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Australian Major Performing Arts Group Inquiry into broadcasting, online content and live production to rural and regional Australia Submission from the Australian Major Performing Arts Group WHO WE ARE The Australian Major Performing Arts Group, or AMPAG, is the umbrella group for Australia's major performing arts companies who develop and deliver cultural content at the elite level and support cultural capacity and performing arts access across the country. FROM: Bethwyn Serow TO: House of Reps Standing Committee Executive Director on Communications and the Arts AMPAG PO Box 6021 P0 Box 1965 Parliament House Sydney NSW 1225 CANBERRA T: +61 2 6277 4386 E: [email protected] 5 February 2016 1 2 The Inquiry The House of Representatives Committee on Communications and Arts, under its power to inquire into the annual reports of government agencies, will inquire into the importance of public and commercial broadcasting, online content and live production to rural and regional Australia, including the arts, news and other services. The inquiry was initiated from the following reports: Australian Broadcasting Corporation Annual Report 2015 Special Broadcasting Service Corporation Annual Report 2015 Australia Council for the Arts Annual Report 2014–15 Australian Communications and Media Authority Annual Report 2014–15 Committee members Chair Hon Bronwyn Bishop MP: Liberal Party of Australia, Mackellar NSW Deputy Chair Mr Tim Watts MP: Australian Labor Party, Gellibrand VIC Mr Laurie Ferguson MP: Australian Labor Party, Werriwa NSW Ms Nola Marino MP: Liberal Party of Australia, Forrest WA Mr Graham Perrett MP: Australian Labor Party, Moreton QLD Mr Keith Pitt MP: The Nationals, Hinkler QLD Ms Melissa Price MP: Liberal Party of Australia, Durack WA Mr Rowan Ramsey MP Liberal Party of Australia, Grey SA Ms Maria Vamvakinou MP: Australian Labor Party, Calwell VIC Mrs Lucy Wicks MP: Liberal Party of Australia, Robertson NSW 3 Contents EXECUTIVE SUMMARY ............................................................................................................................ 5 IMPORTANCE OF ARTS ACCESS FOR REGIONAL AND REMOTE COMMUNITIES ..................................... 8 Are the regional and remote arts centres able to access what they want? ..................................... 10 Regional presenters’ programming priorities ................................................................................... 10 THE ROLE AND REACH OF THE MAJOR PERFORMING ARTS COMPANIES ............................................ 11 MPAs’ regional remit ........................................................................................................................ 11 The role of MPAs in live performance programming for regional and remote arts centres ............ 12 Level of MPA regional engagement in 2014 ..................................................................................... 13 FUNDING AND STRUCTURAL BARRIERS TO MPAs’ REGIONAL TOURING ............................................. 15 How is regional engagement with the MPAs currently funded? ...................................................... 15 Key government initiatives that affect MPAs’ capacity to tour ........................................................ 15 Government arts education funding ................................................................................................ 17 Other market conditions that affect the capacity of MPAs to tour .................................................. 18 Key factors that affect access ........................................................................................................... 18 THE QUALITATIVE CHARACTERISTICS OF MPA WORK AND HOW IT IS VALUED IN REGIONAL AUSTRALIA ............................................................................................................................................ 20 Behind the statistics .......................................................................................................................... 20 The multiple ways MPAs reach regional communities ..................................................................... 20 1. Touring of mainstage works ............................................................................................... 20 2. Touring of shows specifically developed for regional touring ........................................ 21 3. Touring performances that include regional or remote performers’ participation ...... 23 4. Live engagement arts education in regional and remote schools and community centres .......................................................................................................................................... 26 5. Television and radio broadcast of MPAs ........................................................................... 30 6. Online arts education and behind the scenes ................................................................... 33 AMPAG RECOMMENDATIONS .............................................................................................................. 36 Appendix 1: News article—Artshub, 3 February 2016 ..................................................................... 37 Appendix 2: News article—The Leader, 2 December 2015, 4 pm .................................................... 39 Appendix 3: AUSTRALIA’S MAJOR PERFORMING ARTS COMPANIES................................................ 40 Appendix 4: Excerpt from the Australia Council for the Arts Annual Report 2015 .......................... 41 Appendix 5: Excerpts from national and state touring research reports ......................................... 42 4 EXECUTIVE SUMMARY There is strong evidence that the participation and engagement in the arts is good for the social cohesiveness of a community and the general wellbeing of people—and new measurements show the arts may be worth $66 billion to Australia’s wellbeing. All over Australia a healthy creative life plays a key role in developing our soft infrastructure—the ideas, the networks and conceptual frameworks that give shape, direction and confidence in community planning.’ —Lindy Hume, Artistic Director, Opera Queensland There is a significant demand for touring productions in regional areas. In fact, in regard to productions, genres or artforms that presenters would like to program but were unable to, programming the major performing arts companies or large scaled productions were highest, followed by dance. In 2015 the major performing arts companies (MPAs) as a group reached close to four million people through their performances and arts programs—in metropolitan and regional locations. Paid attendances at MPAs’ performances, workshops and seminars in regional and remote Australia totalled 235,000 in 2014–15, with ‘live reach’ totalling 319,000.1 In 2014 MPA companies estimated that 10 million people watched or listened to a broadcast or screening of an MPA company performance. The Australia Council estimates the MPAs as a group reached 16 million people in 2014–15. However, the MPAs’ contribution is not only realised through tickets, hits and turnover. It is also important to recognise the qualitative characteristics of work performed by MPAs. Most MPA companies work in regional, remote and at risk communities, connecting with constituents and making a lasting impact—not only with performances that stir the heart, spirit and mind, but with a legacy of cultural infrastructure that is greatly valued in regional and remote communities (see appendix 1—article from artshub on the cultural and economic stimulus provided by expenditure on a 700-seat theatre in the Riverina). Companies such as Opera Australia, the Australian Chamber Orchestra, The Australian Ballet, Bangarra, Bell Shakespeare and Circus Oz have dedicated national programs for regional engagement, while state companies often build tours around individual opportunities for a particular work. Therefore, the level of regional and remote MPA activities varies from year to year. In this submission we outline the multiple ways MPAs reach regional communities: touring of mainstage works touring performances specifically developed for regional touring touring performances that include regional or remote performers’ participation live engagement arts education in regional and remote schools and community centres television and radio broadcast of MPAs online arts education and behind the scenes. 1 It’s important to note that the ratio of audience numbers to costs is relative, depending on the type of art work. Live performing arts naturally reflect very different cost structures to those of the digital online works or visual arts where, once the work is created, there are negligible ongoing costs. Performances, on the other hand, demand an assembling of new resources with every show. 5 The benefits go both ways. For the companies themselves, touring to regional and remote areas broadens engagement, builds audiences and often offers emerging artists further performance opportunity. For the communities themselves, it draws them together, instilling a love of performing arts in young people, often offering employment and training opportunities and a chance to experience performing arts of the highest calibre. The preliminary estimated resident population (ERP) of Australia at 30 June 2015 was 23,781,200 people2. In 2011 over 85 per cent of Australians lived in urban areas and nearly 70 per cent lived in our capital cities. Proportionately, the attendance and access of regional urban and remote audiences to MPA live
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