter Magic (2018: 61). thirds of people from NSW music.
Former all-girl punk rock band Violent Minx
Michelle Catanzaro is a Senior Western Sydney University. October 2019). Catanzaro grew Lecturer in Design in the Her interest in cultural up in Werrington of Italian School of Humanities and infrastructure research comes parentage. Her parents Communications Arts at from being both a creative relocated ‘to the “Wild West”’ Western Sydney University. practitioner and academic. Her from Stanmore when they got She is also a Research Fellow in doctoral research used a visual married, and as Catanzaro the Young and Resilient approach via photography to explains: Research Centre and a map irregular cultural spaces Program co-lead in the Places and patterns of gentrification We were the first people to and Platform stream, also at in the Inner West (interview 23 inhabit a house on our street. 75 There were other buildings there style of punk rock and fearless acknowledges the impact of but they were all empty. We approach to mixing genres. the Western Sydney were at the forefront of the move ‘The Minx is the embodiment University’s fine arts degree to Werrington at the time as of the New York riot girl that she studied on this part of that original 'move west' movement in identity: urban growth in Werrington Australia’ (Australian specifically. My parents bought Broadcasting Corporation A lot of my friends who are an empty block and they built n.d.). Catanzaro’s story is one successful artists are graduates their house on it. So I guess I’ve that embraced and forged of Western Sydney University, grown up with that being very youth cultures around the first either arts or design. We do much a part of my narrative, of decade of the 2000s. While she come in contact with a lot of the this very proud of building was performing in the punk people who identify as creative something from nothing, band, she was also working at Westies and we get to capture starting from nowhere. the first Western Sydney skate that and we see that evolving. (interview 23 October 2019) shop in Penrith, and thinks (interview 23 October 2019) that the environment has As Catanzaro grew up she changed since then: She finds the closure of several became aware of the stigma arts programs at the University associated with growing up in At the time there was a lot of a matter of considerable regret Western Sydney, and tension around this kind of and a contentious decision specifically Penrith. But, that skater culture being introduced given the needs and awareness was counteracted in Penrith. And I think now accomplishments of creative by a resilience that she that's a non-issue. When we Westies. developed from being from the were teens it was like if you West, ‘And a pride of being a brought your skateboard down Westie as well’ (interview 23 the road it was a bit scary. Challenges October 2019). Catanzaro was Especially if you were going into part of Violent Minx, an all-girl Penrith Plaza. When I was One of the challenges punk rock band formed in 2003 about 14 I was at a gig at regarding creativity in the West when she was living in Penrith Melrose Hall, which was a really is to find those who self- and which stayed together big venue in Western Sydney in identify as being from Western until 2008. While she was the Emu Plains. There was a lot of Sydney as distinct from a only Western Sydney-based tension between different kinds broader ‘Sydney’. Catanzaro member, the band frequently of subcultural groups at the sees that there are more people played in Western Sydney. time. I’m not a young person now who are ‘reclaiming’ Venues included the Backdoor, living in Western Sydney now Western Sydney from an art as it used to be called, at so it's hard for me to speak and creative perspective. She is Penrith’s Panthers League directly. But I think that interested in ‘what it means to Club; Penrith and Rooty Hill aesthetically there’s a lot more be creative in Western Sydney’ Police Citizens Youth Clubs diversity, cultural diversity and and whether a distinct visual (PCYC’s), and many different subcultural diversity in Western and/or sound language might community centres around Sydney than there was prior to develop in Western Sydney. Western Sydney. the 2000s. (interview 23 Catanzaro views music as October 2019) ‘fundamental’ when The Backdoor was basically just considering cultural this very, very hot, small, tiny Through their research, infrastructure, including room that packed a lot of people Catanzaro and colleague working and performance in there. But Penrith was quite a Katrina Sandbach affirm the spaces. However, the hot spot especially for punk rock. importance of having the performance spaces need to (interview 23 October 2019) capacity to make art and have character and ambience, culture in the West, rather than requiring a rethink of what is Violent Minx also attracted it being imported. Both are already available: attention from Triple J interested in the identity of the Unearthed for their distinctive ‘creative Westie’. Catanzaro
76 Blue Sherlock for Open Mic and Penrith Producers. 77 It's actually the revalorised generate a more commercial • A venue whose hosts do spaces and regenerated spaces ‘feel’: ‘I think what needs to not run it solely for that already have identity. happen is a real focus on commercial gain. Already have a kind of history, a young people and cultural • A space operating under a memory. Craig [Donarski, CEO production at a really blanket of ‘invisibility’ and Casula Powerhouse, at the 2019 grassroots, youth-led discretion. Having a Western Sydney University level’ (interview 23 October tenuous relationship with Urban Research Week] was 2019). To this end, Catanzaro exposure, these spaces using The Servo [an has identified several teeter on the brink of independent music and arts characteristics of what she recognition and have an venue in Port Kembla] as a terms ‘irregular performance agnostic relationship with successful example. It's because spaces’ (Catanzaro 2014: 12), promotion. we're not going into that blank which are: space and going 'make this A certain characteristic of creative'. And I think as creative • A space that has irregular spaces is that they do practitioners, people are going to relationships with the night not stay fixed in one place for actually identify features that and darkness and ‘sleeps’ very long: these spaces then become part of their or has another role during embody temporality. practice and can actually feed the day. (Catanzaro 2014: 12) Such into that and make things more • A taken-over or claimed characteristics also provide a exciting. (interview 23 venue space that is not challenge to those in public October 2019) native to performance. office to establish new ways to • A space that deals with approach a more open, less It is less successful for political, experimental and confined environment for emerging and speculative alternative performance creative production. The Open creative practices when a subject matter, Mic project is an example of makerspace is ‘put down the encompassing ‘play’ and/ how this can occur. bottom’ of a new high-rise or ‘resistance’. (Chatterton development, as it would & Hollands 2003)
Live and Local Lockdown
Thursday Night Live, the continue to work at a time Thursday Night Live performer successful Penrith Council when traditional live events Jacob Ross of Covered in Cliches initiative aimed at expanding were not possible. Penrith acknowledged how “vitally the night-time economy and Mayor Ross Fowler OAM said important and special it is to supporting the creative arts, that artists, musicians and find a paid gig during was successfully moved online performers are an important lockdown”. The livestream after COVID-19 saw the part of the city and that performance enabled the band cancellation of its live gigs. Council would do whatever it to engage with audiences they Thursday Night Live - Lockdown could to support them. ‘There would not normally reach, Series was a six-week pilot are many industries suffering from as far afield as program but was extended to at the moment, but we know Manchester, England. The deliver a three-month live that the music industry has increased engagement has music program. Each week been one of the hardest hit, and been reflected in the group’s performances were broadcast we’re very happy to be nearly 200 per cent increase in live from Jovi Studios, a providing local performers social media followers and has professional recording studio with a platform to share their prompted enquiries for other in Cranebrook. music’, Cr Fowler said private livestream The online series provided an (Western Weekender 2020). performances. avenue for the creative arts to 78 Open Mic
The Open Mic project provides singing and playing, and can local business community and a way for musicians and be solo or small group. In the PCC for public park concerts in performers to establish case of this project, however, Penrith and St Marys, with themselves, enabling them to many underlying messages are concerts running from 5-8 pm acquire a ‘busking’ or Street being delivered, including how to attract the school-aged and Performers permit from to become a more professional working communities. Council to present live music presenter or street busker. Programming the concerts on the street. It has been According to Dimity Mullane, requires a level of curation, delivered in St Marys and City Projects Officer in the City however, and the delicate issue Penrith City Centre. The Renewal Team, PCC would of aesthetics or skill level project is an active engagement like to encourage more of it, judgement is not addressed. with potential performers and its message is being The role of Open Mic is not to wishing to gain experience and received: be an arbiter of taste or knowledge about the logistics judgement, but it is rather a We now have 60 registered of presenting live ‘true democratic project’ that buskers within our system performances in informal promotes cultural which would’ve probably not public venues. All ages are able participation. This sentiment eventuated if we just put it out to enjoy live music in an also underpins the justification on Facebook and said, ‘We want outdoor city centre location for PCC running the project, as buskers and for them to go to the supporting music outside the Mullane comments: website and apply for a permit’’. cultural and licensed venues. (interview 21 October 2019) This approach cultivates the We come from a fair and equitable standpoint. We see the talent of artists in Penrith and The staff benefited from this need to provide an equal and fair the region, providing a safe initiative because they were opportunity. I think we could and inclusive space to perform, able to, as Mullane comments, partner and look to some of the network with peers, and ‘actually work with people and [community groups or private develop relationships that are provide them with an tuition groups] to enhance it essential to any thriving opportunity to show their perhaps. (interview 21 October creative city. Open Mic skills’. This activity was 2019) promotes the new Street supported by staging, lighting, Performers Policy of PCC in a a Master of Ceremonies and a Therefore, PCC’s role is unique manner that builds a professional photographer. conceived as one of facilitating cohort of performers across the There have been three Open participation rather than local area. It is a well- Mic events since October 2018, setting quality standards. Open established open access attracting an age range of 9 to Mic offers a snapshot for those performance opportunity, 70, and music styles from in the local community where anyone can come up to ‘alternative hip hop to operatic interested in performing from the microphone and perform a performers’. Several of the the beginner to the short piece (8 minutes) – artists involved in Open Mic professional, and across all typically a musical piece or have been employed by the ages.
79 Music Hunter and other Blue Mountains music entrepreneurs
The Blue Mountains now has a audiences are ‘curious Music Hunter is just one thriving and diverse music explorers’ willing to experience example of promoters of scene. A cluster of small, the ‘joy of discover[ing]’ different kinds who create independent promoters in the something new. Music opportunities for musicians Blue Mountains, including Hunter’s strategy has been to and audiences in the Blue Music Hunter, Fusion develop an adventurous Mountains. Promoters such as Boutique, Music in the audience as a form of Benson can be located Mountains, and Live at the community building around somewhere between a purely Village, has enlivened and the experience of music. commercial enterprise and a diversified the live music not-for-profit tending to rely options over the past decade. The approach is nevertheless a on grants. The term ‘creative Unlike many places, the live business model. Benson does entrepreneur’ seems music scene in the Blue not encourage ‘free gigs’; appropriate to describe such Mountains is not built rather, artists should be cultural promoters. Thomas primarily on a few commercial regarded as ‘for profit’ in the Aageson sees the creative venues, such as hotels and sense of worth paying for. She entrepreneur as ‘providing a clubs, booking acts as a wants audiences to value bridge between creative talent supplement for poker machine music economically and to see and the market, what we revenue and alcohol sales, but themselves as ‘co-sponsors’ of might call “creative on the work of mediating, the musical environment. This consumers"’. These people entrepreneurial promoters who monetisation involves a invest a great deal in are embedded in local creative commitment to fair payment understanding the local market communities. Music Hunter’s for musicians, as well as to and tend to cultivate their own listing on the MTNS MADE supporting other creative aesthetic of cultural diversity. online directory reads: producers beside musicians, For Aageson, creative such as graphic designers and entrepreneurs ‘are risk takers, We curate innovative music sound professionals. change agents and resourceful events with a passion for Sometimes, other artists are visionaries’ who attempt to opening your ears to something employed to enhance the ‘create cultural value for both new. Live Music is a cost- aesthetic experience around creative producers and effective well-being plan. We’re music. Music Hunter organises consumers of cultural services your music matchmaking a range of different kinds of and products’ (Aageson 2009: directory … We can also provide musical experience, which n.p.). This view may seem you with impressive event could be in community venues, rather too idealistic a styling; from elegant to quirky. and so not tied to licenced conception of certain cultural We have our finger on the pulse premises. Different events or businesspeople, but it does for you. moments in events may describe a kind of attitude privilege either ‘the still around cultural promotion that Music Hunter is an example of listener’ or ‘the vibrant is at once ‘mission-focused’ grassroots music promotion dancer’. Benson’s interest in and ‘market-driven’. Mission- practice that has been curated event management has based investors can be willing successful in generating more also led her to involvement in to try ‘new models of risk and opportunities for musicians, as multi-art experiences such as return’ (Aageson 2009: n.p.). well as opportunities for The Art of Lunch, where music audiences to have better is combined with fine dining, Another example of creative experiences of music. Founded visual arts, and sometimes entrepreneurialism is Fusion by Meg Benson in 2010, Music fashion or poetry. She also Boutique, a music promotion Hunter has not only aimed to curated the Katoomba Live agency founded by Charity promote quality music, but and Local event (see Blue Mirow in 2009, which is also to promote a high-quality Mountains City Council described as ‘a boutique aesthetic experience around Initiatives). agency driven by a passion for musical events. For Benson, sourcing, presenting and 80 promoting national and high-quality work in a range of promotional activities that international bands and events eclectic styles at venues contribute to and support a with a diverse range of genres, including the Blue Mountains music scene, is important and a big focus on our local Theatre and smaller venues when considering ways for talent’. Fusion Boutique also such as church halls (Live at local and independent music to displays a wider interest in the Village n.d.). They have at contribute to further activating music as a means of enhancing times premiered new work, places. ‘regional development and the with the help of Australia reinvigoration of our existing Council funding, including The creative entrepreneurs that spaces and the creation of new Gary Daley’s Sanctuary and we have discussed take live entertainment Lloyd Swanton’s Ambon. considerable risks in venues’ (Fusion Boutique n.d.). Unlike the examples above, presenting artists in an Music in the Mountains is a Live at the Village professes to uncertain market, since they one-person operation that be a non-profit venture. Of are small players with little feeds on an intimate course, both profit and non- capital and do not own or connection with musicians and profit cultural ventures always control the venues. They face styles of music. Chris Cannell, carry risk. challenges in hiring venues who ‘is’ Music in the (costs, insurance, and council Mountains, has a very hands– No one knows this more than ‘red tape’, for instance) and in on engagement with musicians Bob Charter, a former hotel advertising events. in venues such as the Hotel operator whose Clarendon Blue in Katoomba, operating Hotel in Katoomba was the The challenge for councils is to the small sound system and linchpin of the live music scene consider ways to support live stage-managing the shows: for many years. For 25 years, music promoters who have a Charter has directed the Blue commitment to local musicians ‘I do this because I LOVE Mountains Music Festival, a and local audiences. Councils music and I don’t want to have three-day professionally could consider ways of to go to Sydney to see touring directed festival with local, facilitating such promoters, talent, so why not come along national and international such as simplifying insurance to one (or all) of my events and artists. The combination of arrangements and share in a gift to humanity – music business expertise and reconsidering rates for council live music!’ Love of music is alignment to community venues (these are usually the predominant value for benefits has given this festival pitched at either a high-level Cannell, but it is usually linked a remarkable continuity. Being ‘for profit’ rate or a relatively to a vision of a larger good. embedded in local social cheap ‘not for profit’ rate). structures — including a Such considerations could fall A promotional practice of a supply of over 300 volunteers within Blue Mountains City different kind is the Blue — has helped support the Council’s policy ambit to Mountains Concert Society, Festival’s development as a consider ways in which to which has a very long history major cultural event (Clements ‘allow greater flexibility of producing classical concerts 2018). around the temporary use of going back to 1966, when they sites, for festivals and presented the Suk Trio from Challenges events’ (BMCC 2020). Another Prague. The BMCS became the challenge for small promoters main organisers of classical is to generate better music concerts at the Blue These vignettes point to a rich information about events for Mountains Theatre Hub in ecology of entrepreneurialism the large potential audience of Springwood from 2015 (Blue supporting musicians and tourists who do not access Mountains Concert Society audiences for music in the Blue local media. More detailed n.d.). Live at the Village is a Mountains. For Meg Benson, information about events group of accomplished these small operators, who can through local tourism services professional musicians living create opportunities and ‘make and at key tourist areas would in or around Springwood who it happen’, are an often- provide important support for are committed to presenting neglected link in the creative all music promoters. chain. Understanding 81 Penrith Conservatorium Scholarship Dominic Hart.
Penrith Symphony Orchestra, Penrith Youth Orchestra, Choral groups
For the past decade, Paul people playing. Since the brass and percussion. The Terracini has been the Artistic inception of the PSO 30 years funding has been continued for Director and Conductor of the ago, there have always been a further three years. CEO of Penrith Symphony Orchestra musicians from the Blue PP&VA, Hania Radvan, (PSO), and of the Penrith Mountains playing in the observes the: Youth Orchestra (PYO) since it orchestra. The concerts with began as the Penrith Strings the Penrith City Choir and two amazing experience for those Program in 2015. He is an other choirs from the Blue kids to work with professional exemplar of the synergies and Mountains concerts can see 140 ACO players. And every time interrelationships between people involved. the Youth Orchestra performed Blue Mountains and Penrith as at one of the ACO fundraisers, I he lives in the Blue Mountains, The PYO was established as a have heard that [artistic where he works with a partnership between the Joan director] Richard Tognetti’s jaw chamber choir, The Academy Sutherland Performing Arts would drop and he’d say - ‘oh Singers, and also conducts the Centre, the Australian they can play!’ (interview 21 North Sydney orchestra, the Chamber Orchestra (ACO) and October 2019) Ku-ring-gai Philharmonic the PSO, with one of the aims Orchestra, which plays at The being to nurture talent to feed The cultural background of the Concourse in Chatswood. He into the PSO. The PYO was PYO members is also also teaches and conducts a established through a beginning to change, reflecting brass ensemble at the Sydney successful application to the a shift in the local population Conservatorium. The PSO Crown Resorts Foundation’s demographic, which now has a usually has 60 people playing Western Sydney Arts Initiative, sizable minority of Asian all year long. The PYO has initially as a string ensemble, families and young people. between 50 and 60 young which after three years became The PSO is mainly supported a youth orchestra with wind, through Penrith City Council 82 and receives a modest $30,000 performed in a concert with any more places for them to annual grant from Create NSW The Academy Singers in play. So, we keep getting better because of its Western Sydney Katoomba’s Saint Hilda’s and better amateur musicians. location, which means that the Anglican Church. It attracted a The PSO is a really good place PSO is compelled to pay some good audience and for many for current students but also ex- people some of the time. This may have been their first students to play if they've been is the case, for example, for experience of hearing a unable to get a professional some inner-Sydney musicians gamelan orchestra live. The playing job. (interview 21 from the Sydney event included a successful November 2019) Conservatorium, who may be workshop with the gamelan reluctant to come out to orchestra and a local The ultimate concern, Penrith otherwise. PSO is the percussion ensemble. This type nevertheless, remains that of orchestra that plays at The Joan of programming would work adequate funding for arts and more often than any other. in The Joan as well, although culture in Penrith and the Blue Once or twice a year, a reduced the PSO needs to be careful to Mountains. PSO is considered version of the Sydney retain the current mainstay fortunate in comparison to the Symphony Orchestra may audience which, as elsewhere, other orchestras in greater come to Penrith, and also is ageing and may be more Sydney because it has income when accompanying Opera conservative in terms of and is housed in The Joan. The Australia on occasion. The PSO musical taste, but has more spokesperson sees Penrith's plays the classical orchestral disposable income. The unique location as providing repertoire and also approach adopted to extend the rationale for supporting commissions new music, the orchestra and audience is Western Sydney because of the which is encouraged through carefully to program the reluctance of many Sydney awards, such as composer occasional experimental residents to travel there for prizes and an annual young composition within the cultural purposes: soloist award. traditional repertoire. The relationship with Western people from the centre of Sydney While the new live arts and Sydney University is evolving don't seem to think that Penrith entertainment venue in and its more experimental is getting any closer. I mean it's Chatswood, The Concourse, is composition focus could help a lot further from Sydney to now considered to be the best extend the PSO into musical Penrith than it is from Penrith in Greater Sydney, The Joan styles found in Asian, African to Sydney. And it's not remains a highly-regarded or South American cultures, changing. Doesn't matter. They venue for classical music which according to the PSO could build ten freeways and I concerts. At the same time, it spokesperson, may be an don't think it would make any should be noted that there is interesting possible direction difference. So that aspect is no large concert hall in the for the orchestra. always going to be there. Blue Mountains west of (interview 21 November Springwood. Currently, this 2019) means that only very small- Challenges sized concerts can be held in The vision of the PSO is to the Blue Mountains. To some One of the challenges facing have a core group of full-time extent, the dearth of this sector is the limited professional musicians based professional concert halls in number of professional in Penrith. The concept aims to the region has developed a employment avenues for have as high a standard of good flow of audiences and classically trained musicians, artistic product and of musicians between Penrith and as the spokesperson for PSO musicians working in areas the Blue Mountains. The observes: outside the capital as exist in potential for expanded and the capital. It is a system that more diverse programming is Australia keeps educating could build the PSO into a becoming more evident. In musicians at conservatoriums at semi-professional orchestra. December 2019, a Sydney- tertiary level and does not create based gamelan orchestra
83 Theatre
Q Theatre, Studio Q, Originate, Art/Science, Q LAB, Penrith Performing and Visual Arts, 597 High St, Penrith NSW 2750 Acting Factory Inc Penrith Region
Theatre practitioners are have been found to improve practitioners (2018: 12). located across Penrith and the young people’s social skills Western Sydney University Blue Mountains and are and emotional well- research also found that dance supported by the Joan and the being’ (ANA 2019b: 60). ANA and theatre were the least Blue Mountains Theatre Hub. also reinforces 2017 findings common activities among The history of theatre practice from Live Performance respondents, although 92 per in the region is one of grass- Australia that more cent of theatre practitioners roots dedication to presenting Australians attended theatre, had the highest high-quality, challenging and music and dance ‘professional interdisciplinary connection relevant theatre to those in the live performances than live (Stevenson 2017: 27). Capacity West. The established games of competitive ball and experience in the rigorous programs of The Joan also sports’ (ANA 2019b: 76). logistics and demands of a encourage experimentation theatrical production would and professional performance Despite the evidence of lend itself well to facilitate arts in the Blue Mountains. support, benefit and projects and events. The major Research by an independent attendance, SGS found that infrastructure need identified think tank for investment in theatre (including physical by Western Sydney theatre the arts, A New Approach, theatre and parkour) and practitioners was rehearsal reinforces the benefits of dance to be at the low-range of studio space for theatre (SGS performance and especially 12 per cent of Western Sydney 2018: 98). that ‘theatre, drama and dance theatre, dance and parkour
Q Theatre
The Q Theatre was established the company ran free weekend The teaching arm of the in 1963 by a group of six actors theatre workshops in areas company expanded and, by who contributed five pounds ranging from Sutherland to 1984, there were 150 enrolled each to form a theatre Castle Hill and Mount Druitt. students, and early company. The company By 1975, the Q Theatre appearances at the venue performed contemporary and company had outgrown the including by international often controversial theatre in AMP and, as rents in central actors Judy Davis and Toni the AMP Theatrette in central Sydney became prohibitive, Collette. The fortunes of the Q Sydney. The company grew the company decided to take Theatre rose and fell over the quite quickly and, by 1966, had up the offer from Penrith City coming decades due to 16 members and had presented Council to use the-then vacant increased emphasis on 17 original productions, going Railway Institute Building, ‘economic rationalism’, but on to receive federal and State attracted by the strong rose again with the reopening subsidies to continue to community feel of the area and of the Joan Sutherland expand their work. From 1976, local theatre and music groups. Performing Arts Centre in 84 2005. The Q Theatre had Blacktown Arts Centre, Urban 17 years old (Australian Plays acquired a new home in the Theatre Projects, Performance 2020). The production was 378-seat purpose-built theatre. Space, PACT and the Centre directed by Penrith resident In 2007, the Q Theatre D’Art Marnay Sur-Seine. He Rowan Bate, who also Company merged into Penrith has directed productions of manages theatre education at Performing and Visual Arts. Daisy Moon Was Born This Way, The Joan. Radvan explains that This short history is Frankenstein and Teacup in a Bate was Theatre Nepean- noteworthy for revealing the Storm for Q Theatre. In 2019, a trained when ‘WSU still had its legacy of challenging co-production partnership fabulous theatre program and independent theatre practice between Q Theatre and the is now the education person at alongside development Australian Theatre for Young ATYP’ (interview 21 October opportunities (McPherson People (ATYP) saw Bathory 2019). The Joan continues to 2015). Begins premiere at The Joan on invite him to direct, but he also 11 September. In 2020, ATYP commutes to ATYP because, as Nick Atkins continues this lost its four-year funding from Radvan observes, ‘You can't legacy as the current Director the Australia Council, so it will stay here and have an entire of New Work at the Q Theatre. be difficult to mount career. You do have to move Atkins is a graduate of UNSW productions of the scale of around. And Sydney's the kind in practice-based research, and Bathory Begins. This play was of place where people travel brings to the Q a very active co-written by Emme Hoy and ridiculously long distances for creative practice and contacts Greta Vella and won the 2017 work’ (interview 21 October developed through a range of ATYP Foundation Commission 2019). residencies, including with for a cast aged between 14 and
Studio Q Access Ensemble.
85 Studio Q, Originate, Art/Science
As a significant regional consolidate an interest in residency in the Mullins, cultural facility, The Joan takes creative production. With a funded through The Joan. its access program to a very focus on production skills Stalker is an internationally high level, with a dedicated through a workshop program successful immersive physical program for young people Originate provides the venue theatre company which aged between 5 and 18 years and the opportunity to learn increasingly integrates digital old who live with a disability. about producing a performance technologies into the It is a skills-based training work and crucially meet other presentation of its work program tutored by people with whom to collaborate. (Stalker n.d.). Stalker had professional theatre (Penrith Performing & Visual approached Penrith City practitioners in which Arts n.d.) Council for support to relocate ‘participants will be considered to Penrith if they could find a a “young artist” preparing for The Joan has also trialled an suitably large warehouse, rehearsals and independent series of events which unfortunately was not performance’ (Penrith and activities relating to achievable. While Radvan Performing & Visual Arts n.d.): scientific themes, which have concedes that it is not ‘their included dancers, musicians, speciality’, the arts and science Originate is a program which is visual artists, and strand is an area that is designed to assist the more choreographers. For example, continually being explored but vulnerable post-secondary David Clarkson, artistic ‘actually needs expert school age group in being able to director of Stalker, has a support’.
Q LAB
There is a wide range of students. To address the issue which provides opportunities programs delivered through of what support and for about six resident artists The Joan which focuses on engagement is available after per year to ‘make creative early career artists and school, Q LAB was developed space and time for the pathways for their creative to provide early career development of dynamic practices. The energetic way in programs and pathways. The projects at an early stage of which these programs are Director of new work at the Q their conception’. Notably, and delivered brings life to the Theatre, Nick Atkins, has unusually in Australia, the statements about the centrality worked to establish the residents receive a stipend of education in the PP&VA’s programs, which include along with a work space in the constitution. Through the Q theatre residencies that, as 100-seat capacity Allan Mullins Theatre, ‘education’ is treated Radvan, explains: Studio. Residents are also in a playful and professional matched with a dramaturg manner, offering audiences the support artists to make work (someone who advises on opportunity to experience that you weren't controlling script development and the provocative, inspirational necessarily. It was about their flow of a piece) and technical works from the region’s local individual artistic exploration. advice as part of the creative contexts. The Q Theatre aims (interview 21 October 2019) development process. Q LAB to ‘build pathways for aims to develop ‘independent established and early career Q LAB has been running since artists and projects in the local artists to train, experiment and 2014, encouraging cross Western Sydney area and the create’ (Penrith Performing & artform exploration (dancers, vibrancy that occurs’ (Q Visual Arts n.d.). The Joan composers and sculptors are Theatre 2020). Some of the generates theatre projects amongst its alumni) through work initially developed by mainly with school-age the annual residency program, the residents goes on to full
86 development, into production wrong kind of names. (Tongue Bedside Table’ went onto and presentation at The Joan’s 2017) further development in facilities. The female conjunction with Blacktown performance collective Black According to the Black Birds, Arts Centre. The work crossed Birds was established in 2015 their collective responds to: disciplines of physical theatre, by Emele Ugavule and text, music, comedy, and Ayessha Ash. The eponymous the lack of representation and digital media and was production was developed misrepresentation of Women of performed by Western Sydney during a Q LAB residency that Colour in the Australian arts and Blue Mountains artists. went on to be produced by Q industry [and they are proud to The model of the creative Theatre for its 2017 make] work that is productions that is developed subscription season, and was intersectional, interdisciplinary through the Q LAB is to be well received by Time Out and intercultural. (Black Birds commended, as it includes Sydney. Creative Arts Co.) essential aspects of the creative Another example of a cycle including strategy, Black Birds is a searing and production that also did not deployment of financial scathing look at the politics of shy away from understanding resources, access to physical blackness in a majority white social issues is ‘Bananas in the infrastructure, and expertise to society. The show is organised as Bedside Table’, which explores realise a project through to a series of sharp vignettes in ‘the impact of dementia and presentation in a high which Ugavule and Ash explore Alzheimer’s disease on visitation venue like The Joan. their experiences as Black families and the greater Q LAB also demonstrates the women in a society that community’. This production enhanced relationships that designates them as ‘other’ or was developed by Suzy Dunne can be developed across the ‘wrong’ – as having the wrong during her 2015 Q LAB region for creative production. hair, the wrong colour skin, the residency. ‘Bananas in the
The Acting Factory Inc
The Acting Factory was begun as part of the Q Theatre at the Penrith Regional Gallery incorporated as a non-profit run by Doreen Warburton and the Norman Lindsay members association in 2001 OBE, who was the sponsor of Gallery in the Blue Mountains, and is another part of the The Acting Factory until her as well as at the annual legacy of the Q Theatre. death in 2017 (The Acting Shakespeare by the River, Although the current Factory n.d.). A Shakespeare which attracts audiences from programming is that of workshop program in 1998 led across the ‘Greater West, Blue popular theatre and children’s by Brooks for Q Theatre and Mountains, Sydney Basin and pantomimes, The Acting Three Stage graduates gave beyond’ (The Acting Factory Factory first presented the rise to an ambitious, finely- n.d.). The members are controversial play by Graham tuned production entitled professional theatre Gordon, The Boys, which went Shakespeare, No Hold Bard. To practitioners who aim to on to become an award- publicise the performances, the enhance the local arts scene winning Australian film. The group needed a name and, and increase appreciation of reason for The Acting Factory’s since the Three Stage was theatre across Western Sydney existence in some ways mirrors housed in a factory unit in by fostering and producing the need for creative South Penrith, the name The new work relevant to the area. production (factory or Acting Factory was coined It is one of the focal points for warehouse) spaces today. The (The Acting Factory n.d.). theatre workers and offers association developed from ‘vital, affordable theatre to the Richard Brooks’ Three Stage The Acting Factory presents broad community’ (The Acting School of Acting, which had work across the region, such as Factory n.d.).
87 The Acting Factory cast in Dimboola by Jack Hibberd.
Challenges
In many ways the practitioners Acting Factory contributes to arena of experimentation in the who have access to the specific the more conventional theatre arts-science nexus that is theatres and programs of The ecology of the region and opening up through the Q LAB Joan, across all creative cohorts broadens the various ways in residency programs of young and emerging, early which practitioners can be contributes to the career and established, are in supported and encouraged. establishment of Penrith as a an enviable position. They are One challenge is to see these centre for cutting-edge creative provided with structured and works programmed on the production. To realise this supported access to work mainstages across Australia. potential fully, considered within a regional facility which The Western Sydney ‘border’ is investment of resources and has stayed (and improved a perceived or real barrier to adequate built infrastructure upon) the course set for it at wider audiences being able to and expertise are required. inception. Similarly, The see these new works. The
88 Visual Arts in the Public Domain
Modern Art Projects Blue Mountains non-traditional sites Sculpture at Scenic World Violet St and Cliff Dr, Katoomba NSW 2780 Independent activation non-traditional sites in the Blue Mountains Local Charm Werrington Youth Centre; Colyton; Cambridge Park; Londonderry; North St Marys Black Door Gallery 4/116 Batt St, Penrith NSW 2750
The highest level of national arts spaces which are primarily 102). Visual artists identified creative participation at 30 per individual studios that double the need for more visual arts cent is from visual artists (SGS as small, privately-run gallery studios, especially those that 2018: 12). There is a high level spaces (2018: iii, 80). The audit support sculpture and of cross discipline engagement undertaken by SGS found that ceramics production (SGS as 85 per cent of Western art centres were most likely to 2018: 98). Artistic projects and Sydney visual artists who provide visual arts facilities, initiatives can take place participated in the survey by including exhibition, dry and outside the confines of the Stevenson et al. (2017: 29) also wet studios. Whilst Penrith formal arts and cultural work in the design field. While Regional Gallery contains a infrastructure facilities (such as only 17 per cent of Western modest making space for the Blue Mountains Cultural Sydney residents attended a workshops, there are Centre and the Penrith gallery at least once during insufficient spaces for making Regional Gallery). The 2013-2014, there was an and storing visual arts in following visual arts case increase in attendance for Western Sydney. studies provide an insight into sculpture and installation art the ways in which artists claim (SGS 2018: 11, 12). SGS reports As with digital arts, alternative non-traditional spaces as a that the Blue Mountains has a spaces are sought to exhibit art stimulus for their practice. The large number of visual arts and mostly in public places, range of spaces afforded to events and that Western including council building artists working in Penrith and Sydney local government foyers, shopping centres and the Blue Mountains indicates programs and events directed community halls. Western the flexible ways in which towards children, families and Sydney University provides creative production can seniors most frequently some studios at the activate public spaces and involve the visual arts (SGS Hawkesbury campus and localities, and can encourage a 2018: 60, 61). The Blue modest galleries are located at wider range of audiences to Mountains also has a the Bankstown and Parramatta access artworks. substantial number of visual North campuses (SGS 2018:
89 Modern Art Projects Blue Mountains
Modern Art Projects Blue exhibition of contemporary, a collegiate environment Mountains (MAPBM), an multi-art in the Blue where people can respond to artist-run collective in the Blue Mountains, with the aim of work (interview 15 Mountains, was started by developing a new critical November 2019) Billy Gruner and David Haines agenda for contemporary art in and others as MAP (Modern the region. It exhibits the work With an expanding Art Projects) around 2010. The of its members and facilitates membership base of 37, which significant project that first opportunities to discuss it. The includes curators and arts drew attention to MAP’s current president, Fiona workers, the exhibitions can generate promising opportunities for discussion of arts and cultural matters. Davies sees the expertise of curatorial members, such as Tony Bond (formerly Curatorial Director at the Art Gallery of New South Wales) and Lizzy Marshall (formerly of Casula Powerhouse), as bringing a ‘strong curatorial direction which is an invaluable experience for all of us’ (interview 15 November 2019). MAPBM also generates opportunities for artists to work with others in unusual ways, such as transferring performative type skills to visual artists. ARTHouse is a Radio Blue Mountains program that is one avenue for broadcasting artists in conversation about their work, with the dual function of providing that content for their websites. Davies is ‘constantly surprised by how many people have heard me on it’. Anne Graham, “The Beehive Lady and the Beehive Observatories” in The Explorers: narratives of site in contemporary art practice. A more direct example of bringing performance into model was an open house Davies, describes this role as dialogue with visual arts was program, highlighting notable increasing the ‘rigorousness’ of Explorers: narratives of site in modernist houses in the Blue contemporary art practice. contemporary art practice, held Mountains from Springwood in and around the Woodford to Blackheath, as temporary We have what's called the Academy over October and spaces for the exhibition of 'show and tell platform' November 2017 (MAPBM contemporary art. MAPBM is a where we meet every six n.d.). The Woodford Academy not-for-profit incorporated weeks to two months and is the oldest complex of association which supports the three to four people will colonial buildings in the Blue development, production and present on their work within Mountains and is of State 90 Miriam Williamson, “Seeds of Empire” in the The Explorers: narratives of site in contemporary art practice. significance. Today, it is a art that is conceptual in its the Blue Mountains Cultural museum that offers an development is not just an Centre, an exhibition in the innovative program of site- object, because it translates atelier in Lyttleton Stores specific art events, into referencing ‘a whole funded by the Blue Mountains performances and talks on public, civil space’. The City of the Arts Trust and also monthly open days (National MAPBM model includes a an exhibition with Penrith Trust 2020). Explorers was two-day research development Regional Gallery. These moves funded by Create NSW and component prior to exhibition indicate an increasing profile invited artists responded to a and, when possible, a for the MAPBM collective. particular aspect of the publication from that event. In However, for Davies, her work Woodford Academy’s built the case of Explorers, art has often been presented heritage or of its social history. historian Dr Jacqueline Millner elsewhere: As Davies explained: wrote the catalogue essay and was interviewed for the local I see myself as a Blue Danica Knezevic wore her Blue Mountains paper, the Mountains artist. I also see grandfather's work clothes for Gazette: myself as a Western Sydney her [own] performative work, artist. Quite strongly. I've Ready to Hand. Her father was When artists enter a museum or probably had more instances of responsible for the outdoor historic house they work not presentation of my work in chores in their home. At only with collections but also Western Sydney. And have been Woodford, Knezevic cared for new ways of thinking. [They] provided with much larger the museum by doing the sort of have the potential to animate opportunities in Western male chores around the outside museums in novel ways, bring Sydney than in the Blue of the house, during the hours in new audiences and extend Mountains. (interview 15 the Academy was open. So she our thinking about things about November 2019) cleared the gutters, cleaned the which we may have become drain, washed the windows. complacent. (Blue Mountains Alongside the mainly self- (interview 15 November Gazette 2017) directed presentation 2019) opportunities, a key issue is In 2020, MAPBM will have an the expense and small size of Presenting works in such non- ‘expose show’ in the more studio space available in the traditional spaces shows that conventional ‘white cube’ of Blue Mountains. Davies 91 admires the Parramatta Artists’ property while Development the ‘mix’ are also businesses Studios (PAS) model as the Applications are in process. that work with artists. most successful of which she is Davies identifies spaces such Lyttleton Stores in Lawson is a aware. As discussed above, as the former Lawson Rural café that began as an organic supported by both local and Fire Service property and other food and home products store, State governments, PAS Other spaces like the Old where half the original space provides disused or Lawson Community Hall, which was allocated to homewares underutilised spaces for artists is a fantastic venue for and objects made within the to rent at minimal cost, and performative events. The Blue Mountains. It has now also runs an ambitious Braemar and The Hub, for expanded to accommodate engagement program for local example, could be interesting if paid seminars, workshops and residents. Davies says that available for low-cost temporary events. The salon type of councils could assist artists by use by artists. (interview 15 creative and cultural activities properly understanding which November 2019) generated by artists and local spaces they have that are businesses is an example of an temporarily vacant and realise Davies says that an annual call enviable key strength of the that artists don't necessarily for expressions of interest cultural life of the Blue want them forever. For would enable artists to take Mountains. example, artists would benefit advantage of interesting from temporary access to a temporary vacant spaces. In venues that may be publicly accessible.
Sculpture at Scenic World
Sculpture at Scenic World as regional Australia’s premier as providing opportunities for (SaSW) is the annual sculpture arts exhibition, Sculpture at artists to exhibit their work to exhibition that began in 2012 in Scenic World has certainly an expanded audience in a the tourist park, Scenic World. contributed to Scenic World’s unique way. While the It takes the form of a sculpture success over the past decade. A sculptural works for SaSW are trail through a spectacular 2019 visitors survey showed not produced in the forest, piece of rainforest in the that 55 per cent of Scenic neither can they be produced Jamison Valley, often described World visitors came from independently of the forest in the marketing as a ‘Jurassic outside the Blue Mountains, site. The sculptures are made for Forest’. Scenic World is a and said that Sculpture at the forest, more than about it. wilderness theme park, Scenic World was the primary They are a kind of gift to the combining natural landmarks purpose for their visit forest that also draws from the of the Jamison Valley and (Destination NSW 2019). forest. This relationship is technological experiences – the made clearer in this Skyway, a cable-car crossing a Natural environments have description of the winning steep ravine, and the Scenic often been understood as an work in 2013 by Blue Railway originally constructed inspiration for art (as in Mountains artist Daniel Kotja: as coal-mining infrastructure. Romanticism and its many In 2017, Scenic World achieved later permutations), or as a Reflect Phi (a monument) uses one million visitors in a single ‘value’ which it supports the geometrical principle of Phi, year for the first time (environmental art). In the case which recurs in the growth cycle (Australian Leisure of SaSW, the forest could be of plants, as the basis for the Management 2017). Scenic considered to be arts work. The sleek, multi-angled World’s use of art as an add-on infrastructure, and so it has the objects made from highly to its business demonstrates potential to enrich the polished stainless steel are the growing value of arts- experience of art and natural clearly at odds with the irregular based tourism. Recently touted environments at the same time curves of the natural world.
92 However, the mirrored surfaces impact on the landscape. From curator, arborist, reflect the environment in the first exhibition in 2012, environmental consultant and shifting planes, softening the SaSW sought to minimise soil technical coordinator) to work sharp edges and creating a impacts, and by 2019 qualified together. confounding dimensionality to for an ecological footprint These conditions or the object. Via these reflections certification of ‘zero’. This ‘affordances’ affect the very the sculpture both takes from result entailed rigorous conception of each work, and gives back to the site. procedures involving which would be necessarily (Priest 2013) compliance with Scenic imagined in response to the World’s own environmental forest’s requirements. As a site While one commentator management strategy and of artistic intervention, the considers that virtually all BMCC environmental forest initiates an ongoing works for SaSW have been site- regulation. Sculptures cannot working together where ‘hard’ specific (Scarlett 2017), Lizzy compact the forest floor, infrastructure – physical Marshall’s characterisation of suspended works should not spaces, management, rules and them as site-responsive might damage trees or vines, and regulation – meshes with ‘soft’ be more accurate. As SaSW is arborists ensure works do not infrastructure – creative organised as a competition, touch plants and trees by imagining, improvisation, care works are conceived in wrapping them with hessian and making connections. The advance but with regard to and other materials. Sculptures forest at Scenic World is arts possible locations, which must be constructed from infrastructure in the sense that themselves change constantly, organic, biodegradable or at it provides the conditions of just as natural environments least inert materials, so that possibility for SaSW. It is not do (Priest 2013). SaSW works they do not leave chemical or simply a space for works to be delicately within Scenic physical contaminants or placed, but offers ways for World’s claims to be presenting waste in the valley. The artists and those working with work within a pristine and transport of works to the site artists to engage with it ancient (Jurassic) landscape. In requires an equal level of care. materially, ecologically, this regard, SaSW has followed Achieving this environmental conceptually and aesthetically, a consistent strategy of outcome requires a and in sundry other ways. attempting to minimise its multidisciplinary team (artists,
Collaborative activation and presentation
Miriam Williamson is an mysterious place that engagement with the sound independent curator and everybody had heard of and and light artists in Kingsford creative community project very few people had ever been Smith Park. Williamson then organiser in the Blue to’ (interview 21 November worked with Katoomba Mountains. She produces 2019). Around 150 people came Neighbourhood Centre on exhibitions with artists who to that first event. A successful Melrose Park in North work with multimedia application to Create NSW Katoomba, the lowest artforms, presenting them in followed to realise The Altitude socioeconomic status area in under-utilised spaces that have Project, which had a theme of the Blue Mountains, to deliver some sort of cultural exploration of the sky. Linden a free day for children and the significance. Her first project Observatory and the parks in local community: was in partnership with Katoomba, named after Linden Observatory, which aviators Kingsford Smith and Dauntless Movement Crew was built in the late 1940s by Melrose, were the sites of three from Fairfield came for the day. Ken Beames, who crafted events which drew close to 500 The women and children from every aspect of the people in February 2018 (Blue the women’s refuge attended and observatory, including the Mountains Gazette 2018). the Katoomba Neighbourhood lenses: ‘It was sort of this There was a strong community Centre provided free food. That 93 was a fantastic way to end the variety of non-traditional project. (interview 21 exhibition sites is a way to Regarding creative production November 2019) diversify audiences, and also facilities, Williamson can see to generate future the value for artists in being These projects are small but opportunities. For example, able to access high-end audio significant in their innovative Williamson met Hania Radvan, and visual production approach to ‘activate’ spaces the aforementioned CEO of equipment that cannot be through artistic contributions Penrith Performing Arts and easily afforded at home. across the Blue Mountains Visual Arts (PP&VA), at the Affordable technologies, such region via a modest injection of events at the Linden as Arduino and Raspberry Pi, funds. In Williamson’s view, Observatory. This meeting, in are in demand at a domestic the Blue Mountains has a part, led to the formation of the level, but she values the wealth of ‘rather eccentric Nepean Science Hub, a importance of spaces where venues’. She also likes the network of partnerships people from the Mountains can freedom of working outside of between community and arts access film production and the institutions and has organisations, local schools sound recording equipment in observed, particularly in the and university campuses to a digital hub: past five years, the increasing promote more community number of professional artists engagement with science I know that's all expensive but moving to the Mountains. through programs and events that's the whole idea isn't it? Building on her previous in the Nepean region (Nepean There are artists up here now involvement with the Modern Science Hub 2018). A small who have left university and Art Projects group (see above), satellite group has formed they're hungry for coming Williamson has enabled around opportunities at the together in a group and working several events/exhibitions Linden Observatory and has together, and that sort of which bring together artists attracted sponsorship from collaboration with equipment at living in the Mountains who property developer, Celestino. their fingertips. And being able are increasingly supportive of One of its projects aims to to critique each other's work and each other and their practices: encourage the development of collaborate. And if you're not Astro-tourism across the connected to a university, you These are artists that just love mountains, and to utilise artist don't have access to it. these sites and become engaged responses as part of that (interview 21 November and help me out. I've got a great process, in order to highlight 2019) team of volunteers and people themes relating to the who will collaborate with artists environment and astronomy. It Penrith is 45 minutes by road and help them with their could, therefore, highlight the and/or rail from the mid- technology and so forth. benefits of a STEAM (Science Mountains and an hour from (interview 21 November Technology Engineering Arts Katoomba. As Williamson 2019) and Mathematics) approach to comments, the artists, innovation. Astro-tourism is a ‘absolutely would travel to Alongside such supportive burgeoning offering in New Penrith. They may not travel to networks is the need to have South Wales (Destination NSW Parramatta, but they would greater audience reach to move 2019) and aligning it with arts travel to Penrith. We're used to beyond ‘artists making work and cultural practice provides doing that’ (interview 21 for artists’ or showing work to an unusual form of place November 2019). the same people. The use of a activation.
Local Charm
Local Charm is a program run which creates public art, often to enliven local through the Place Management in the form of visual art on neighbourhoods. The program team at Penrith City Council exterior public walls, in order has been running since 2015 to
94 NCNS Youth Team Cranebrook Skatepark Mural for the Magnetic Places Program. express local ideas through known to it. Since that first And by the end he was public images which are foray, Local Charm has conducting pop-up workshops at developed with residents. delivered annual projects. their celebration, with people. Sometimes, the residents will Which spun me out because also play a role in producing The Colyton neighbourhood, when I first met him he came the work, depending on the which was the location for along to the meeting in St approach of the employed Local Charm in 2017, is a high- Marys with his girlfriend, as his artist. Local Charm is a type of traffic area where the support person, to chat to me. place activation that illustrates (interview 21 October 2019) what is important to local activation work extended groups. The initial project was through conducting Londonderry, the Local Charm at Werrington Youth Centre, workshops in parks and artist site in 2018, is a semi-rural with SPICE (aka Sharline placements in schools. A location, and so, as Hulme Bezzina), a St Clair-based, young aspiring but ‘shy as all explains, ‘it was different to internationally-recognised Hip get out’ artist, Michael, had our other ones because we Hop identity whose activities just finished high school and couldn’t just set up shop and include working wanted to work on creative chat to people, hoping that enthusiastically with young projects. Through the Colyton they’d walk by because people. This project also project, he was connected to everything's spread became an opportunity for the Magnetic Places grant out’ (interview 21 October staff from PCC’s Facilities and program and contributed 2019). The City’s Recreation department to significantly as an emerging Neighbourhood Renewal team understand the benefits of the artist to a project in nearby spent over 18 months slowly program to the Council. Oxley Park. As Cultural getting to know people, as Penrith City Council has Engagement Officer in anecdotally it is a place where expanded the number of artists Neighbourhood Renewal, residents could be considered to whom expressions of Donita Hulme describes it: ‘new’ even though they had interest are sent, as more local lived there for 20 years. The street artists make themselves Londonderry project was able 95 to engage an artist who lived bollards and also identified new artists, and to connect around the corner from the walls that she had always them to projects in order to site, which meant that the wanted to paint, on both sides. understand the quality of the mutual recognition of artist A greyhound dog, which was local experience for residents. and community encouraged a of symbolic significance for It links to the broader issue familiarity and trust that local residents, featured in the that Council’s City Activation, otherwise may have taken work, and Penrith staff think Community and Place longer to establish. that would not have happened Manager , Jeni Pollard, had a non-local artist been identifies, which is the need to The first year of the project involved. According to Hulme, attract and retain visual artists. produced porcelain ceramic the project has ‘provided an For her, the focus needs to be ornaments. Public workshops incredible focal point in a town on mechanisms to encourage were complemented by some where people can feel creative production, which at the primary school, where forgotten about by may include facility provision the children created ornaments Council’ (interview 21 October as a focus for creative and glazed them. At the local 2019). outcomes, and also to offer market people would string opportunities to draw artists them together for hanging later Local Charm is a community into communities. in the trees at the site of the arts and cultural development painted works. In the visual arts project that is following year, Christine supported through the time Huynh painted water tanks, 60 taken to meet residents and
Black Door Gallery
Black Door began in 1987 as a such as hospitality, Door Gallery renovations. The picture framing business that, construction, consulting, artwork is described as in 2015, expanded to include education and design. It is a referencing the Nepean River Black Door Gallery, database of accredited catchment, through the use of highlighted by its motto, Aboriginal and Torres Strait the colours of the Blue ‘Bringing Culture & Creativity Islander businesses, which can Mountains and images of the Together’ (Black Door Gallery be considered viable for Goanna, Snake and Eel, all of n.d.). The Black Door Gallery is private and public which are culturally significant Aboriginal-owned and procurement contracts (Supply animals of the region. Since managed, and showcases and Nation n.d.). The two arms of 2019, Black Door Gallery has sells Aboriginal and Torres the business – custom picture held Aboriginal Art Classes Strait Island artworks. As part framing and Aboriginal art with Dalmarri Aboriginal Art, of the authentication process, gallery - make Black Door a an Indigenous-owned Black Door Gallery is a unique commercial enterprise company that provides member of the Indigenous Art in the Penrith region, and it educational and engagement Code and is registered and was recognised as such as a opportunities relating to awaiting certification with finalist in the 2018 Penrith City Indigenous culture. It is led by Supply Nation. The Business Awards. Trevor Eastwood and Jason Indigenous Art Code is a Douglas, who met as system to preserve and firefighters in Western Sydney. The Gallery has a strong online promote ethical trading in presence through website and Indigenous art. Supply Nation Our fathers are respected elders Facebook pages which present is part of the movement to in their communities and are the development of the two increase the number and deeply worried their knowledge, businesses over time. Postings capacity of Indigenous skills and culture are not getting on the website include digital businesses able to supply passed down and are happy their mock-ups of the Indigenous professional contracts in areas artwork design for the Black 96 Black Door Gallery Penrith. into legacy continues with the work Australian Aboriginal and the importance of we are doing. DALMARRI Torres Strait Island people and Aboriginal culture. (Hampton comes from the meaning their amazing 2020) MEETING PLACE and is culture’ (dalmarri.com.au). The perfect for what we want to art classes are open to all The classes begin with an teach in learning, engaging and people, not only those of Acknowledgement of Country connecting to all communities. Aboriginal or Torres Strait and expectations about (dalmarri.com.au) Islander heritage. As the Co- ‘cultural respect’; they include ordinator Lee Hampton a lesson on the technical skills Dalmarri works with ‘people explains on Facebook: involved in the processes of from all walks of life’, painting Aboriginal art, and including corporate leaders The idea is to share our beautiful are run as fun social events and employees, primary and culture with as many people as with wine and food platters, secondary school students, and possible, in order to get an and a lucky door prize. The volunteer organisations, to understanding of the world’s frequently asked questions on introduce them to the ‘oldest oldest living culture, we share Facebook include one proviso, civilisation on earth, the our history through song and which is that non-Aboriginal art, this will give you an insight or Torres Strait Islanders !97 cannot sell their work as this teachers, uni students and of New South Wales. Two Blue would be ‘disrespectful’. In corporates’ (Hampton 2020). Mountains artists are also this way, the creative The Black Door Gallery represented by Black Door enterprise engages across represents artists from across Gallery: Ray Giles and Sue cultures, yet also provides Australia and from a wide Gasser (Black Door Gallery clear boundaries as to the range of Indigenous people, n.d.(a)). This listing provides protocols involved in including the Ngarrindjeri of an insight into the reach of the Indigenous art. In this way South Australia; Noongar of Black Door Gallery, and also Black Door Gallery contributes Western Australia; the larger artist population to the reconciliation process, Wangkumara and Yirrganydji across Australia that benefits and the classes appear to be of Queensland; Yamatji, from this creative (and popular, as Hampton reported Wiradjuri, Kamilaroi, and cultural) enterprise. a few years ago: ‘We had a Wamba Wamba, great mix of guests, including Noongaburrah and Dharawal
Challenges and Opportunities
In different ways, the case Penrith City Council, identifies study. More informal studies discussed here all a State-wide need, and so professional development raised the importance of opportunity, for professional opportunities could materialise extending mainly informal training for public art practice: with a change in the visual arts professional perception of the divide development opportunities. A big thing that's lacking is between the ‘Westies’ and the The examples describe there's no training for public art Mountains. Williamson different approaches that artists in NSW. If you want to reinforces the need for create ‘pathways’ into be trained as a public art artist, strengthening local geographic opportunities to extend artistic who specialises in that field, you connections and trajectories professional practice. The have to go to Melbourne. Or you alongside the role of local common thread is that all the have to go to Queensland. And I government to foster these projects are designed to think that's a whole new avenue connections. activate local community because it's becoming so amenity with quality artistic prominent here. And I know I would like to see some sort of outcomes, whether that quite a few professional public pathway. Some sort of flow. amenity be a temporarily artists and they are in so much Because there's a lot of artists unused architectural demand that they travel all over up here that, they've come from landmark, a heritage Australia and internationally. Canberra, they've come from environment, a science facility, Incorrectly, the perception is Melbourne. Not necessarily just or a local wall. The street art is that any artist can make public Sydney. And even to exhibit in perhaps less ephemeral than art. That is not the case as this is Penrith would be a stepping the other artforms, but each a specialist field with many stone to then perhaps exhibiting holds the purpose of engaging challenges. (interview 15 in Parramatta or eventually the in the public domain. November 2019) city. I think that's what's needed However, there is limited up here. And I see Penrith as a access to visual arts education really great area to do that. You opportunities in the region, as There are few Western Sydney know how there's a lot of focus is evidenced by the greater ATSI artists represented by on Parramatta? If Penrith had independent visual arts Black Door Gallery, which that same attention, if it builds a activity in the Blue Mountains presents both a challenge but production centre and there are because, in general, the artists also an opportunity to increase more people coming from the have been trained elsewhere. connections across the region. Mountains down, and [it would Karen Harris, Senior Cultural Investigating why this is the be beneficial] if it's looked at Development Officer of case is beyond the scope of this 98 more as a unified group by activities are, ‘more youth- spaces in transition and government agencies and by the oriented’. The need for TAFE promote the message to real arts in general rather than two to reinvest in the Nepean estate owners that some artists very different tribes. (interview campus is paramount because, see impermanence as 21 November 2019) ‘Courses have been cut. It's not beneficial. Cultural staff within the TAFE it was ten years Councils are seen to be of Increasing the transport and ago’ (interview 21 November ‘enormous value’ to communication links between 2019). This observation practitioners in terms of Penrith CBD and the reinforces the aims for creative brokering opportunities, such universities and TAFE, production facilities and ‘blue- as practitioner networking and particularly the Nepean sky’ industry developments making connections to campus, is seen as a way to through networking with available resources, including reinvigorate creative entrepreneurs described in the transparent mechanisms to opportunities that will begin to Digital Arts and Culture case allocate community and build activities if handled study of this report. The view Council-owned temporary or carefully. Williamson can see here is that local government more permanent spaces. further reach into areas such as could encourage short-term St Marys as beneficial if use by creative practitioners of
99 Writing and Literature
Varuna, The Writers’ House 141 Cascade St, Katoomba NSW 2780 WestWords Centre for Writing 91B Grose Street, North Parramatta NSW 2151
The SGS Economics and engage with — some 85 per identity of the Blue Mountains. Planning report on cultural cent, according to the Australia The mappit.net website that infrastructure in Western Council’s Arts in Daily Life maps the location of book Sydney (2018) identified report (SGS 2018: 12). From the settings lists 69 books set in the several factors relating to the vantage point of the Blue Blue Mountains, and the lack of visibility of literature Mountains, however, the lack Lambda bookshop catalogue and writing in the region. of visibility of writing and lists over 120 Blue Mountains These factors included the lack books scarcely seems an issue. books, mainly non-fiction — of bookstores in the region, of a The Blue Mountains has at and these titles are surely the ‘unified voice for the artform’ least 12 bookshops; the only tip of the iceberg. The Blue and of ‘coordination of significant venue for literature Mountains would seem to be activities of professional training mentioned in the the exception to the ‘cultural literature organisations’ (SGS report - Varuna, The Writers’ deficit’ regarding writing and 2018: 101). And yet literature is House - is located in literary output in Greater the artform that the greatest Katoomba; and books and Western Sydney. number of people in NSW writing are conspicuous in the
Varuna, The Writers’ House
Varuna was the home of writer writers’ house by the NSW Jacklin 2008). The model of the Eleanor Dark and her husband Minister of the Arts. The residential retreat was that Eric Dark. After the death of house, situated in two acres of writers would: Eric Dark in 1987, their son beautiful gardens, has five Mick Dark, who had inherited bedrooms and adjoining live and breathe their writing for the house, decided to gift the writing spaces, three two weeks, three weeks, four house as a residential retreat bathrooms, an extensive weeks: that sustains people. That for writers. A long process library, and living and dining sustains people for a year. They followed to ensure that the rooms, kitchen and laundry. make connections here that house could be supported as a Varuna’s original mission sustain their writing. They make writers’ house. In 1989, statement was that it should networks with other writers, and funding from the NSW provide ‘a unique environment they find pathways and points of government was given for a in which the best of Australian contact that sustain them. director and some literature may be created; and (Ommundsen and Jacklin administrative support. to support it with rigorous 2008: 18) Writers led by Richard Neville development programs and were active in fundraising for ready engagement with the Almost all Varuna’s programs the project. It was not until late reading public, fellow writers, are delivered on site. However, 1990, though, that Varuna was literary organisations and during 2007 Varuna worked officially established as a publishers’ (Ommundsen and with ‘developing’ writers from 100 Varuna writing space. regional Australia, people who competitive fellowships, set up support new writing in were deemed to be outside the in partnership with many response to the drought and cultural orbit of the metropolis. literary and cultural bushfire crises. Writers can The Varuna director travelled organisations across Australia, apply to stay at Varuna either to writers’ centres in NSW and are offered to support writers through one of the many across Australia to provide across different genres and at fellowship programs, or via the one-on-one consultations with all stages of their writing Invited Residency program. approximately 18 writers in careers. Successful applicants Each year more than 175 each location and offer advice are rewarded with a one to writers from across Australia on their manuscripts and the four weeks’ residential stay at benefit from the residencies pathways that might be Varuna. One of the fellowship and associated professional available to them schemes is the WestWords development at Varuna. It also (Ommundsen and Jacklin Fellowships for five emerging hosts a varied program of 2008). In this way, it was writers from culturally and events, including talks, Open argued that ‘the structure and linguistically diverse (CALD) Days, public lectures, writing pathways Varuna has backgrounds in Western workshops, masterclasses, generated, in strategic Sydney. There are three book launches and youth partnerships with writers’ international fellowships, the writing groups. centres and with industry, are a Kill Your Darlings fellowship crucial component of and fellowship partnerships In 2019 Varuna extended its Australia’s literature including with the Griffith local impact by presenting the infrastructure’ (Ommundsen Review and the Next Chapter inaugural Blue Mountains and Jacklin 2008). fellowship with the Wheeler Writers’ Festival. Funding Centre. In 2020, Varuna is also support was obtained from the The approach to developing offering five Writing Fire, federal government’s Building writers has been relatively Writing Drought Fellowships Better Regions Fund, Create constant over the 30 year for writers from regional NSW NSW, The Australia Council history. The wide range of and outer-western Sydney to for the Arts, and the Blue 101 Mountains City Council’s City featured a session on spoken word event that takes of the Arts Trust. Festival negotiating with publishers, place monthly in the stylish events took place mainly in establishing boundaries in Avalon Cocktail Bar in Katoomba’s Carrington Hotel memoir, and a talk by David Katoomba. Featuring a guest and the Blue Mountains Brooks on animals in fiction. speaker at each event, writers Cultural Centre. Participating The festival was an opening up are welcomed to share their writers included nationally to the Blue Mountains own works or read the works prominent authors such as community of the literary of others in a group setting. An Michelle de Kretser, Kerry world that Varuna has important program supporting O’Brien, Tishani Doshi, Tim cultivated over 30 years. children’s books especially is Flannery and Markus Zusak. the Pinerolo residency for There was a children’s Other Blue Mountains’ illustrators: Pinerolo is housed program and a program of intangible writer infrastructure in a private cottage in Shipley writing workshops – on is a Blue Mountains Writer near Blackheath in the Upper writing sentences, dialogue, group run by Writers NSW. Blue Mountains, and is owned experimental writing and so There is also the Blue by author and illustrator on, and the offer of a one–on– Mountains Fellowship of Margaret Hamilton. The one discussion with a Varuna Australian Writers Branch, Children’s Book Cottage also writing mentor. The Blue which was founded in 1973 in hosts exhibitions and schools Mountains Writers’ festival Springwood. ‘Hemingway’s programs, and is now a program delivered at the Blue Polydactyl Kitten Club & partner of WestWords. Mountains Cultural Centre Speakeasy’ is an intriguing
WestWords Centre for Writing
Regarding writing independent company with a Group, which meets monthly, infrastructure, relationships Western Sydney-wide remit. and the WestWords Academy, have started to change. The Initially, it was based at a year-long training and SGS report presented Varuna Information and Cultural mentorship program for Writers’ House as if it were the Exchange (ICE) in Parramatta, emerging writers and only significant writers’ before recently gaining its own multidisciplinary artists institution in Western Sydney premises, the WestWords between the ages of 16-25. (SGS 2018). There is now some Centre for Writing in emerging writers’ Parramatta. WestWords WestWords has set up Writers’ infrastructure in Western receives funding from Create Rooms in Katoomba and Sydney, apart from the ‘deep’ NSW, the Copyright Agency, Campbelltown. In Katoomba, immersion of the writers’ the Crown Resorts Foundation The Den 24/7 WestWords retreat. The Western Sydney and the Packer Family Writers’ Room was established Young People’s Literature Foundation. It has a strategic in partnership with an art Development Project focus on children and young gallery, Gallery One88, at (WestWords) was established people, and provides a whose premises the writers’ in 2007 to address the low level comprehensive program of room was housed. However, of literature development in workshops, residencies, after a number of months the Western Sydney. It was an fellowships and support for initiative was discontinued. initiative of the NSW writers to help stimulate The Writer’s Room in Government, and Blacktown distinctive voices and stories of Campbelltown continues to City Council was invited to the people, places and cultures operate with some support host the project in the initial of Western Sydney. For from Campbelltown City stages. In 2015, WestWords Pty example, there is the Council. The WestWords Ltd was established as an WestWords LGBT+ Writers’ Western Sydney Writers’ 102 Rooms are part of the NSW writers. The Penrith City investment to overcome. By Government’s Making Spaces Library organises a Teen Book contrast, the Blue Mountains initiative funded through Club and an occasional Teen has a relatively well-developed Create NSW. Writing Workshop; the South writers’ and writing culture. Penrith Neighbourhood Centre The Blue Mountains’ Challenges has a Creative Writing Group reputation as a writer’s hub that meets weekly; St Marys has been assisted by the The arrival of WestWords is a has had a Creative Writers existence of Varuna that has sign that a writing and literary Group since 2001, and Penrith attracted many writers to the culture is emerging in Western Library hosts some Sydney Blue Mountains. The launch of Sydney, although these Writers Festival events. In the Blue Mountains Writers’ beginnings are still fragile and partnership with Penrith City Festival will significantly require continued Council, WestWords also once enrich community engagement developmental support to organised a writing workshop with writers, writing and mature. There is no dedicated for year 7-9 students with literature, and can be writing infrastructure in award-winning author James expanded to benefit the writers Penrith, but there are several Roy. The image of this part of of Penrith and surrounding activities to support creative Western Sydney as a ‘literary areas. wasteland’ will take time and
103 Creative Co-working Spaces and Shared Facilities
Nauti Studios Hazelbrook 201 Great Western Highway, Hazelbrook, New South Wales 2779.
Creative Fringe Unit 6, 52 York Road Jamisontown, Penrith 2750.
Blue Mountains Tool Library and Artist Resource Centre (Toolo) 142 Katoomba Street, Katoomba 2780.
Co-working spaces are meeting rooms (Pollio et al. supported by the Blackheath becoming an accepted part of 2018). This trend has reached Area Neighbourhood Centre, the urban landscape as work is the Blue Mountains: five co- where people can also hire a progressively displaced from working spaces are listed with hot-desk space for remote traditional workplaces. A co- MTNS MADE. Some are work (Blackheath Area working space is a place with a ‘regular’ co-working spaces - Neighbourhood Centre n.d.). flexible layout where people that is, simple shared office Other co-working hubs are who are self-employed, free- setups. INDY MTNS Co- aimed specifically at creative lancing or telecommuting can working in Springwood is just workers. These include Z rent office space to work on such a shared office space, and Space Contemporary Arts their own businesses or its aim is to extend it to other Residencies in Wentworth professional activity, while Mountains locations (Indy Falls. This is a studio where an sharing facilities such as Mtns n.d.). Cyber_Shed in ‘arts holiday’ with tailored arts printers and photocopiers, Blackheath is more focused on workshops can be organised. kitchens and lounges, and digital literacy programs,
Nauti Studios Hazelbrook
Nauti Studios Hazelbrook is studio structure was created in Hazelbrook studios were the creation of Natalie Cheney, dialogue with users, ‘like constructed after friends an artist, builder and activist talking to lots of people and located an old building on the who works entirely on her seeing how much space they Great Western Highway and own. She had the experience of wanted and then deciding how asked Cheney to build a studio converting an old warehouse big to make the modelled on the Stanmore in Stanmore in Sydney’s Inner spaces’ (interview 11 October Nauti Studios. When she asked West to a shared working 2018). Cheney sought to if there was a demand for a co- space accommodating 30 achieve a balance of working studio, she was told, artists and creative producers professionalism and flexibility ‘there’s nothing like this up (Pollio et al 2018, 54-57). in creating the spaces for a here’. Building the Nauti According to Cheney, the specific mix of people. The Studios was ‘a lot of hard
104 The Creative Fringe.
this is a new thing. (interview Studios).Cheney sees catering work’ and a ‘huge risk’, not 11 October 2018) to this diversity as an exciting only because Cheney works on This account supports the challenge, even though her own, but also due to the recommendation in the Greater standard office spaces are more complexities of dealing with Sydney Commission’s Western lucrative. In 2019 prices at local government planners. District Plan to investigate Nauti Studios were $15 a day Creative co-working spaces (as ways to ‘reduce the regulatory or $59 a week for a six metre2 opposed to office spaces) entail burden for arts, creative and office space — far cheaper than a wide range of possible, temporary uses’ (Greater equivalent business co- sometimes ‘messy’ uses, and Sydney Commission 2018). working facilities. But for hence fall between zoning But, the problem is not only Cheney: categories - for instance, empathy on the part of between ‘light industry’ and planning staff to grasp what So it’s less profitable, less ‘exhibition’. These the creative worker is trying to lucrative but for me I find it classification problems make it do. The difference between more rewarding. (interview 11 difficult to work with planners regular and creative co- October 2018) who want bureaucratic clarity: working spaces is that the former are modelled on office It would be great to have that structures and have quite Challenges security and also to have that circumscribed forms – offices, understanding from town Creative co-working spaces hot desk areas, meeting rooms planners of say ‘My primary use certainly present challenges, so and the like. Hazelbrook Nauti is light industry, my secondary much so that it is doubtful Studios, by contrast, provides uses are entertainment, whether standard business workspaces for a diverse range exhibition’. I think a lot of people models would work as well. of creative producers, in creative work just end up Natalie Cheney’s description including people working in doing stuff illegally because of the kind of skill set required fashion, painting, art therapy, there isn't a classification that to develop and operate the massage therapy, illustration describes what they do because Nauti studios is very broad: and drone photography (Nauti !105 The Creative Fringe.
…carpentry to build stuff, I do a organisation. (interview 11 more manageable planning little bit of marketing, a little bit October 2018) and regulatory pathways to of advertising, administration, creating ‘mixed use’ accounting and bookkeeping, The development of Nauti workspaces; and the need to social media, like customer Studios is useful to grasp some incorporate strategies to enable service and correspondence, of the issues around shared this mix of professionalism and people management, just general creative spaces, including: flexibility in future creative co- management and upkeep, event understanding the demand for working developments. flexible spaces and the need for
Creative Fringe
Creative Fringe is a shared and share ‘the collective energy complex for developments that working space in Jamisontown of creative producers and to entail studio spaces. Anything near Penrith, and is specifically encourage communication, that involves activities designed to cater to the needs collaboration and classified as printing or of creative workers. Founder innovation’ (O’Connor cited in manufacturing encounter Debbie O’Connor has operated Sandbach 2015: 4). difficulties with some land use a successful design business, zonings. O’Connor considered White River Design, but This goal was a new idea in renting a space, but it would wanted to develop a shared Penrith at the time, and not have been possible to do an working space focused on O’Connor faced many hurdles extensive fit out and so would creative people. This ambition in developing The Creative have been ‘dead money’. It was grounded in her desire for Fringe. She initially looked for took O’Connor two years to the creative synergies that a space in Penrith CBD, but find a suitable space in a light come with clustering. What parking restrictions and industrial park in O’Connor wanted was planning requirements made it Jamisontown, 2.6 kilometres to something more than a co- too difficult and expensive. the south of Penrith CBD: working space and to harness Planning and zoning issues are ‘Which is why we're called the 106 Creative Fringe — we couldn’t creative producers’ (interview Recently, O’Connor has get into the city, so we're on the 22 November 2019). It has also launched an online creative fringe’. An extensive fit out proven difficult to attract network called Fringe aimed to enable a range of new creative workers that want to Connections: businesses, including creative invest in permanent working businesses, to share a space spaces, even to identify and The idea behind that is we want and perhaps work connect with creative to connect, collaborate, inspire collaboratively on projects. The producers in Penrith. and educate commercial artists Creative Fringe opened in O’Connor thinks that creative — well that's our space — 2014, with a vision to create producers in the area may graphic designers, and increase recognition of the struggle in having: photographers, videographers, ‘many more talented and marketers, that type of thing. creative people out in Sydney’s a mindset where they don't And visual artists — painters, West’ who ‘aren’t showcased want to have to pay for sculptors. Performance — so enough’ (O’Connor in something that they can get for singers, actors. And then also Sandbach 2015). free. I think that that comes makers — people who are down to the fact that people are actually making products and The Creative Fringe is large always asking them to do their selling them at markets and that and visually striking, with two work for free or to do their work type of thing. (interview 22 levels of quite distinctive for really cheap prices. Money November 2019) spaces (workshop spaces, becomes a big issue for these studios, office spaces, meeting creative producers and how they O’Connor is hopeful that rooms, and spaces for then spend it in what they're Fringe Connections can build relaxation) and lots of colour, doing. (interview 22 connections in Penrith as well walls and ceilings constructed November 2019) as develop a stronger creative from repurposed doors, producer presence at Creative painted slogans, and a She also encountered negative Fringe: ‘See if we can draw stairway like a colour chart. attitudes about The Creative them in because it's amazing O’Connor wanted to. ‘create a Fringe’s location in Penrith: the synergy that starts to space that, no matter where ‘We had people say there is no happen’. She recalls the you’re standing, you can see way I'm stepping foot in memory of the collaborative something that's always going Penrith’. O’Connor has worked dynamic that can develop: to interest you or engage you hard to establish connections or make you want to go - oh, I with creative people and to At one stage we had a want to photograph that, that's develop creative infrastructure copywriter in here and a cool, let's Instagram and opportunity for building photographer, and we landed up that’ (interview 22 November networks. The Creative Fringe working on a project where we 2019). runs workshops with built a website - so my studio is presenters who demonstrate the design studio - we designed Challenges art or craft techniques in and built the site, we had the drawing, resin art or photographer doing all the The Creative Fringe has dreamcatcher making. It does photography for the site, we had succeeded as a commercial co- the publicity for these events in the copywriter doing all the working space. Its permanent order to give presenters a writing. It was fantastic. spaces are fully subscribed, platform, ‘without having the (interview 22 November and the only vacancies are in anxiety and stress of trying to 2019) the hot-desk area. Yet, The get people in’. In 2015, The Creative Fringe has had Creative Fringe ran a series of The Creative Fringe is a challenges in attracting monthly professional testimony to the drive and creative clients. As O’Connor development workshops called vision of O’Connor. The co- puts it, ‘we've had to pivot and Fringe Benefits. While uptake working space is possibly the focus more on businesses that was initially encouraging, most extensive creative- want to work in a creative there was not enough support friendly shared working space, instead of only going to to sustain the program. environment outside inner
107 Sydney. The reasons for the involving creative producers in perhaps, to the lack of a difficulties that O’Connor has The Creative Fringe demands mature cultural ecosystem in encountered in substantially consideration. It points, Penrith.
Toolo
Blue Mountains Tool Library and Artist Resource Centre (Toolo)
The Blue Mountains Tool help facilitate an exhibition such industries practitioners’. Toolo Library and Artist Resource as a projector or a digital screen, Limited was founded in 2016 as Centre, or Toolo for short, is an something like that. (interview a not-for-profit limited intriguing model for creative 22 November 2019) company set up with tax enterprise and is run by the deductible gift recipient status. only paid staff member, Toolo is ‘an artist-run initiative It is conceived as a proactive Kathleen MacDonald. On first to supply resources and and sustainable enterprise that appearances it is a community equipment to the community, is not primarily reliant on tool library where members with a focus on supporting the grants, and that can initiate can borrow a ladder or a log creative industries’. A creative projects itself. splitter for a moderate annual sustainability ethic runs fee. A closer look at the tool through its various activities, Toolo projects and activities catalogue shows that the range but Toolo differs from other of items extends considerably sustainability and reuse The Tool Library serves as a beyond garden tools. Board ventures, such as Reverse resource for creative producers member Justin Morrissey Garbage and The Bower Reuse as well as the general public. explains: and Repair Centre in Sydney, According to Morrissey, in its focus on creative ‘Anyone can join the library Those resources are tangible, industries. As Justin Morrissey and get a lawnmower. OK, a hard resources. Things like the states, ‘it's a charity whose lawnmower's not a creative very things you need to produce objective is to further promote tool, but a performance artist work. So that is things like 3D the creative industries and could use it. But it's a way for printers, cameras, guitars, drill provide opportunities for the us to generate money, to kick presses, sewing machines. creative industries, provide back into having creative Anything that you need for that education to creative industries resources available’ (interview job, that one-off project perhaps, practitioners and provide 22 November 2019). or something that's going to resources for creative 108 The Kiosk: Mountains’. While there was initial aim is to raise $2 million some dissatisfaction at the through philanthropic Toolo’s membership has been ending of Toolo’s lease, The donations over 20 years for the strongly interested in finding Kiosk projects showed the use of creative producers in the ways to access studio space, viability of taking on disused Blue Mountains. There is no particularly where buildings spaces for creative purposes. doubting the ambition of the are under-utilised. Toolo’s scheme; as Morrissey notes, advocacy for creative resources The Digital Ecology Lab is ‘funds are rarely established and spaces led to an interest in described as ‘The Kiosk Mark with such goals’. the Katoomba Falls Kiosk, a 2’ by Justin Morrissey. Its aim State-listed heritage building is to address the lack of Toolo, like MTNS MADE, owned by Blue Mountains City creative education and training shares a creative industries Council that had been empty opportunities in the Blue approach. Recognising that for some time. In 2017, Toolo Mountains, particularly in the creative industries workers was able to lease the Kiosk area of new media and digital comprise a relatively high building at a reduced rent from technology (see the above case proportion of the workforce in BMCC; Toolo could then offer study of the digital arts and the Blue Mountains, Toolo three studio spaces for rent to culture). The Creative Equity seeks to maximise the benefits artists at a very affordable rate. Fund (CEF) was set up by of working collectively and to Artists were offered the studio Toolo with Bendigo Bank for build its own resources and spaces for short periods as a future development of the Blue infrastructure from the ground residency or to develop ideas Mountains’ creative industries, up. As Morrissey puts it: for exhibition. The period and is administered by the during which The Kiosk was Toolo Board of Directors. Arts organisations tend to get managed by Toolo — roughly According to the description caught and tied into that model one year — was a busy and on Toolo’s website, the of seeking government funding; productive time, with many Creative Equity Fund ‘seeks to ‘we never have any money’ is a activities being generated, provide a firm footing for the kind of catchcry of the arts. including exhibitions, artist tool library and fund for artists We’re called creative producers, workshops, and book launches by leveraging the equity and you need to be creative, so you attracting strong audiences. In interest on the fund to create need to generate money. collaboration with MAPBM, wealth within small (interview 22 November Toolo was able to access Create communities of rich creative 2019) NSW funding to support The resource’ (Toolo n.d.). CEF’s Kiosk 3x6 Project, a series Toolo exemplifies an of three intensive activist approach to curatorial building infrastructure to residencies held in the support the creative and last four months of The cultural industries in the Kiosk’s lease. Each Blue Mountains. At the residency was led by an same time, it has been artist-curator who careful to ensure that its worked closely with five fundamentals are strong; other artists to develop for instance, it has a complex multi-layered Board including a BMCC exhibitions, generated in Councillor and a team only six weeks (MAPBM not only of artists, but n.d.(a)). For Justin stakeholders with Morrissey, ‘The Kiosk expertise in law, was a very successful sustainability and reuse, project for the creative arts research, community industries. We saw major fundraising and artists visiting and EDACC (Energy, Data, Abstraction and Cognitive disability services. travelling to the Capitalism) Kiosk 3X6 Project Poster. 109 Real Festival. Jumping Girl Illuminated Bilby. 110 Findings and Recommendations
Penrith and the Blue • to encourage TAFE NSW Creative Spaces focuses on the Mountains are home to a and WSU to provide specific needs of creative growing cultural sector that is pathway programs with practitioners through Strategy poised to be more prominent industry experts, business 2: Expand and establish as the region’s population training and career regional creative hubs, nodes diversifies and grows. Artists development mentors to and digital facilities that are across all artforms make the assist in bridging the gap to coordinated by cultural staff to most of career opportunities in employment, professional lead and support professional the region. This research was career opportunities or development programs and conducted prior to the business ownership within networking opportunities. COVID-19 outbreak, but this the creative industries. means that planning for • to initiate informal Building Creative Capital creative production will be professional development identifies ways to enhance the even more important in opportunities to promote capacity of emerging and recovering from the major the connections between established creative shock of COVID-19. artists and creative practitioners in the Penrith and producers across the Blue Mountains region The key finding is that Penrith region. through Strategy 3: Increase and the Blue Mountains City the education and training Councils would benefit from Four key areas of attention and opportunities offered by continued collaboration five strategies have been institutions to deliver dedicated to fostering creative identified that will lead to comprehensive creative production across the region. greater creative production courses which include and development in the local employment/self-employment Activities to be considered as area and the broader region: pathway programs across the part of such collaborations Penrith and Blue Mountains include: Creative and Cultural Synergies region; and Strategy 4: Expand • the development of identifies complementarity and professional development and creative hubs where arts collaborations between Penrith collaboration opportunities and cultural practitioners and the Blue Mountains that promote Penrith and Blue can work, connect and through Strategy 1: Continue Mountains creative collaborate, supported by and strengthen the work that practitioners. professional development the two Councils have already programs, and involving begun both independently and Regional Resourcing opens a digital facilities for jointly, and advocate for new discussion about how these production needs in film, funding and partnerships to needs might be met through sound recording and media enhance and expand Strategy 5: Continue to actively production. opportunities for creative pursue cross-institutional • to advocate for increased practitioners in the region. partnerships that benefit the education and training growth of the creative and roles of TAFE NSW and cultural sector in the Western Western Sydney University Parkland City. in delivering comprehensive creative courses
111 Creative and Cultural Synergies
Strategy 1:
Continue and strengthen the work that the two Councils have already begun both independently and jointly, and advocate for new funding and partnerships to enhance and expand opportunities for creative practitioners in the region.
Between Blue Mountains City Council and Penrith City Council
There are many regional The 2015 Mayoral Arts and The Quarter is an opportunity institutions and multiple Cultural Summit laid the for significant arts and health cultural services activities. In foundation for how Penrith programs to be integrated as the Blue Mountains, these are and Blue Mountains Councils the precinct develops to focused on presentation with can work together, and with become a flagship exemplar in limited support for creative other local government areas the practice of arts and health production. In Penrith, The (in this instance, Hawkesbury initiatives. Students from the Joan, and to a lesser extent City Council) to broaden their region undertaking the (because of size constraints), perspectives to achieve a Western Sydney University Penrith Regional Gallery, regional impetus for the Master of Art Therapy at its undertake significant creative and cultural sector. Parramatta campus or Master programs of creative This is a strength to be built of Creative Music Therapy at production that invest in upon, and especially to ensure the Penrith campus would regional talent. It is sustained purpose, vision and benefit from placements in The recommended that a creative achievement. Quarter. The Aerotropolis production agenda is extended development will benefit across all regional institutions. Extending to other local enormously from the presence An increase in outreach governments of creative activity and activity within regional processes to enhance the institutions will expand The large, future-focused vitality of the precinct, but will cultural services activities technological industries that also enable a productive explicitly to enhance are widely anticipated to result STEAM (science, technology, infrastructure for cultural and from government investment engineering, arts and creative production across the through the Western Sydney mathematics) environment. region. City Deal, the Western Sydney This aim is also achievable Aerotropolis, and also in through Celestino’s dedicated Investment to support cultural Penrith’s The Quarter Health Sydney Science Park, a precinct production synergies between and Education Precinct, will aimed at lifelong learning with Penrith and the Blue require active partnership a STEAM focus. Mountains will benefit the between LGAs across the creative capacity of the region. region. It also necessitates Paving the way for expanded Much of the creative and cooperation with associated creative opportunities is likely cultural activity in Penrith and key industries, such as health to attract quality practitioners Blue Mountains occurs delivery, medical and given the unique inter- through the initiative of aeronautical technologies and relations of professionals dedicated artists, cultural design. already in the area, the practitioners, and staff willingness of students to be working across these Councils. educated and train in Penrith,
112 and the proximity to opportunities for arts and throughout the region - for employment opportunities that culture to be applied in example, across the Western will open up in this part of different settings, performance Parkland City, Blacktown and Greater Metropolitan Sydney. and exhibition opportunities Parramatta. As well as generating new could be developed
Recommendation 1.1: The PCC and BMCC strengthen partnerships with entities in Penrith’s The Quarter (Health and Education Precinct) and the Aerotropolis precincts, in continuing to pursue cross-institutional partnerships and opportunities for regional creative industries through the Western City Deal.
Co-working spaces
Whilst Councils contribute to To help overcome this barrier, a Both Councils could increase the income of artists and Penrith-Blue Mountains the number, size and duration creative practitioners, either cultural alliance could assist of use of spaces made available through direct employment or property owners to provide to artists and cultural workers. support programs, much of the subsidised spaces for creative time artists are not paid for practitioners by transforming their work and will struggle to under-utilised spaces into afford co-working spaces. creative hubs.
Recommendation 1.2: Councils review regulations to enable and support creative production spaces and consider broader utilisation of existing neighbourhood or community facilities for creative purposes, and in any upgrades or refurbishment programs engage with artists and cultural practitioners about their needs.
Arts entrepreneurs
The rich ecology of arts creative chain. It is important Councils also need to consider entrepreneurialism that for Councils to understand how they can support these supports, for example, these networks and activities small companies in ways that musicians and audiences for and their contribution to the benefit musicians and other music in the Blue Mountains, ‘scene’. artists and contribute to can be a neglected link in the activating places.
Recommendation 1.3: PCC and BMCC continue and develop their efforts to understand and address the needs of small-scale entrepreneurs, and attract new audiences, particularly visitors from outside the area, to events and other cultural activities.
113 Creative Spaces
Strategy 2: Expand and establish regional creative hubs, nodes and digital facilities that are coordinated by cultural staff to lead and support professional development programs and networking opportunities in the Penrith and Blue Mountains region.
Creative Technology Centre
The case study research facilities, and rushes screening element in the DiG program of identified the need to establish facilities. The Studio in Sydney PCC). a Creative Technology Centre is a State government-funded The Studio is a central Sydney in the region. and fee-paying organisation model and the research must that combines a recording be mindful that smaller hubs Film and screen media studio, green screen, and more dispersed facilities production facilities provided collaborative workspaces, and could be more appropriate in a in a Creative Technology meeting rooms for hire. The regional setting. PCC and Centre need to be flexible, and key is that the spaces are BMCC should collaborate to managed to allow for various activated as well as managed – establish film and screen media production sizes and offering courses, seminars and production facilities in the durations. They also need to workshops. The Studio also region. One option could be to accommodate production truck has prestigious resident explore working and/or access; equipment storage; companies which help draw partnering with the Sydney actor rehearsal and filming others to make connections Studio to form a Western spaces; green screen facilities; with it. It is held up as a useful Sydney Studio. sound recording and dubbing model (and was a successful
Recommendation 2.1: Establish a major regional Creative Technology Centre in Penrith servicing the Nepean and Blue Mountains that is co-designed with creative producers in the region.
Regional Arts Centres
Penrith Regional Gallery is a increase accomodation of It is important that PCC, modest-sized suburban gallery already vigorous educational, BMCC and The Joan that plays an essential role in professional, school, and collaborate to ensure that any supporting visual arts practice outreach programs. proposed cultural and outreach programs in As Penrith grows it will also infrastructure includes Penrith and the surrounding need to consider establishing purpose-built space for region. However, limited space more exhibition spaces in its contemporary production, is a critical issue for the centres performance, and exhibition Gallery. Expanding the similar to the multi-artform Gallery's footprint would complex Carriageworks in Redfern.
Recommendation 2.2: Explore options for easily accessible galleries and exhibition spaces in Penrith centres.
114 Tertiary education: TAFE and Western Sydney University
Penrith City Council has a build relationships with The DiG Space Program and good working relationship and national and international the Digital Ecology Lab connection with TAFE and cultural organisations, projects have demonstrated Western Sydney University entrepreneurs and creative that there is demand for through Council’s Cultural professionals. The need for the TAFE NSW initiative to Development. Over the years TAFE to reinvest in its Nepean develop and resource creative many partnership initiatives campus is paramount. The production facilities and start- and projects have been formed potential for the TAFE up enterprises (see the digital for creative professional Wentworth Falls or Nirimba arts and culture case study). development. These are campuses to establish a sound The Kingswood Campus of important relationships that production course with Western Sydney University should continue to strengthen successful Katoomba AV hosts Launchpad, which could the connections and provider, KFM media, is an be approached to extend its partnerships with TAFE and example of a productive program to become a creative WSU. There are further partnership which should incubator (Western Sydney opportunities to connect and progress. University 2020).
Recommendation 2.3: PCC and BMCC continue to advocate to TAFE NSW and Western Sydney University to develop and resource creative production facilities and to support start- up enterprises.
Spaces for Creative Production
Penrith and the Blue and cultural practitioners to Council, Blue Mountains City Mountains City Councils make culture within an Council and Blue Mountains regularly support projects that interactive system of mutually Economic Enterprise 2020). activate local community beneficial and generative It was found that suitable amenity with quality artistic relationships with other production spaces are needed outcomes, whether they be a cultural producers, presenters to attract creative practitioners temporarily unused and users (Holden 2015). from Penrith and the architectural landmark, a Programs associated with co- surrounding areas. These heritage environment, science working and making spaces spaces might incorporate facility or a local wall. It is well that encourage connection, meeting spaces, but it is established that the provision collaboration, and education important not to expect one of different types of cultural are demonstrably effective in building to satisfy the needs of space, including production attracting the interest and, all artists and cultural and presentation hubs or eventually, the commitment of practitioners (see the Regional workspaces, attract different cultural workers. The lack of Cultural Institutions – The types of creative practitioners creative production space in Joan Sutherland Performing and can lead to the the region was identified by Arts Centre section above). While short-term artist spaces development of a regional both the case study research have been productive for cultural ecosystem. A cultural for this project and in the exhibitions in the Blue ecology implies a thriving Creative Production Enablers and Mountains (e.g., The Kiosk), ecosystem that enables artists Support Survey (Penrith City longer-term facilities are also needed.
115 Recommendation 2.4: Establish a range of affordable makerspaces and adaptable studio spaces in collaboration with artists and creative practitioners.
Training and performance centre
There are many independent The absence of available, established that aligns with dance studios operating across affordable and suitable Penrith's positioning as an Greater Western Sydney infrastructure is limiting ‘Adventure Capital’. Relevant providing access to dance, training and presentation federal government funding physical theatre and circus opportunities. To complement opportunities, such as the training to all age groups, and expand existing cultural National Institute of Circus particularly school-age offerings, as well as providing Arts’ outreach program Social students. a point of difference, a circus Circus, should be taken into school, for example, could be account.
Recommendation 2.5: PCC and BMCC collaborate to establish a unique training and performance centre, such as circus and physical theatre in the Penrith area.
Building Creative Capital
Strategy 3: Increase the education and training opportunities offered by institutions to deliver comprehensive creative courses which include employment/self-employment pathway programs across the Penrith and Blue Mountains region.
Education
The decision over 20 years ago continue to raise this issue be reintroduced and to create by Western Sydney University with the Vice Chancellor of new learning pathways in continues to be felt as a great WSU, and lobby for visual arts, creative and performing arts at loss. BMCC and PCC should theatre and dance education to its Penrith campus.
Recommendation 3.1: Encourage TAFE NSW and Western Sydney University to provide pathway programs with industry experts, business training and career development coach/ mentors to assist in bridging the gap to employment, professional career opportunities and or business ownership within the creative industries.
The limited access to visual regard to public art, which practitioners to relocate to arts education opportunities in currently requires students and Melbourne or Brisbane. the region is heightened with
116 Recommendation 3.2: Encourage Western Sydney University to reintroduce theatre, dance and visual arts education and introduce a public art and sculpture program for the Nepean region.
Schools
Penrith is home to a Creative School, but it is neither well local region’s and Performing Arts High known nor integrated into the cultural milieu.
Recommendation 3.3: PCC and BMCC partner with Nepean Creative and Performing Arts High School to expand its creative reach and support young performers, musicians, designers and artists by working with local creative practitioners.
Strategy 4: Expand professional development and collaboration opportunities that promote Penrith and Blue Mountains creative practitioners.
Institutions
Both Penrith and the Blue (outlined in the music case Opportunities should be Mountains City Councils study above) is a model that explored between NIDA support various performing can be expanded across other (National Institute for the and visual arts professional institutions. Providing Dramatic Arts), for example, development opportunities presentation and development and The Joan to provide that create ‘pathways’ to opportunities to artists and support for the education of extend artistic professional directors is a key strength of regional talent and to extend practice. The partnership The Joan. However, there are The Joan’s network of between the Australian limited numbers of professionals. Chamber Orchestra and professional artists and Penrith Youth Orchestra directors in the region.
Recommendation 4.1: PCC and BMCC undertake discussions with a number of leading state and national creative institutions and cultural organisations to expand their professional development and collaboration opportunities, particularly aimed at increasing career pathways in the region.
Mentoring and professional development
The twin areas of mentorship Those practitioners who have infrastructure. They are and professional development access to the specific theatres provided with structured and are a strength of Penrith’s and programs of The Joan supported access to work creative and cultural programs, across all creative cohorts of within the regional facility. and could form part of the young and emerging, early This provision, as a model, framework of a future PCC career and established, are could be extended to other arts cultural policy and strategy. strongly supported with good and cultural sectors.
117 Classical Music (Penrith Symphony Orchestra, Penrith Youth Orchestra and Choral Groups)
There are limited professional the PSO into a semi- sponsorships could be sought employment opportunities for professional orchestra. to enable the continuation of classically-trained musicians Penrith Conservatorium and the Penrith Music Network. because, while conservatoria The Joan are working to build Many WSU students are provide excellent training, it is closer connections with the employed at the Penrith not matched by a growth in Western Sydney University Conservatorium as tutors; classical music companies. The music precinct on its however, the career pathway members of the PSO are Kingswood campus including, post-graduation for these mainly employed in other for example, by co-organising practitioners is uncertain. occupations and are, therefore, the Penrith Music Network limited in their availability to Forum. This was held in 2019 The WSU Music Precinct is an rehearse and perform. PCC with the aim of demystifying important asset for Penrith's and BMCC could work with the music industry and developing music scene. The the PSO to establish a core identifying career pathways focus of the precinct is to group of full-time professional and options and was funded provide education across many musicians based in Penrith and by PCC’s Cultural music styles and forms, such as the Blue Mountains. This Development section through jazz, contemporary music and arrangement could establish the River Walk Foundation screen composition, as well as the foundations for building Grant. The connection with research opportunities in so- WSU is productive and called ‘world music’.
Recommendation 4.2: PCC and BMCC work together with PP&VA, WSU, PSO and the Penrith Conservatorium to support and advance musicians' and composers' professional development and the growth of the region's music scene.
Writing and Literature
The arrival of WestWords is a By contrast, the Blue enrich the engagement of the sign that a writing and literary Mountains has a relatively community with writers, culture is emerging in Western well-developed writers’ and writing and literature and Sydney, but these beginnings writing culture. The launch of could be encouraged to are fragile and will require the Blue Mountains Writers’ develop outreach sessions in continued support to mature. Festival will significantly Penrith.
Recommendation 4.3: PCC and BMCC establish a regional writing program that builds on existing Blue Mountains writing networks and supports an increased presence of writers in Penrith.
Providing and enhancing opportunities for young people
PCC and BMCC are not alone opportunities for young people working towards this end and in being challenged to address living in the region. Many have, as described in the City the need for employment cultural projects supported by Council Initiatives section of the Councils are actively this report, achieved some
118 success. These projects are circumstances. The largest overall attendances, it has valued by young people investment by PCC in public struggled to attract many from regardless of their socio- cultural programs is the Real the 18-25 year old economic background or Festival, but, despite increasing demographic.
Recommendation 4.4: Provide an increased focus on the needs and participation of young people when programming Council-led events and creative initiatives.
Opportunities to involve within any program for young for the PCC and BMCC experienced and senior artists artists is another proven way creative alliance to generate productive collaborations.
Recommendation 4.5: PCC and BMCC establish intergenerational creative practitioner mentorship programs.
Regional Resourcing
Strategy 5. Continue to actively pursue cross-institutional partnerships that benefit the growth of the creative and cultural sector in the Western Parkland City.
Federal and State future intentions. Penrith and government Partnerships Blue Mountains City Councils should jointly fund programs through the Western Sydney Funding for the arts and PCC and PP&VA are to be City Deal Health Alliance. This culture in Penrith and the Blue commended for a strong creative alliance should Mountains is inadequate. culture of partnership consider joint funding for Whilst the share of local development, with an regional creative and cultural government funding in arts extensive range of partners. programs. and culture needs to be Partnerships with increased, the philanthropic benefactors The cultural grants programs emphasis must be placed on should continue to be nurtured run by PCC benefit the whole increasing State and federal to maintain and expand the LGA and, therefore, the arts funding. The emerging creative sector across the guidelines, eligibility and Aerotropolis, government region. attention under the Western advertisement of the programs Sydney City Deal, and the should encourage applications Local Government support for existing regional from a broader range of facilities provide opportunities regional cultural entities. The development of a strategic for leveraging investment in cultural alliance between the creative production facilities Creative practitioners City Councils that underlines and cultural infrastructure. the complementarity of Dedicated commitment across cultural production and Creative practitioners are the three tiers of government, presentation across the region seeking alternative ways of such as through the Western would formalise the creative addressing their financial Sydney City Deal, will be and cultural relationships, and needs, especially in such a needed to realise these send a strong public signal of tight funding environment. opportunities. One such example is the 119 Creative Equity Fund (CEF) (in government funding to work example, could easily continue partnership with Bendigo with Western Sydney arts with an allocation of modest Bank) to develop the Blue organisations, and which funds. The Magnetic Places Mountains’ creative industries. expect underfunded local grant program could also be The CEF aims to raise $2 entities to ‘partner’ with them expanded to stimulate creative million over 20 years through to deliver the projects, activity. Publicising the philanthropic donations for the essentially as an in-kind availability of funds creates use of creative practitioners. contribution. The PCC and more demand and awareness This bold idea highlights the BMCC alliance needs to raise of the benefits of locally- potential of alternative funding this issue directly with Create produced creative projects. models that support cultural NSW and the Australia practitioners who work Council, and seek to have the Extending the existing collectively to build their own funds directed to their regional program to market PCC resources and infrastructure. institutions which, in turn, can creative grant schemes to PCC and BMCC could work initiate and manage their include the grant programs of together with financial engagement with the Sydney- Create NSW and the Australia institutions and based institutions. Council would help philanthropists to support the disseminate knowledge of creative workers in the region. Funding art practices those grants and perhaps address the very low numbers There have been several cases of grants going to artists in the PCC tends to rely on external of major Sydney-based cultural Penrith LGA. funds to support projects. The institutions receiving special Music Pathways program, for
Consideration of planning, property, location, transport access, facilities
Many artists, writers and other from the surrounding areas creative hub for regional artists creative workers want more and region will be attracted to and creative enterprises. than an office-type, co-working a co-working space that is near One of the challenges is to find space: they wish to a railway station, has reliable artists and creative workers communicate and collaborate Internet, is more than a who self-identify as being from with other artists and cultural temporary hot desk, and can Western Sydney as distinct practitioners. They also value be set up for resting and even from the broader ‘Sydney’. suitable, comfortable co- overnight stays. This challenge relates to the working spaces and affordable Penrith area, in particular. overnight accommodation. This research identified Penrith Artists and cultural workers as a potential cultural and
Recommendation 5.1: PCC and BMCC continue to profile and celebrate home-grown creative practitioners and engage with other City Deal councils to promote regional creative practitioners.
Parking restrictions, planning requirements are often also zoned for some business requirements and expensive barriers to the developments of purposes. rent and property in the studio space. For instance, Penrith CBD and, increasingly, anything that involves To address these issues the Blue Mountains, restrict the activities classified as printing effectively PCC and BMCC development of co-working or manufacturing encounters need to implement the spaces. Planning and zoning difficulties in those areas recommendation of the Greater 120 Sydney Commission to regulatory issues, both that entertainment and investigate ways to ‘reduce the Councils could jointly develop exhibition are secondary regulatory burden for arts, awareness training for functions in that they are creative and temporary planning staff in order to necessarily preceded by uses’ (Greater Sydney ensure that they understand production processes. Commission 2018). Both the dynamics of creative work, Councils need to examine, and its needs and benefits. For Creative expression - including alter if necessary, their example, to understand that public art, sculpture and planning and zoning primary cultural production informal performance spaces requirements to encourage often occurs in a light- should be encouraged in creative take up. Apart from industrial environment, and Council planning documents.
Transport issues
Public transport is infrastructure and the by creative practitioners. unreliable in parts of the cultural and creative There is also a need to Blue Mountains and the industries, but the need for improve public transport service is inadequate enhanced public transport links between Penrith CBD, beyond the Penrith CBD. by the Greater Sydney Kingswood TAFE campus This is, of course, an issue Commission identified and the Penrith campus of that goes well beyond arts continues to be reinforced Western Sydney University.
Recommendation 5.2: Each Councils’ respective transport planners consider the accessibility, efficiency and frequency of public transport across the region with a view to better servicing creative practitioners and cultural facilities.
Digital Connectivity
The Blue Mountains is home other than proximity to be addressed. Interviewees to creative enterprises that markets. Operating across have reported frequent operate across State and geographical boundaries Internet downtimes in the national borders and which provides opportunities for Blue Mountains, which is have multiple sites of creative producers in the expensive for individual activity. They choose their region, but there are enterprises to remedy. base location on factors significant issues that must
Recommendation 5.3: PCC and BMCC advocate for reliable and affordable internet connectivity with service providers and government as an essential element of cultural infrastructure.
121 Q Theatre The Ugliest Duckling.
Further Considerations
Creative and Presentation Spaces
The research also revealed achieved through the must allow for multiple further areas of attention for refurbishment of existing artforms and adaptable uses. PCC and BMCC to consider in buildings to include creative relation to fostering and practices and cultural services. The cluster or flagship should developing a broad range of Another option is to build a extend into the arena of creative and presentation flagship structure which will experimentation in the arts- spaces. make a very strong impression science nexus that is opening on the cultural and physical up through the Q LAB Multi-purpose and artform landscapes, but will also residency programs. spaces require significant negotiation Considered investment of and dedicated resources. The resources and adequate built
best way forward is to aim for infrastructure and expertise is A diverse mix of creative, both options and to place the required to realise this exhibition and meeting spaces flagship structure as part of a opportunity. This initiative would generate a dynamic 10-year plan, while acting would contribute to the social and creative immediately on the cluster. establishment of Penrith as a environment to stimulate Whichever approach is centre for cutting edge creative audiences and attract creators. decided upon, the buildings production. This long-term project could be 122 Penrith City Council should Warehouse spaces connections, production and commit to develop strategic exhibition across Penrith and partnerships with Councils To address the lack of suitable, the Blue Mountains. across the region, institutions affordable, long-term tenancy such as TAFE NSW, WSU, and warehouse space, PCC and Youth-led spaces the MCA, and corporate BMCC could investigate and sponsors to realise a multi- try to negotiate affordable and It is important to engage with artform production centre or secure warehouse young creators and their cluster. To ensure the relevance accommodation, and establish cultural production needs by of this flexible space, the PCC and maintain ongoing ‘creative building spaces that are youth- and BMCC alliance (and other labs’ where works can be led, which will mean a regional partners) should produced over an extended rethinking of the spaces that directly involve artists and timeframe (meaning that are readily available. cultural workers in the design materials and tools do not have and planning process. to be removed at 17:00 when ‘Characterful’ spaces, such as the facility closes for the day). The Servo in Port Kembla, Libraries have become ‘revalorised’ Informal spaces because its regeneration by Integrating co-working-style artists has built on the existing facilities into local libraries There is a shortage of curated identity of the space. throughout the region would and informal meeting spaces benefit some practitioners for artists to network and co- Both Councils should identify rather than having one large design collaborative projects in unusual and informal existing co-working space. Libraries both Penrith and the Blue spaces that can be adapted for could also incorporate facilities Mountains. The physical and performance and production, such as high-speed Internet, digital sociability of space is protect them from demolition, meeting spaces, and small important in an informal and work with artists pods for private phone educational sense because of (especially musicians and conversations. the networking and activity visual artists) to regenerate that it encourages. Networks them as ‘irregular performance Libraries have always played increasingly develop and work spaces’. Such spaces tend to be an important role as access in both physical and virtual of a temporary nature in terms points for knowledge and, space. Both Councils should of tenure and use. Both increasingly, activities provide or enable meeting Councils should distribute to, associated with writing and spaces to attract creative and discuss with, their literature. They are the most practitioners and be a venue departments a list of evenly distributed and for meetings with creative characteristics of such spaces. ‘democratic’ public cultural producers and industry. While Key features will include a space. The libraries in the Blue many existing facilities in the capacity to: be activated at Mountains hold sessions region are at capacity, others, night regardless of their day- where writers can develop such as some located in Queen time function; become a venue work, have access to Street, St Marys, could be space even though it is not professional assistance with managed to be more adaptable conventionally used for manuscripts, and attend to multidimensional uses. performance or exhibition; workshops on self-publishing. deal with political, experimental and alternative Maker spaces and options for a Aboriginal and Torres Strait ‘library as publisher’ (see performance subject matter, Islander artists. Strategic and Policy section), encompassing ‘play’ and/or are also recommended. ‘resistance’; be run by hosts Research is required to better who are not solely interested in understand the issues facing commercial gain, and operate Western Sydney Aboriginal under a blanket of ‘invisibility’ and Torres Strait Islander and discretion (Catanzaro artists in order to increase 2014: 12).
123 Spaces for specific artforms
Visual Arts Digital Arts Theatre
Studio spaces similar to those To address the lack of flexible The Blue Mountains Theatre of the Parramatta Artists' and accessible workspaces for and Community Hub Studios (PAS) for independent up-to-date creative (BMTCH) is a valuable artists should be sourced and technologies, spaces need to be regional entertainment venue; resourced appropriately across located, secured and equipped however, its potential to the region. to accommodate the different support capacity building in ways in which creative the performing arts and the An artist-in-residence program practitioners and artists work creation of new work is still in at the Braemar Gallery would individually and in groups. its infancy. Making rehearsal provide a valuable extension to Professional development and spaces available and the exhibition program. mentoring programs should be developing a range of Expanding the Summer delivered through these performance opportunities Residency currently offered to spaces. outside programming hours one artist per year through would benefit professional and Penrith Regional Gallery and amateur artists. BMTCH Lewers Bequest could also be requires additional capacity or considered. policy direction in order to provide more opportunities for creative production, particularly for the performing arts.
Spaces for Presentation
Audiences Penrith and the Blue through online subscribers or The Western Sydney ‘border’ Mountains could investigate memberships, and also offer remains a perceived or real an outreach program that further employment barrier to attracting wider ‘buses’ residents from outer opportunities for Production audiences from Greater suburbs to The Joan and the Managers, Theatre Technicians, Sydney. Melbourne and BMTCH during weekdays. Lighting and Sound Engineers, Adelaide may generate more Audience interest can also be Film Producers, Online interest in the work being built through sharing Marketing staff and Graphic produced in Penrith. Interstate development phases of new or Designers. attention may then translate ‘challenging’ productions and into Sydney-wide audience word-of-mouth It is recommended to research attention. It is recommended encouragement of audience and develop a Western Sydney that both Councils develop participation. The response to creative producers marketing partnerships with major COVID-19 is generating many campaign for an online and cultural institutions beyond ideas about online streaming of live streaming platform for Sydney. performances, and The Joan performances, interviews, and PSO could offer live workshops, public lectures (all It is difficult to attract streaming shows, concerts and artforms) and so on, some of sufficient interest to present workshops. This may be which would involve weekday programs, because another income stream subscription and membership many audiences may work, relationships. but tend not to live, in Penrith.
124 References
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131 Image Credits
P6. Blue Mountains Cultural P42. Penrith Regional Gallery P73. illuminart. Local artwork Centre Library. 2019. Photo: Spring Exhibition Gifting. 2019. and animation projections onto Cecelia Cmielewski Photo: Cecelia Cmielewski the Hydro Majestic. 2015.Waratah Art: Cindi P10. Q Theatre with ATYP P45. Penrith Regional Gallery Drennan. Photo: Craig Bathory Begins. 2019. Photo: Workshop. 2019. Photo: Cecelia Laurendet Tracey Schramm Cmielewski P77. Blue Sherlock for Open Mic and Penrith Producers. P13. MAP 1. Penrith and the P48. Blue Mountains Cultural 2019. Photo: Adam Blue Mountains Centre Interpretive Centre Into Hollingworth the Blue. 2019. Photo: Cecelia P16. Be Right Back. Joan Cmielewski P82. Penrith Conservatorium Sutherland Performing Arts. Scholarship Dominic Hart 2019. Photo: PP&VA P50. Blue Mountains City Art 2018. Photo: Courtesy PP&VA Gallery. Weizen Ho “Cultural P19. MAP 2. Penrith Mobility” in MAPSPACE. P85. Studio Q Access topography 2016. Photo: Silversalt Ensemble. 2019. Photo: Teniola Photography Komolate P22. Audience Engagement with Victoria Garcia's work in P52. Blue Mountains Theatre. P87. The Acting Factory cast in Landing Points at the Penrith Dorian Mode Trio. 2019. Photo: Dimboola by Jack Hibberd. Regional Gallery & The Lewers Blue Mountains City Council 2014. Photo: The Acting Bequest. 2017. Photo: Silversalt P53. MTNS MADE Reveal. Factory Inc. Photography Photo: MTNS MADE P56. Freedom Wilson Wollemi P90. Anne Graham, “The P25. Real Festival All That We Markets Blue Mountains Beehive Lady and The Beehive Are (Todo lo que Somos), directed Cultural Centre 2019. Photo: Observatories”, in The by Younes Bachir (Spain) Blue Mountains City Council Explorers: narratives of site in and StringsAttached contemporary art practice. (Australia). 2019. Photo: P58. Wagana Aboriginal Woodford Academy. 2017. andre&dominique Dancers (left to right) Jo Photo: Mandy Schoene-Salter Clancy, Michaela Jeffries, P29. Sevket Uruk Guden Queen Becky Chatfield, Shana P91. Miriam Williamson, Street Riches and Textures O'Brien. Photo: Brigitte Grant “Seeds of Empire” in The exhibition coordinated by St Explorers: narratives of site in Marys Corner. 2017. Photo: P60. PAWS Ensemble The contemporary art practice. Sevket Uruk Guden Wizard of Oz. Photo: PAWS Woodford Academy. 2017. Studio Photo: Alex Gooding P30. MAP 3. Blue Mountains topography P64. DiG Space Program Third P92. NCNS Youth Team team. 2018. Photo: Karen Cranebrook Skatepark Mural for P34. Blue Mountains Cultural Harris the Magnetic Places Program. Centre Cinema Under the Stars. 2019. Photo: Jordan Wheatley 2018. Photo: Silversalt P66. TAFE NSW Lidcombe Campus Maker Space. 2019. P97. Black Door Gallery P36. Street Walk Art. Photo: Photo: Cecelia Cmielewski Penrith. 2020. Photo: Black Blue Mountains City Council Door Gallery P71. Rocknbob Media House. P40. Joan Sutherland Production Shot for McGrath P100. Varuna writing space. Performing Arts Centre. 2019. Foundation. 2019. Photo: 2018. Photo: Anne Spudvilas Photo: Cecelia Cmielewski Rocknbob Media House
132 P106. The Creative Fringe. 2019. Photo: Phillip Mar
P107. The Creative Fringe. 2019. Photo: Phillip Mar
P108. Toolo. 2020. Photo: Roman Mar
P109. EDACC (Energy, Data, Abstraction and Cognitive Capitalism) Kiosk 3X6 Project Poster 2017. Photo: MAPBM
P111. Real Festival. Jumping Girl Illuminated Bilby. 2019. Photo: andre&dominique
P122. Q Theatre The Ugliest Duckling. 2019. Photo: Teniola Komolate
133 Appendix 1:
Creative Production Enablers and Support Survey Summary
Penrith City Council, Blue Respondents artform representing 29 per Mountains City Council and cent of Penrith respondents Blue Mountains Economic A total of 167 creative compared to 7 per cent of Enterprise collaborated to practitioners completed the respondents from the Blue conduct an online survey of survey, including 110 Blue Mountains. The creative fields creative industry practitioners Mountains residents and 38 of design and film combined in November 2019, the Penrith residents: 29 per cent represent a small but not questions for which were had lived in the area for more insignificant proportion of designed with advice from the than 20 years; 41 per cent respondents from both the project researchers from the identified as male and 57 per Blue Mountains (13 per cent) Institute for Culture and cent as female, with the and Penrith (8 per cent). Society. Several relevant majority over 61 years of age. excerpts from the subsequent The number of respondents Two creative fields that were Penrith City Council report, based on age group were: notably represented among Creative Production Enablers and 16-20 years (4); 21-30 years (11); respondents in the Blue Support Survey, are included in 31-40 years (25); 41-50 years Mountains, compared with this section. (42); 51-60 (32), and aged over Penrith, were writing (6 per 61 years (48). cent) and photography (6 per The intention of the survey cent). Creative fields that were was to provide insights into Types of creative production under-represented in both the infrastructure and support regions were digital arts and needs of people currently contemporary dance. This The survey showed that working in the arts, culture result does not necessarily Penrith and the Blue and creative industries in reflect a lack of digital arts and Mountains creative Penrith and Blue Mountains. It dance practitioners in the practitioners are engaging in a directly targeted current region, but is possibly an diverse range of creative practitioners in arts, culture outcome of the way in which activities. However, the and creative industries through survey respondents were distribution of creative fields the Council’s distribution lists recruited. The types of creative among survey participants is via a link to an online practice that were reported likely to have been influenced questionnaire created by under the ‘other’ category, by the presence of existing Penrith City Council using which accounted for 15 per infrastructure and venues such Web Survey Creator software. cent of respondents from the as the Joan Sutherland Centre The survey asked 18 questions Blue Mountains, included in Penrith, whereas theatre was in relation to creative practice, multi-arts management, more prominent than in the including: location of work, education, circus, social Blue Mountains. type of creative field, engagement, curating, willingness to travel to access directing and festival Visual arts was the most facilities, and the types of organisation, audio-visual prominent creative field at 25 supportive infrastructure production, editing, per cent among Blue needed to continue their work publishing, business advice, Mountains respondents, and in the region. and working with specific was 24 per cent in Penrith. The media like textiles and fibre largest proportion of creative art. practitioners in Penrith work in theatre and in music, each 134 local employment both regions, then, reflect a Length of time working in a opportunities. For those strong willingness to travel creative field currently working at home, within the Penrith and Blue access to affordable spaces is Mountains region, reinforcing frequently named as a need. the need to have professional Most Penrith and the Blue One designer working from facilities available for creative Mountains creative home in Penrith described production within local areas. practitioners are well their need as: established in their creative Creative businesses more affordable working spaces field. The largest proportion, and job opportunities. I am able 43 per cent of respondents, Creative production in the Blue to freelance and work in the area have been working in their Mountains and Penrith is an in my spare time, but part time I creative field for more than 20 important contributor to the am required to travel into years and 13 percent for 16-20 regional economy: 72 per cent Sydney to receive regular work years. Nearly one in five of respondents work in or as it is close to impossible to find respondents (18 per cent) are operate a creative business. in the Penrith and Blue emerging artists, having More than half (58 per cent) of Mountains area. Travelling this worked in their field for 0-5 those businesses are related to far is taxing and I am years. Of this cohort, the music, performing or visual considering moving out of the largest proportion was aged arts. Almost half (48 per cent) area for this reason. 41-50 years and 73 per cent of those working in creative under 50 years, while 75 per businesses are producers, cent of those who have worked Distance respondents would artists or designers, closely in the field for over 20 years travel to access professional followed by owners and were aged over 51 years. This creative facilities directors (41 per cent). age profile suggests a Performers make up about 18 potentially emergent middle- Most respondents were willing per cent of this cohort and aged group which may be to travel beyond their local teachers represent 16 per cent transitioning into new artistic government area (LGA) to of respondents working in the endeavours at a similar rate as access professional creative creative business sector. With the highly experienced group facilities. Almost a third from increased support, creative of artists. This is a finding that both LGAs would be willing to businesses could further also suggests that there are travel within the Western expand in the region. This significant numbers of people Sydney region, with more than point is illustrated by the who may benefit from the one in five willing to travel following statement from a development of creative anywhere as required. In long-term Penrith resident and production pathways. Penrith, the largest proportion theatre practitioner who (38 per cent) of respondents identifies the need for: Work location was willing to travel within the Penrith and Blue Mountains Better understanding that there are already many groups A high proportion of creative region. Just 8 per cent said that within the region that provide practitioners works from they would be happy to travel excellent creative and home. Respondents in the Blue only within Penrith LGA. In performing arts services to Mountains were more likely to the Blue Mountains, members of the community - work at home (48 per cent) respondents were less inclined but that these groups require compared to Penrith (42 per to travel outside their LGA, support (financial, cent): 47 per cent of Penrith’s with the largest proportion (43 promotional) to really increase respondents were working at per cent) stating that they awareness of them within the various locations, requiring would only be willing to travel community and council itself. frequent travel, compared to 34 within the Blue Mountains With generally only a small per cent of respondents from LGA. Despite this reluctance, group of committee members the Blue Mountains (a pattern 29 per cent were happy to steering these groups and that may be related to the travel to Penrith specifically or associations (all volunteers, relatively high number across Penrith and the Blue offering their time outside of involved in theatre and limited Mountains. Responses from 135 their daily jobs), gaining wider their income, with just under income from working in their exposure can be a difficult and half of the respondents creative fields. Another 10 per costly endeavour. surveyed reporting that they cent of respondents make 50-75 earn a large proportion of their per cent of their income Income from creative income from their creative through their creative practice fields (as shown in Figure 1 practices. below). Of the 147 respondents who answered this question, Many respondents rely on 39 per cent stated that they creative practice for most of earn 75-100 per cent of their
Figure 1: Proportion of income from creative practice
Facilities needed for creative responses (as illustrated in between studio space for production Figure 2 below). The need for practice and presentation was affordable physical space was highlighted by a visual artist The key facilities identified as repeatedly mentioned and teacher, who said that they needed by creative throughout the survey: 13 per needed affordable studio space practitioners were small cent identified the need for within the Penrith/Blue creation spaces (20 per cent), facilities that related to digital Mountains region and would closely followed by technology and 6 per cent like to see co-creative art performance spaces (14 per required specific equipment. studios that host free cent), rehearsal spaces (13 per Respondents also commented exhibition (see visualised cent) and collaborative spaces on the need for an efficient responses to facilities needed (11 per cent). Collectively, these Internet connection to support for creative production in represent 58 per cent of their creative practice. The link Figure 2 below).
136 Figure 2: Facilities needed to support creative production
Support services needed for creative production
When asked about the support creative practice, 21 per cent of support, 21 per cent services needed for their respondents nominated opportunities to exhibit and marketing and promotional perform, and 15 per cent creative networks (see Figure 3 below).
Figure 3: Support services needed for creative production
!137 Conclusion
The survey responses overall There needs to be a better practice. Respondents from indicate that there is a strong understanding of the impact both Penrith and the Blue pool of active creative (and respect of) art, artists and Mountains were generally producers working across a creative industries at large consistent in their views about diverse range of creative fields have on larger social and the additional facilities within Penrith and the Blue cultural settings and required to expand creative Mountains. This observation is development. production, support their accompanied by a comment practice, and benefit the from a respondent referring to While there are successful broader community. The the cultural environment of the artists already working across themes emerging from the region: the region, there are also many responses to this question are who need physical illustrated in the word cloud infrastructure and professional presented in Figure 4 below. support to continue their
! Figure 4: Themes that describe additional facilities or services needed by respondents
138 Appendix 2: Interviews
Interviewee Role/Organisation Date
Karen Harris Senior Cultural Development Officer, PCC (P) 17/10/2019
Rachel Pagitz Advocacy and Government Relations Officer, PCC (P) 17/10/2019
Paul Brinkman Arts and Cultural Services Manager (BM) 17/10/2019
Dimity Mullane City Projects Officer (City Renewal), (P) 21/10/2019
Donita Hulme Cultural Engagement Officer (Neighbourhood Renewal, Place 21/10/2019 Management), PCC (P)
Lila Kennelly Neighbourhood Renewal Coordinator (Place Management), 21/10/2019 PCC (P) Jeni Pollard Place Manager, PCC (P) 21/10/2019
Hania Radvan CEO The Joan (P) 21/10/2019
Sheona White Director Penrith Art Gallery and Lewers Bequest (P) 21/10/2019
George Verghese TAFE NSW (P) 21/10/2019
Michelle Catanzaro Western Sydney University (ex P) 23/10/2019
Anne Niddrie BMEE/MTNS MADE (BM) 31/10/2019
Fiona Davies MAPBM (BM) 15/11/2019
Miriam Williamson The SLAB (BM) 21/11/2019
Rebecca Liu- PAWS (P) 22/11/2019 Brennan Justin Morrissey Toolo (BM) 22/11/2019
Debbie O’Connor Creative Fringe (BM) 22/11/2019
Spokesperson Penrith Symphony; PYO; Choirs (P) 25/11/2019
Meg Benson Music Hunter (BM) 25/11/2019
139 Katrina Sandbach WSU (ex P) 2/12/2019
Christine Glasson Real festival (P) 3/12/2019
Thomas Biddle * Rocknbob Media House (P) 1/4/2020
Brendan Byrne* Shadow Wolves (P) 5/4/2020
Natalie Cheney Nauti Studios (BM) 11/10/2018
*Interviewed by Penrith City Council staff.
140 Appendix 3: Researcher Biographies
Professor Deborah Emeritus Professor David Distinguished Professor Stevenson Rowe Ien Ang
Professor of Sociology & Urban Emeritus Professor of Cultural Professor of Cultural Studies, Cultural Research, Institute for Research, Institute for Culture Institute for Culture and Culture and Society and Society Society
Deborah Stevenson’s research David is a Fellow of the Distinguished Professor Ien interests are focused on arts Academy of the Social Sciences Ang was the founding Director and cultural policy, cities and in Australia and the Australian of the Institute for Culture and urban life, and place and Academy of the Humanities; Society. She is one of the identity. Recent publications Honorary Professor, Faculty of leaders in cultural studies include: The City (Polity), Cities Humanities and Social worldwide, with work dealing of Culture: A Global Perspective Sciences, University of Bath; broadly with cultural flow and (Routledge) and Tourist and Research Associate, Centre exchange in our globalised Cultures: Identity, Place and the for International Studies and world. Her most recent books Traveller (co-authored, Sage). Diplomacy, SOAS University include The Art of Engagement: She is co-editor of the Research of London. Formerly he was Culture, Collaboration, Companion to Planning and Director of the Cultural Innovation (2011, co-edited with Culture (Ashgate) and The Institutions and Practices Elaine Lally and Kay Australian Art Field: Practices, Research Centre, The Anderson) and Chinatown Policies, Markets (Routledge). University of Newcastle and Unbound: Trans-Asian Urbanism She is the co-author of The City the Centre for Cultural in the Age of China (2019, co- after Dark: Cultural Planning Research, WSU. His latest book authored with Kay Anderson, and Governance of the Night-time is Making Culture: Andrea Del Bono, Donald Economy in Parramatta. Commercialisation, McNeill and Alexandra Wong). Professor Stevenson is an Transnationalism, and the State of She has produced numerous editor of the Journal of Policy Nationing in Contemporary commissioned research reports Research in Tourism, Leisure and Australia (co-edited, 2018). and collaborated with a range Events and a member of the David’s work is translated of organisations, including the editorial boards of leading into Arabic, Chinese, French, Australia Council, the journals, including the German, Italian, Korean, Australian Council for Learned International Journal of Cultural Spanish, and Turkish. He is a Academies, NSW Migration Policy. Her research program consultant to public and Heritage Centre, The Art has been supported by external private organisations and an Gallery of New South Wales, funding and as a Chief expert media commentator on The Special Broadcasting Investigator on numerous ARC social and cultural matters. His Service (SBS), the Museum of grants including Recalibrating awards include: the Australian Contemporary Art, the City of Culture: Production, Sociological Association Sydney, Inner West Council, Consumption, Policy; UNESCO Distinguished Service to Penrith City Council and Blue and the Making of Global Sociology Award (2018), Top Mountains City Council. She Cultural Policy, and Australian Researcher in the Field of currently serves as a member Cultural Fields: National and Communication, The of the research working group Transnational Dynamics. Australian’s 2019 Research for A New Approach (ANA), a Professor Stevenson has Magazine and the 2020 new independent think tank worked as government advisor International Communication championing effective including to the Ministerial Association Sport investment and return in Reference Group for the NSW Communication Interest Group Australian arts and culture. Arts and Cultural Policy Legacy Award for lifetime Framework. achievement.
141 Dr Cecelia Cmielewski Dr Phillip Raymond Mar
Research Officer and Program Research Associate, Institute Manager Cultural for Culture and Society Infrastructure program, Institute for Culture and Society Dr. Phillip Mar completed his Cecelia Cmielewski completed doctorate in social her doctorate at the Institute anthropology from Sydney for Culture and Society (ICS) in University in 2002. His 2018. Her thesis researches the doctoral research was on relationship between the immigration from Hong Kong experiences and practices of and the transnational artists of non-English speaking experience of urban spaces. He backgrounds (NESB) and key has lectured in sociology and arts policies through a anthropology at Sydney consideration of the roles of University, UNSW and creative and organisational Macquarie University. Phillip leadership. Her research has worked as a researcher interests address inclusion in with the Institute for Culture the creative sectors with a and Society at Western Sydney focus on the relationship University since 2008. He has between creative production made research contributions in and cultural policies. the areas of: She has undertaken cultural Social impacts of art and infrastructure research for the cultural programs; City of Parramatta, Penrith collaborative practices and City Council and Blue contemporary art; cultural Mountains City Council, and policy; diversity in the arts was a contributing author on case studies; Australian Recalibrating Culture: cultural diplomacy in the Indo Production, Consumption, Policy Pacific; museums and urban (2017). Cecelia held senior regeneration; gender inclusion policy and research roles at the in screen industries; regional Australia Council for the Arts ism in the Asia Pacific; young between 1998 and 2011. Cecelia people and refugee settlement; is a contributing researcher on educational outcomes of sports the ARC project UNESCO and programs in western Sydney the Making of Global Cultural and Sydney’s Chinatown. Dr Policy: Culture, Economy. Her Mar’s research interests also most recent publication is include migration studies, “Arts Activism in a Cultural transnational Chinese Policy Void” in The Australian communities, urban space, the Art Field. Practices, Policies, politics of emotion, violence Institutions (2020 co-edited by and contestation, and Tony Bennett, Deborah conceptions of control in social Stevenson, Fred Myers and theory and theories of Tamara Winikoff). knowledge.
142