1 Parliamentary Inquiry Into the Australian Music Industry Www

Parliamentary inquiry into the Australian music industry

Australian Major Performing Arts Group PO Box 1965 Sydney 1225

www.ampag.com.au Contact: Bethwyn Serow

1 Parliamentary inquiry into the Australian music industry

Terms of reference:

Factors contributing to the growth and sustainability of the Australian music industry.

Thank you for inviting industry submissions to the committee’s review on the growth and sustainability of the Australian Music industry.

Who is AMPAG? The Australian Major Performing Arts Group (AMPAG) is the representative body for the major performing arts companies across Australia. There are currently 28 MPAs (see appendix 1).

Who Are the Major Performing Arts Organisations (MPAs)? The MPAs are the 28 state and national flagship performing arts organisations who inspire millions through theatre, circus, contemporary dance, classical ballet, classical music and opera. An integral and vibrant part of Australia’s arts ecology, the MPAs perform works of scale and complexity to large audiences in Australian cities, regional and remote communities, and overseas. They employ elite Australian artists and arts professionals, support their creative development, commission new works and provide extensive arts education and community engagement programs.

The MPAs reached over four million people in 2017 and a further 65 million through digital engagement and publications.

The MPA leaders in classical music

Music is strongly represented within the 28 MPAs across Australia.

14 of AMPAG’s 28 MPA members are music-based organisations consisting of:

• the state symphony orchestras (6) • national chamber music organisations (3) • state and national opera companies (4) • Orchestra Victoria (1)

In addition, associate member, the Victorian Opera will join in full as an MPA in 2019.

Government investment ranges from less than 10% of an organisation’s turnover to over 60% for some orchestras and opera companies in smaller states. The financial certainty provided by the MPA framework is vital to each organisation’s capacity to contribute to the development of musicians, composers and music culture and vibrancy in Australia.

In 2017, the 14 music MPAs – Employed (FTE) over 2,053 FTE

Turnover $318.6 million

Audience Reach: Live Performance 1, 677,153

School Performances/Programs 444,734

Workshops and Master Classes 26,482 combined reach

Digital Engagement* over 22 million

DVD/CD Distribution <9000

*The opportunities to grow reach continued in 2018. The Melbourne Symphony Orchestra recently announced it has secured a prestigious international TV distribution agreement with UNITEL, a world-leading producer and distributor of classical music for TV, DVD and Blu-ray, cinema and new media.

Sydney Symphony Orchestra has entered into a broadcast arrangement across regional NSW Libraries to grow state regional access to live performances.

2 The remaining 14 MPA companies are theatre and dance organisations. Music is a core part of any dance performance and includes the commissioning of new music and, in the case of ballet, orchestra pit services. Opportunities for musicians, songwriters and composers also arise in theatre companies. For example, both Muriel’s Wedding The Musical, developed by Sydney Theatre Company, and Ladies in Black, developed by Queensland Theatre, generated significant critical and box office success, while Malthouse Theatre in Melbourne collaborated with Victorian Opera to produce Green Room Award Winner for Best New Australian Opera, The Riders.

The MPA Framework

The MPA framework has been and continues to be an outstandingly successful public policy. The framework has underpinned impact growth and enabled MPAs to deliver high-quality, large-scale inspiring performances to all Australians.

MPAs rely on the support and investment created through the valuable partnership with government (the MPA Framework), audiences, philanthropists and sponsors. The MPA framework delivers base funding and a level of stability, and in return, the MPAs must meet a set of performance criteria and regularly report to government on agreed KPIs, including art form and community commitments.

Established in 2001, the MPA Framework has bi-partisan support. Most recently reviewed under Labor (2011), the Meeting of Cultural Ministers is now considering ‘ways to strengthen’ the Framework.

State and Commonwealth government investment in the MPA Framework is critical on several counts: • It provides the base stability on which the majors operate.

• It provides a level of certainty that enables planning and development to secure artists in future years, plan tours, commission new works and develop audiences and engagement programs over multiple years.

• It secures key production output to support the government’s ‘public good’ priorities in the realm of the arts.

• It shows faith to the private sector, which now provides a significant proportion of the MPAs’ income.

• As not-for-profit organisations, income is continually reinvested into the art form, which stimulates wider artistic opportunities throughout the sector.

(See Appendix 2 stability dividend)

3 In summary

The MPAs, and in particular the music MPAs, make a significant contribution to the successful career development of Australian musicians and composers. MPAs’ development of new work, collaborations and international engagement also significantly contribute to Australia’s dynamic and sophisticated classic music scene. They sustain fulltime orchestras and well as generate addition artist contract opportunities throughout the year. They carry significant box office risk, are key content suppliers to our major arts venues and are icon state and national cultural brands. However, their capacity to tour and to support collaboration is tied to their financial stability and capacity to attract additional investment.

The MPAs work tirelessly to maximise their impact and to develop vibrant sustainable organisations. They play a critical role in building Australia’s national capacity to teach music in schools, provide professional advancement through fellowships, mentorships and special training programs, as well as commission composers and broker collaborations and partnerships nationally and internationally, advancing Australia’s creative output and recognition. Sustainability and growth are intrinsically linked to artists excellence and vibrancy.

The MPAs rely on the stability of the MPA Framework, philanthropy, sponsorship and box office to not only present ambitious programs, but also to commission new major works, develop artists and to grow international reach.

AMPAG has set out below key recommendations to strengthen the sustainability of the classic music sector and to stimulate further artistic and audience growth.

Key factors impacting the sustainability & growth of Australia’s Classic Music Sector: • MPA Framework • Philanthropy and Sponsorship support and red tape compliance • Box Office earnings • Collaboration and development of new work • Development of the artist • Ability to attract elite talent • Touring and engagement in both metropolitan and regionally communities and internationally

Summary recommendations outlined in the AMPAG submission

1. Strengthen the MPA Framework and the music MPAs within it to support sustainability 2. Increase the impact of philanthropy and sponsorship giving through matched fund with capacity to help stimulate private giving to major music organisations. 3. Address red tape issues impacting the charity sector in line with recommendations set out in AMPAG’s submission to the Senate Select Committee on Charity Fundraisng in the 21st Century. (See Appendix 3.) 4. Amend the medium to long term skills shortage list skilled list (MLTSSL) by moving two job codes to the MLTSSL; Arts Administrator (139911) and Music Director (211212 5. Stimulate artistic vibrancy and ambition through the development of original IP through a $20 million over four years seed fund for new innovative performing arts works of scale 6. Increase the music organisations’ cacpity to tour and engage intra and interstate with an increase in the Playing Australia program of $8 million shared across four years from 2019–20 to 2022–23. This will support additional strategic performing arts access, opportunity and engagement across regional Australia 7. monitor and ensure the current number of ABC classic music live recordings and proportion of Australian performances broadcast on Classical FM annual at least maintained 8. increase funding available within DFAT and at the Australia Council through an additional $5 million over four years to increase the capacity for significant and multiyear international performing arts touring and engagement

4 Sustainability

• MPA Framework • Philanthropy and Sponsorship • Box Office

The MPAs’ sustainability relies on the government base funding delivered through the MPA Framework (outlined above), philanthropy, sponsorship and box office revenue. The MPAs’ capacity to attract funds across these categories is also naturally impacted by the programs they offer and the artistic vibrancy within the organisation. The latter is discussed under growth. Financial sustainability and stability are a constant challenge.

• MPA Framework

The Meeting of Cultural Ministers is currently considering ways in which to strengthen the MPA Framework. AMPAG has made a submission outlining how the MPA Framework, as a partnership between federal, state governments and the organisations, requires constant commitment across all parties. There are opportunities to strength the Framework, including ensuring base funding is locked in and funding is annually indexed.

The stability of the MPA Framework also impacts the extent to which philanthropy can be directed toward artists and artistic development. Greater stability in base funding will expand the MPAs’ capacity to develop the art form and artists, including musician development initiatives.

• Philanthropy and Sponsorship

The music industry is diverse, from highly successful international commercial artists to not-for -profit (NFP) music organisations and talented folk artists and amateur musicians. The MPAs’ charitable status is of significant value to the music sector. Their capacity to nurture emerging musicians relies heavily on the philanthropic support that the MPAs attract.

Revenue from corporate sponsorship, donations and net fundraising events within the major performing arts sector continues to track ahead of CPI levels, reaching a total of $111.1 million across the group in 2017 with music and opera companies attracting a total of $47.8 million in private giving.

While philanthropy is the fastest growing source of new revenue across the MPAs, capacity to attract philanthropy varies across the different art forms with theatre and dance reporting significantly higher growth than music in 2017. Opera reported a decline in both philanthropy and corporate sponsorship in 20171. Results across the different states also vary, impacted by both their specific business and demographic makeup. National and large MPAs are accessing proportionately more than smaller state-based MPAs.

While matched funding is an effective way to stimulate new philanthropic engagement, incentives offered through the federal funded agency Creative Partnerships Australia are currently only available to small NFP arts organisations and individual artists, and not the MPAs.

Remove red tape Please see AMPAG’s submission to the Senate Select Committee on Chariy Fundraisng in the 21st Century. Appendix 3

• Box Office

As both creators and presenters of large-scale works, the MPAs carry box office risk. This necessitates balancing innovation and artistic risk with strong audience engagement. This reliance on box office ensures an ongoing assessment and interrogation of the audience and its changing demographics, with companies developing, to varying extents, a diverse range of programs to attract diverse audiences, including a limited amount of commercial activities to supplement their broader remit. However over reliance on box office and the need to attract broad appeal limit an organisations capacity to take artistic risks.

1 Opera Australia has reported that fundraising opportunities were impacted by the temporary closure of the Sydney Opera House. 2017 results are nevertheless well up on 2014 and 2015 levels. 5 Diversifying programs has helped to build new audiences; for example, the introduction of Opera Australia’s Handa Opera on Sydney Harbour has resulted in a very high rate of ticket sales to people who do not regularly attend the Opera and attracts international tourist. The introduction of live performances of popular film soundtracks from Mary Poppins to Star Wars has strengthened the orchestras’ family market. The ACO recently partnered with acclaimed Australian film director Jennifer Peedom to make a documentary film, Mountain, for international cinema release which can also be performed with live orchestra. Mountain has become Australia’s highest grossing documentary film. International guest artists and conductors continually challenge and evolve the orchestras’ offerings, and this, along with collaborations with other art forms, generate box office interest.

The map below illustrates the location and type of activity undertaken in 2017 by MPA operas, symphony orchestras and chamber orchestras. While audience growth on 2010–2013 is evident in the 2014–2017 results, this recent period’s growth is also relatively static. Underlying annual results for the individual art forms reveal significant volatility.

Box office earnings also volatile and impacted by the economic climate. Dynamic ticketing is used with increasing sophistication and has contributed to positive box office performances; however, there is also growing competition across the sector to secure some of the public’s diminished discretional leisure time.

Map 1

2017 MPA art form audience reach – Opera, Symphony Orchestra and Chamber Music

The three maps below provide an outline of the reach and audience trends across the three art forms separately: Chamber Music Opera Companies Symphony Orchestras Map 2 Map 3 Map 4

Chamber music national education reach is primarily driven by Musica Viva. This organisation has a national remit with music education a core focus. The three chamber music organisations have a 6 national remit; whilst, three of the four opera organsations and all of the symphony orchestras carry state remits.

Growth in the music sector

• Collaboration and development of new work • Development of the artists • Ability to attract elite talent • Touring and engagement in metropolitan and regionally communities and internationally

Growing ticket sales, philanthropic support and international recognition for arts organisations and artists that work within them, demand a commitment to excellence, artistic vibrancy and ongoing engagement with the audience.

• Collaboration vs competition

‘It has always been the orchestra that takes centre stage and constitutes the driving force behind a nation’s classical music landscape, as it does in Germany, America, Britain, Venezuela, Israel, Turkey, Korea and Japan.’2

The MPAs play a critical role in the national music ecology, particularly in relation to classical chamber, symphonic and opera music, nurturing musical talent in Australia as well as collaborating with leading artists, conductors and composers internationally. They bring to life great works in the canon as well as perform and commission contemporary work. However, the extent to which this can occur is naturally impacted by the organisations’ financial stability.

The MPAs are a relatively collegiate group and while there is a level of competition at the box office, they also collaborate with each other to present dynamic programs:

• This month Melbourne Symphony Orchestra’s and Circus Oz’s collaboration Tutti has generated sold out performances. • Orchestras regularly work together to co-sponsor visiting international artists to perform across several state capital cities. Collaboration across discrete markets offsets costs and enhances the program offering. • The Australian Chamber Orchestra has had three highly successful collaborations with the Sydney Dance Company over the last five years on both the national and international stage. • Paul Dyer, Artistic Director of the Australian Brandenburg Orchestra, worked with West Australian Symphony Orchestra as guest conductor in a series of Perth-based concerts

Music sector interconnections — advancing new works and artists’ careers While the music MPAs and the artists that they work with act, in one sense, as custodians of our classical music heritage, they interpret and interrogate such work from a contemporary perspective as well as create new works. They also collaborate with other parts of the music sector to bring new dimensions to their work. Interconnections and collaboration between music styles and other parts of the arts ecology open opportunities for creatives and performers to reach new audiences.

For example:

• West Australian Opera collaborated with the Victorian Opera and New Zealand Opera on a new opera by former Split Enz front man Tim Finn, which premiered in WA in 2017.

• Kate Miller-Heidke, a successful pop singer and recording artist, is also a trained opera singer who has appeared on the stages of the Metropolitan Opera in New York and London’s English National Opera, as well as in Opera Australia’s made-for-TV opera The Divorce. She has also written and starred in the award-winning opera — an adaptation of John Marsden’s and Shaun Tan’s fable The Rabbits, for Opera Australia, and she co-wrote the new award-winning Australian musical Muriel’s Wedding The Musical commissioned by Sydney Theatre Company.

2 Rudolph Tang (唐若甫) Symphony Services E-news 2015 R. Tang is a journalist for Musical America based in Shanghai and Beijing, and a member of the Society for Musical Criticism of China since 2018. He was editor of Gramophone magazine Chinese edition from 2005–2008 and the Head of Communications of the China Symphony Development Foundation from 2008–2013. 7 • The Australian Chamber Orchestra, known internationally as one of the finest chamber orchestras, also performs ‘ACO Underground, drawing orchestra members and their rare instruments together with musicians such as Violent Femmes bassist Brian Ritchie, Radiohead guitarist Jonny Greenwood, and guitarist Jim Moginie from Midnight Oil for a night of musical exploration in a club environment.

• Geoffrey Gurrumul Yunupingu's final album, Djarimirri, released nine months after the acclaimed musician's death, became the first album in Australian Indigenous language to top music charts in Australia. Djarimirri presents traditional songs and harmonised chants from Dr G Yunupingu's traditional Yolngu life, paired with orchestral arrangements by the Australian Chamber Orchestra and Sydney Symphony Orchestra.

• State symphony orchestras’ performances range from traditional greats of Bach and Mahler to story time concerts for children and sold out live performances of the music soundtracks to blockbuster films, such as Harry Potter and Star Wars as well as live collaborations between orchestras and iconic bands and performers, including Eskimo Joe, James Morrison, Beatboxer Tom Thum, Kate Noonan and Kate Ceberano.

• Composer Ian Grandage says, ‘Writing an opera feels like the logical integration of many aspects of my creative world. I’ve been a composer for the theatre for 20 years now, starting in Perth for Black Swan State Theatre Company in the mid-90s. I have also played in and written extensively for orchestras and choirs over the past decade. I find the two worlds of the theatre and the concert stage successfully cross-pollinate, but rarely synthesise — except in opera.’

• Adelaide Symphony Orchestra engaged South Australian Composer, Mark Simeon Ferguson, to compose a 30-minute work based upon the Australian children’s book, The Bush Concert, written and illustrated by New South Wales author, Helga Visser. First performed in 2016, the show was recently performed at the 34th China Harbin Summer Music Festival.

Enabling ambitious innovative collaborations across the music sector and across other art forms is a key contributor to artistic growth and opens opportunities for artists and arts organisations to reach new audiences.

• Developing elite Australian musical talent

Professional training and opportunity

Educating the next generation of ‘elite’ artists and developing career pathways post tertiary education are critical for classical music in Australia.

It starts in schools where the MPAs provide performances and education workshops to inspire students and support arts learning. They also work directly with school room teachers to grow their capacity to teach music in their classroom. MVA and MSO have also developed classroom music apps as another way to support student learning.

The majority of the MPAs’ education programs are not funded by government, but the companies are strongly committed to this work, recognising the value it has for the developing child and his or her capacity to learn, and to enrich the children’s engagement in the arts as audiences and performers of the future. Funds raised through philanthropy and sponsorship are often critical in determining the extent of activity in this area.

The MPAs generate a significant level of full-time employment for highly skilled musicians who in turn also teach, mentor at leading tertiary intuitions as well as develop smaller offshoot ensembles. In some states, the orchestras’ capacity to offer full-time classical music positions can act as the glue that ensures elite musicians reside in the state.

The MPA music organisations support emerging artists through collaboration with tertiary training institutions, such as music conservatoriums, universities and Australian National Academy of Music at the institutional level as well as through elite competitions and professional internal training programs.

8 Examples include:

• ACO Collective — the Australian Chamber Orchestra’s critically acclaimed regional touring and mentoring ensemble. Directed by brilliant Finnish violinist Pekka Kuusisto, ACO Collective combines ACO Emerging Artists (Australia’s most talented emerging string players) with the professional musicians of the ACO to create a high-energy 17-piece string orchestra that tours music, education and community engagement activities to regional locations all over Australia.

• Sydney Symphony Orchestra Fellowship Program — a one-year program that immerses its participants in the day-to-day workings of the Sydney Symphony Orchestra. Under the guidance of SSO Principal Viola and Fellowship Artistic Director Roger Benedict, the Fellows are provided with the training and experience they need to secure full-time positions in professional orchestras.

• Musica Viva run the Future Makers initiative — a program that runs across the two years providing selected artists with mentoring from industry professionals, introductions to a strategic network, performance opportunities, and funding and support to create one ambitious, full- length music-centred performance project. Dynamic in content and delivery, these projects are unashamedly contemporary and experiential, and are created for diverse audiences funded through the generosity of philanthropy.

• Philanthropy also enables another of Musica Viva’s initiatives, the Hildegard Project, launched in 2015 to assist women at all stages of their careers in composition, by commissioning more women to write high-quality chamber music.

• Opera Australia’s Young Artists Program has been operational for over thirty years and relies on philanthropy support. Each year, Opera Australia offers a number of the most promising young singers in the country the opportunity to undertake a rigorous training program, which includes individual vocal coaching, masterclasses, language and stagecraft coaching as well as performance opportunities in recitals and small roles on stage.

• Melbourne Conservatorium of Music within the University of Melbourne last year launched a Master of Music (Orchestral Performance) underpinned by an MOU between the university and the Melbourne Symphony Orchestra (MSO). The very first qualification of its kind in the Asia– Pacific region, the two-year degree has been developed to provide future generations of performing musician’s greater employment opportunities both nationally and internationally.

• A new partnership has recently been launched between the University of Western Australia and West Australian Symphony, bringing together the highest quality music education with some of the state’s most talented and experienced professional musicians. UWA’s Masters in Orchestral Performance provides students with direct access to WASO musicians through mentoring, individual lessons, attendance at open rehearsals as well as other opportunities that provide ongoing training to best prepare young musicians for a professional career.

Employing key personnel. The Australian classical music organisations operate within a globalised sector. All MPA music organisations benchmark their artistic vibrancy internationally. They often invite foreign critical review and, with a policy of employing and developing Australian artists first, rely on the strategic appointment of a small number of elite musicians and advisors from overseas to contribute to the ongoing pursuit of excellence. These appointments also help leverage further international opportunities for the organisation.

Medium to long term employment of foreign artists and art administrators is necessary to address skills gaps and to advance international artistic exchange, innovation and engagement.

When changes to the 457-visa occurred in 2017AMPAG raised concern that a small number of skilled roles placed on the new short-term list needed to be on the medium to long term list to be effective for the classical music industry’s need.

An MPA’s inability to offer medium to long-term contracts, with a possible pathway to permanent residency for the above roles, can undermine its ability to compete for elite skills or talent or to retain a skilled foreign employee that has developed both a deep knowledge of the organisation’s repertoire and compatibility with the company. 9 Music Directors within an Orchestra must bring a specialist’s depth of artform knowledge and experience, as well as capacity to forge new and strong international engagements and profile. It is a niche skill internationally.

Capacity to recruit Arts Administrators internationally assist in addressing skills shortages that arise in Australia at this level of organisation operations. Given there are only 28 MPAs in Australia spread across six artforms with very different company operation structures and varying size leads to highly specialised skills sets.

AMPAG has made several submissions requesting two job codes to be moved to the Medium/Long Term Skills Shortage List (MLTSSL); Arts Administrator (139911) and Music Director (211212)., including to the most recent consultation round in June of this year. A decision by government was expected by early July- however, no announcements have been made to date.

• Metropolitan, Regional and international touring and engagement

Domestic regional reach

Some MPA music organisations tour extensively within and across their state borders however this is becoming increasingly difficult. Some broadcast live regional centres, and the ABC broadcasts multiple recordings each year on Classic FM.

ABC

ABC classic music radio services provide a valued access platform for distribution of Australian classical music to all Australians. The extent to which the ABC record live Australian performances has a direct impact on the sectors reach. Therefore, any changes to ABC’s commitment to the recording and broadcast of classical music is likely to negatively impact the music sector.

ABC radio and television provides an important conduit for Australian city and regional audiences to experience performances by Australia’s leading performing arts companies as well as capacity for artist and performances to reach a national audience.

ABC’s Charter obligations includes the requirement to ‘to encourage and promote music, drama and other performing arts in Australia’

The ABC is a greatly valued collaborator and commissioner of original performing arts content. Its plays a pivotal role within the recording and dissemination of Australia classical music performances

The ABC is the sole broadcaster of classic broadcaster in regional Australia and in the majority of our city territories. It is also the Australia’s major classic music recording company

Regional touring and direct engagement

While broadcast services ensure regional access, they are no substitute for a live performance. However, there are also many barriers to regional touring.

In-state and national regional touring is increasingly difficult. Many organisations rely on a combination of state funding and the federal government’s Playing Australia touring fund to offset the additional costs of travel and accommodation in regional areas.

There is wide disparity across the various states in relation to the support available.

Playing Australia is a federal regional performing arts touring program to support performing arts to reach regional and remote communities across Australia funding levels have not increased in over eight years while costs on the road have increased ahead of CPI.

Capacity to tour is challenging because of:

• the eroded value of the Playing Australia fund • lack of certainty in gaining tour funds from one year to the next and the negative impact that has on growing audience engagement • the difficulty in coordinating between state and national funding rounds • the narrow remit of the fund itself. 10 These are all barriers to building regional audiences and engagement opportunities for regional artists.

International reach

Success is also gained through local and international collaboration and mentoring, and for many early career, as well as elite artists — faced with limited job opportunities in Australia — seeking employment opportunities overseas. Australian musicians are disproportionately well represented in orchestras across the northern hemisphere.

Australian orchestras’ recent tours overseas have included China, Japan, US, UK, Indonesia and countries across Europe. The orchestras also supported emerging artists to access opportunities overseas, and invited emerging and elite foreign artists to work alongside the orchestras’ musicians here in Australia and on tour. Opportunities to exchange and collaborate internationally contribute positively to the artistic vibrancy of the arts organisations and artists involved, and build international ties and the international reputation of the Australian organisations and the artists within them. This in turn can grow audiences and performance opportunities.

National and international collaboration also enables the creation of major works or performances that would be beyond the capacity of organisations to tackle alone.

For example:

• The Australian Chamber Orchestra tours internationally every year to critical acclaim, reaching the UK, Europe, the US and Asia, and is currently in the first year of a prestigious three-year residency as International Associate Ensemble at Milton Court in London in partnership with the Barbican Centre. • Queensland Opera company is in a co-production with Icelandic Opera company (Íslenska óperan) developing a new work and bringing together an Australian librettist with an Icelandic composer. • Opera Australia has many co-productions at any one time; for example, next year’s production of Il Viaggio a Reims is a co-production between Opera Australia and the Dutch National Opera, Royal Danish Opera and Rome Opera. • Melbourne Symphony Orchestra recently announced a new four-year partnership agreement, from 2019 to 2022, with Singapore Symphony Group. It gives Australian musicians the opportunity to collaborate with international peers and reach a broader audience in the region, and will lead to important collaborations, including joint orchestral performances and concerts in both countries. The partners’ shared vision is to engage audiences worldwide, and this agreement is significant for both countries and their cultural sectors. • The Australian Chamber Orchestra tours internationally every year, and is in the first year of a three-year residency as International Associate Ensemble at Milton Court in partnership with the Barbican Centre.

However, the costs of touring larger orchestra ensembles and larger works overseas are often prohibitive. There is no clear funding pathway for MPAs to tour internationally. Valued support may be drawn from:

• a very modest cultural diplomacy fund managed by DFAT • philanthropy and sponsorship • foreign performance fees.

This has meant while good work has occurred, the lack of funding support within Australia is a significant limiting factor.

The arts sector and the music sector within it would benefit from a more ambitious, better resourced national and international arts engagement strategy. Such a strategy would have the capacity to support smaller organisations and individual artists as well as multiyear strategic engagement by large organisations, including the major performing arts companies. This would enable growth in international awareness and engagement in our artistic works, support the organisations’ and artists’ own artistic practices, and generate new relationship opportunities, including new collaborations and growth in international audiences.

11 AMPAG Recommendations

Strengthen the Major Performing Arts Framework

1. Strengthen the MPA Framework and the music MPAs within it to support sustainability

It is essential for the classic music sector that the framework be retained— for artistic and operational planning, audience development as well as providing necessary security to attract private sector support.

All partners have responsibility to the partnership. AMPAG supports periodic reviews with negotiated base funding, including indexation, representing the minimum annual commitment from each of the funding partners. Project funding should not be relied upon for core functions.

Governments’ clear and confident reporting of the contribution the MPAs make to the performing arts sector and the community is essential

AMPAG supports a transparent process to consider the introduction of new MPA entrants.

Government policies and arts funding to support the arts sector outside the MPA Framework also impact the MPAs’ opportunities to work with emerging new talent and to collaborate with other parts of the sector. Increased investment in the small-to-medium performing arts sector and individual artists will have a positive impact for the sector.

Support growth in the value of philanthropic support

2. Strengthen the impact of philanthropy and sponsorship giving through matched fund with capacity to help stimulate private giving to major music organisations.

3. Return philanthropic value to charitable music organisations by addressing red tape issues impacting the charity sector in line with recommendations set out in AMPAG’s submission to the Senate Select Committee on Charity Fundraisng in the 21st Century. (

(See Appendix 3.)

Reinstate capacity to attract elite artists

4. Amend the medium to long term skills shortage list skilled list (MLTSSL) by moving two job codes to the MLTSSL; Arts Administrator (139911) and Music Director (211212

o Reinstate the Classic music organisations capacity to make strategic long-term international appointments

Create an Investment seed Funding

5. Stimulate artistic vibrancy and ambition through the development of original IP through a $20 million over four years seed fund for new innovative performing arts works of scale

o Major new Australian works define an evolving national identity, provide the opportunity for innovation and creativity, and enhance the reputation of Australia internationally.

o New works require multiyear support, investment and testing. Australia’s financial capacity to develop new ambitious works, including those with export potential, is very limited and this in turn limits economic and employment growth in the sector.

12 o While we are proud of the calibre of the performing arts in Australia, the lack of R&D limits the arts sector’s capacity to support new, creatively ambitious works of scale.

Strengthen regional access and participation in the arts

6. Increase the music organisations’ cacpity to tour and engage intra and interstate with an increase in the Playing Australia program of $8 million shared across four years from 2019–20 to 2022–23. This will support additional strategic performing arts access, opportunity and engagement across regional Australia.

o The Playing Australia fund does not have the capacity to meet the growing needs and ambitions of regional Australia.

o An increase in funding is needed to enable greater certainty around regional touring and to enhance regional arts engagement, access to arts education and audience development initiatives, as well as create new opportunities for other types of touring, including inter-regional and regional to city, and to help offset the costs of major state- based touring of large ensembles.

7. monitor and ensure the current number of ABC classic music live recordings and proportion of Australian performances broadcast on Classical FM annual at least maintained

o ABC Charter’s obligations includes the requirement to ‘to encourage and promote music, drama and other performing arts in Australia’

o The ABC is the sole broadcaster of classic broadcaster in regional Australia and in many of our city territories. It is also the Australia’s major classic music recording company

Enable international arts engagement, collaboration and arts diplomacy

8. An additional $5 million over four years to increase the capacity for significant and multiyear international performing arts touring and engagement

o Increasing Australia’s international artist profile and touring, reciprocal engagement and collaborations contributes to artistic vibrancy, deepens international relationships and leads to new opportunities artistically and in reaching new audiences.

o Touring large performing arts companies overseas is expensive, but their prestige and national cut-through is invaluable in building positive soft power.

o While the Foreign Affairs White Paper confirmed Australia’s ongoing commitment to public diplomacy, including the performing arts, investment to enable activity is inadequate.

o The Australia Council for the Arts international strategy also has limited investment capacity and is targeted to assist individual and small arts organisations.

o Philanthropy and sponsorship are vital support levers, but without additional government investment, the MPA’s capacity to leverage both artistic opportunities and cultural diplomacy remains complex, and unpredictable.

13 Appendix 1

List of Major Performing Arts Companies

Adelaide Symphony Orchestra

Australian Brandenburg Orchestra Queensland Ballet

Australian Chamber Orchestra Queensland Symphony Orchestra

Bangarra Dance Theatre Queensland Theatre

Bell Shakespeare State Opera South Australia

Belvoir State Theatre Company South Australia Black Swan State Theatre Company Sydney Dance Company Circus Oz Sydney Symphony Orchestra Malthouse Theatre Sydney Theatre Company Melbourne Symphony Orchestra Tasmanian Symphony Orchestra Melbourne Theatre Company The Australian Ballet Musica Viva Australia West Australian Ballet Opera Australia West Australian Symphony Orchestra Opera Queensland West Australian Opera

Orchestra Victoria

Victorian Opera (from 2019)

14 Appendix 2

15 Appendix 3

AMPAG submission Senate Select Committee Review on

Charities 21st Century Framework ( Aug 2018)

supplied as separate PDF file

16 Australian Major Performing Arts Group

Submission to

Senate Select Committee on Charity Fundraising in the 21st

Century

6 August 2018

Contact: Bethwyn Serow Executive Director Australian Major Performing Arts Group www.ampag.com.au

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1 Introduction

The Australian Major Performing Arts Group (AMPAG) is the umbrella group for Australia's 28 major performing arts companies (MPAs) who inspire millions through theatre, circus, contemporary dance, classical ballet, classical music, opera, musicals and comedy (see appendix 1).

AMPAG welcomes the opportunity to provide feedback to the inquiry. Not-for-profit entities are a vital part of the community’s experience, growth and inclusiveness. While the focus of many NFPs is to protect and support the vulnerable, others exist to nourish the community in other ways—through sport and recreation, through conservation of the local environment and heritage, through religion, through multicultural activities, and, importantly, through arts and culture.

The growing value and importance of fundraising in the arts

Fundraising is increasingly a critical source of revenue relied upon to support the performing arts sector in Australia, including MPAs.

AMPAG has been tracking the MPA’s growth of funds raised through donations since 2001.

Donations income rose $10.3 million or 23.4 per cent, to $53.5 million in 2016, and now contributes 57 per cent of total private sector support1, up from 54 per cent in 2015. 2017 results (yet to be released) will continue this upward trend that saw donations overtake corporate sponsorship in 2010 as the major source of private sector income for the MPA companies.

The increase in donations has been driven by an increase in the number of donors; 2016 saw 43,485 individual donations, up 7,195 (19.8 per cent) on 2015 with a further increase reported in the 2017 survey

In 2017, the Department for Communications and the Arts in partnership with Creative Partnerships Australia produced Private sector support for the arts in Australia, which estimates the total level of private sector support for the arts in 2015–16

1 Private support refers to financial support derived from philanthropy, sponsorship and fundraising events 2 The statistical background paper highlights the essential role of philanthropy and corporate sponsorship in the sustainability of the creative sector.

Overall private sector donations to the arts in Australia are estimated to have grown over a period of six years, from $123.1 million in 2009–10 to between $149.9 million and $176.6 million in 2015–16.

These estimates cover a diverse range of arts organisations from small volunteer-run groups to considerably larger organisations, such as Australia’s 28 major performing arts companies.

While like-for-like comparison between countries is not possible, Australia appears to compare well internationally. Broadly, the paper estimates that Australia’s per-capita private sector support for the arts is higher than in Canada and similar to England, though lower than in the United States.2

Increased reliance on philanthropic support in the arts

During the period that AMPAG has been tracking changes in MPA’s fundraising, federal arts agencies and governments have encouraged an increasingly sophisticated approach to fundraising in the sector. Governments have also increased their expectations for arts organisations to reduce the extent to which they rely on government funding.

The leveraging of government investment in the MPAs has increased significantly over the past five years, from an additional $1.85 for every government dollar invested in 2012, to an additional $2.29 for every government dollar invested in 2017.

While MPAs have also successfully increased box office earnings, there is a need to balance ticket prices with access. Philanthropy has played a critical role, ensuring diverse access and participation as well as supporting growth in arts education, professional development of Australian artists and the art form. Philanthropists have also partnered with arts organisations and government to realise significant capital works that enrich the communities’ experience of the arts and build critical infrastructure for the sector. (See AMPAG news articles providing examples of capital works supported by philanthropy appendix 2.)

Given the tremendous public benefit generated by arts philanthropy, and the generosity that such support entails, it is incumbent on government to ensure that the fundraising regulatory framework is efficient and fit for purpose.

2 https://www.communications.gov.au/what-we-do/bureau-communications-and-arts- research/our-work/private-sector-support-arts 3

Summary of AMPAG recommendations

The sector needs a modern, light-touch approach that removes red tape from responsible compliant charities, stimulates public support and provides effective recourse for the public who have been negatively impacted by unscrupulous agents.

To achieve this AMPAG recommends:

1. As a priority, the federal government should change the Australian Consumer Law to cover charities with the Australian Charities and Not-for- profits Commission (ACNC), which already collects all the details on charities, to be the actual regulator.

2. State and federal governments should development a charities’ information passport to centralise reporting to a single agency for multiple uses.

3. Before extending ACNC’s public release of individual charities’ data, there is a need for close sector consultation to determine; • what public and sector benefit would be gained, and • the optimal format in which the data should be released.

4. The government’s charity framework should extend beyond reducing red tape to actively consider new ways to stimulate and optimise charities’ capacity to attract private sector earnings to enable them to advance their charitable purpose.

AMPAG supports;

a) preserving tax-free status for income raised by charities,

b) an exemption from Capital Gains Tax (CGT) for testamentary gifts, extended to all gifts of property to DGRs and non-DGR tax-exempt bodies,

c) an extension on the entitlement to receive refunds for franking credits to other NFP entities that are exempt from income tax under section 50-45 of the Income Tax Assessment 1997 Act,

d) the removal of the current legislative requirement that GST be charged on charity auction transactions and on fundraising events,

e) amend Division 30 of the Income Tax Assessment Act 1997 (ITAA 1997) (DGR legislation) to remove specific dollar limits to the maximum value of minor benefits, and create a regulation that outlines the percentage cap that determines the maximum value allowed.

5. A charities regulatory impact assessment should be conducted on any newly proposed legislation or legislative amendments that might impact the charities sector before being tabled in parliament.

6. The Charities Act 2013, combined with the ACNC guidelines on allowable charity advocacy, should be relied upon to determine charities’ allowable advocacy compliance.

7. Government should amend the current exemption encompassing the arts in the Electoral Amendments draft bill to; ‘the expression of the views, or the communication, broadcast or research, is exempt for satirical, academic or artistic purposes’.

Australian charities’ framework

The current framework of fundraising regulation creates unnecessary problems for charities and organisations who rely on donations from Australian supporters;

Charity Framework — Desirable Characteristics

AMPAG supports a fundraising framework that: • reduces red tape and streamlines reporting to place minimal costs on NFPs to allow better direction of their resources to philanthropic objectives

• removes current regulatory duplication—especially if that includes duplication across jurisdictions

• streamlines requirements, including reporting, to provide consistency and minimise compliance costs, including across state and federal jurisdictions

• provides NFP entities with certainty about their rights and responsibilities

• is proportional to the size and complexity of NFP entities, and to the public monies and risks associated with NFP entities

• protects the not-for-profit sector’s right to advocacy to advance their charitable purpose; this is essential

• optimises tax deductibility settings to maximise charities’ capacity to attract donations and direct their income to support their charitable purpose.

Australia’s current framework fails to meet these expectations, and it is the community that ultimately is the poorer for it.

The sector needs a modern, light-touch approach that removes red tape from responsible compliant charities, and provides effective recourse for the public who have been negatively impacted by unscrupulous agents.

Fundraising Compliance

• Multiple fundraising jurisdictions

Different fundraising rules and regulations across the various state and territory jurisdictions, all of which impose their unique registration and reporting requirements, generate red tape and confusion, with little or no measurable public benefit.

Many of our members operate in multiple states and collect funds online. While the ACNC has worked with states to reduce red tape, they have no authority over state jurisdictions, and change has been slow. A centralised and uniform fundraising registration process to cover all states and territories, managed by ACNC, is strongly supported.

The fundraising laws are no longer fit for purpose. They do not adequately support fundraising across state and territory borders or through digital platforms. If we want 6 to collect funds from donors outside our state (or territory), we must work through seven different laws and sort through issues such as establishing if and when a licence is needed; how long it is valid for; what must be reported; and how and when it is to be reported. The process is burdensome. This cumbersome regime is a disservice to the charitable generosity of our donors. It wastes our precious resources that could otherwise be used to advance the artistic reach and vibrancy of the Australian performing arts sector.

For example, Circus Oz currently has licences in two states (Vic and NSW). One licence would cut the administrative burden in half and lessen the ‘mental load’ of having to hold that knowledge across the lifetime of the organisation. The current framework is discouraging; a national ‘umbrella’ licence would allow us to decide on the spot to run a donor campaign wherever we happen to be working at the time.

Deloitte Access Economics concluded in their February 2016 Cutting Red Tape: Options to align state, territory and Commonwealth charity regulation, Final Report, which was commissioned by the ACNC, ‘Fundraising regulation has not kept pace with new forms of fundraising, particularly as online campaigns for funds have grown using third party websites. The current arrangements treat fundraising as an activity isolated to one state or territory, when, in reality, even small organisations may attract interest nationally and internationally through online channels, such as crowdsourcing websites.’

AMPAG’s priority is to fix the regulatory burden specifically around fundraising.

We agree with the solution put forward by Justice Connect and #fixfundraising partners to #fixfundraising as follows:

Recommendation 1 Change the Australian Consumer Law to cover charities with the Australian Charities and Not-for-profits Commission (ACNC), which already collects all the details on charities, to be the regulator. That creates the right environment for the states to repeal their state-based legislation which has become pure red tape.

This solution will deliver Stronger, Smarter, Simpler laws to support us (charities), and fundraisers and donors through:

1. clarification and minor amendment to the Australian Consumer Law: to ensure its application to fundraising activities is clear and broad

2. repeal of fragmented state and territory laws: repeal state and territory laws, and allow state and territory regulators to focus instead on regulating conduct using the Australian Consumer Law or other general laws to act against misconduct

3. guidance (code) to improve conduct (regulators and self-regulatory measures): A short, plain English, mandatory code of conduct for all fundraisers, supported by the work of self-regulatory bodies.

• Multiple agencies

Given many charities, including arts organisations, receive government grants, there should be additional reporting efficiencies considered across fundraising and other government reporting requirements.

Recommendations 2 AMPAG supports the development a charities’ information passport to centralise reporting to a single agency for multiple uses.

This idea was put forward when the ACNC was first proposed. This would enable other government agencies to collect data from a centralised portal, creating further efficiencies for the charities.

For example, MPAs already report their performance quarterly to the Australia Council. As listed organisations on the Registry of Cultural Organisations (ROCO), they report fundraising activity every six months to the Department for the Arts, they lodge full financial audited reports and directors’ reports annually with the ACNC; and various acquittals to state funding agencies and the ATO. The MPAs work closely with the governments’ arts agencies and represent extremely low risk to the consumer, yet must also manage reporting their fundraising compliance across different state fundraising rules.

In 2011, one NSW-based member company advised that the regular reporting they are required to do comprised:

• Australia Council and Arts NSW – business plans, acquittals, online quarterly data input, other periodic reporting, changes in board and senior staff • Register of Cultural Organisations (ROCO) – half yearly return on all donations received (either from individuals or corporate donors) • Australian Bureau of Statistics – quarterly return • Australian Taxation Office – quarterly BAS, annual FBT return, withholding tax declarations • Charities NSW – specific annual report information • ASIC – AGM, changes in board directors, etc. • Workers Compensation – salary information on staff (which is already provided to ATO).

In 2018, little has changed. They report to ACNC instead of ASIC, and Arts NSW is now known as Create NSW.

• ACNC public release of charities’ data

All AMPAG members publish their annual reports and are transparent about their activities. We, therefore, do not have a great concern about data being available per se. However, the format in which the data is available could be an issue.

AMPAG is concerned by recent media reports that the ACNC is planning to publish more data on charities in an effort to better inform consumers’ choice of charities to 8 be supported without first consulting the charities sector. No details have been provided as to what data will be gathered and in what format nor has there been any consultation with the sector.

Recommendation 3 Before extending ACNC’s public release of individual charities’ data, there is a need for close sector consultation to determine; • what public and sector benefit would be gained and • the optimal format in which the data should be released.

If data becomes a shorthand league table comparing figures, such as overheads or reach across a very disparate group of charities, there is a very real risk of creating false perceptions on the comparative impact, value and efficiency of individual charities. This could unfairly alter donor behaviour or complicate the messaging charities need to present to prospective donors, even though they are reputable and well managed, effective organisations.

Beyond Red Tape

AMPAG notes here key positions advanced by AMPAG in previous reviews relating to tax deductibility as it applies to charities and donations.

Recommendation 4 The government’s charity framework should stimulate and optimise charities’ capacity to attract private sector earnings to enable them to advance their charitable purpose

Government can stimulate and optimise charities capacity to earn private sector earnings through;

1. continuing to preserve tax-free status for income raised from business activity directed back into the organisation to support the organisation’s charitable purpose,

2. an exemption from Capital Gains Tax (CGT) for testamentary gifts, extended to all gifts of property to DGRs and non-DGR tax-exempt bodies to avoid the detrimental effect of the estate incurring CGT on the gift,

3. an extension on the entitlement to receive refunds for franking credits to other NFP entities that are exempt from income tax under section 50-45 of the Income Tax Assessment 1997 Act

4. the removal of the current legislative requirement that GST be charged on charity auction transactions and on fundraising events, such as charity dinners, where the funds raised are eligible for DGR. (We recommend an amendment to the GST laws to ensure that amounts eligible for income tax deductions as gifts will also be treated as gifts under GST law and not be subject to GST.,)

5. amend Division 30 of the Income Tax Assessment Act 1997 (ITAA 1997) (DGR legislation) to remove specific dollar limits to the maximum value of minor benefits, and create a regulation that outlines the percentage cap that determines the maximum value allowed for any minor benefit received by an individual donor. (Noting this amendment would still prohibit tax deductibility on the value of the minor benefits.)

Future legislative changes

Recommendation 5 A charities regulatory impact assessment should be conducted on any newly proposed legislation or legislative amendments that might impact the charities sector before being tabled in parliament.

This requirement would strengthen the quality of draft legislation and reduce the extent to which limited charitable resources are diverted to defend the charity’s operations efficiency against poorly drafted legislation.

Government red tape and advocacy

The ACNC is the proper overseer to ensure NFP’s advocacy is consistent with their purpose. Clarity and simplicity support efficient and effective compliance.

Recommendation 6 The Charities Act 2013, combined with the ACNC guidelines on allowable charity advocacy, should be relied upon to determine charities’ allowable advocacy compliance

There has been considerable parliamentary and public debate focused on the surreptitious influence of vested interests on our democracy. We support measures to ensure the integrity of our democratic system. However, it is essential that the not- for-profit sector’s right to advocacy in support of their charitable purpose should not be unduly limited and should not incur additional red tape or compliance uncertainty.

Current draft legislation that may negatively impact arts charities and the broader charities’ framework

AMPAG is concerned that the current draft changes to the Electoral Legislation Bill will materially increase reporting and monitoring of NFP artistic expression and advocacy for the charitable purpose that the organisation was set up to advance. This could draw valuable resources away from both the creation and dissemination of the art, as well as from fundraising efforts.

The Bill‘s exemption for the arts is inadequate. It reads:

(g) the expression of the views, or the communication, broadcast or research, is solely for genuine satirical, academic or artistic purposes.

It is not uncommon for works of art, including performing arts across all art forms, to express views or to communicate and inspire public debate or insight on issues of social importance, and in turn, issues of social importance carry a high probability of being before electors in an election at some time.

Determining where an artist’s artistic intent ends and political or social intent begins is not clear-cut. Introducing a law that requires such a distinction is inappropriate.

A clear and effective exemption of artistic works is critical if we are to avoid: • limiting artistic expression and exploration • introducing additional red tape in a bid to monitor and mitigate risk • triggering additional compliance requirements.

AMPAG Recommendation 7 The effectiveness of exemption (g) is critical to the performing arts sector. This must be addressed by amending the definition of political purpose clause (g) as follows: (g) the expression of the views, or the communication, broadcast or research, is exempt for satirical, academic or artistic purposes.

We also support the Advisory report on the Electoral Legislation Amendment (Electoral Funding and Disclosure Reform) Bill 2017 Recommendations 1 and 2:

Committee Report Recommendation 1 (2.33)

The Committee recommends the Government reconsider introducing the term ‘political purpose’ into the Electoral Act 1918, having regard to potential confusions with the Charities Act 2013 in which the term has a different meaning.

Committee Report Recommendation 2 (2.34) The Committee recommends that the Government consider amending the definition of ‘political expenditure’ to define the type of expenditure which constitutes expenditure undertaken to influence voters to take specific action as voters, so as not to capture non-political issue advocacy.

AMPAG also notes the charities sector’s call for all charities to be exempt from this legislation.

Appendix 1

Australia’s Major Performing Arts Companies Adelaide Symphony Orchestra Australian Brandenburg Orchestra Australian Chamber Orchestra Bangarra Dance Theatre Bell Shakespeare Belvoir Black Swan State Theatre Company Circus Oz Malthouse Theatre Melbourne Symphony Orchestra Melbourne Theatre Company Musica Viva Opera Australia Opera Queensland Orchestra Victoria Queensland Ballet Queensland Symphony Orchestra Queensland Theatre State Opera of South Australia State Theatre Company South Australia Sydney Dance Company Sydney Symphony Orchestra Sydney Theatre Company Tasmanian Symphony Orchestra The Australian Ballet West Australian Ballet West Australian Opera West Australian Symphony Orchestra

Associate Member Victorian Opera

Appendix 2

Examples of capital works supported by philanthropy

Queensland's $5.5m Bille Brown Theatre transformation

05 Jul 2018

Queensland Theatre is set to open their own 351 seat home theatre in October.

The Bille Brown Studio is undergoing a multi-million-dollar transformation and in October will take on a new life as the 351-seat Bille Brown Theatre – a state-of-the- art corner stage, designed to be the perfect place for stories, artists, and most importantly – audiences.

The Minister for the Arts, the Hon. Leeanne Enoch visited the Bille Brown Theatre marking three months until it will be the home of playwright David Williamson’s new work,Nearer the Gods.

This is another major coup for Queensland Theatre, which under the artistic leadership of Sam Strong is kicking serious goals. In 2017 Queensland Theatre reached its largest audience ever in the 50-year history of the company - over 188,450 saw a Queensland Theatre show in 55 theatres around the world and the season included the highest grossing show ever in Queensland and a 20-year high for season ticket holders.

The company is making good on Strong’s ambition to lead from Queensland – Launching the Bille Brown Theatre is a major part of this commitment.

“The Bille Brown Theatre is a once in a generation transformation for Queensland Theatre. It’s a rare opportunity to build the ideal theatre experience from the ground up,” said Strong.

“The transformed Bille Brown Theatre will provide the hub from which we can continue to share the work of Queenslanders with the rest of the country – I’m also incredibly proud to be opening the new theatre by personally directing the latest play by Australia’s greatest storyteller, David Williamson.”

“Finally, the theatre will be a very welcome addition to Brisbane’s arts infrastructure. It will be the city’s first corner stage - creating the uniquely intimate experiences that contemporary audiences crave. It will also form the centre from which we can engage more with regional Queensland, as well as increasing the resources that we can commit to small to medium companies and independent artists,” said Strong.

The total cost of the renovation project is $5.5 million. Of that, $4 million has already been raised through a $2 million grant from the State Government. The company has embarked on an ambitious fundraising campaign to raise the final $1.5 million and has already raised over $1 million from enthusiastic and generous donors.

Arts Minister Leeanne Enoch praised Queensland Theatre’s efforts to leverage the Queensland Government investment and lock in final funding for the Bille Brown Theatre. “Queensland Government’s $2 million investment will help give Queensland Theatre the space it needs to foster Queensland artists, present innovative new work and take a leadership role in partnering with some of our smaller companies,” Minister Enoch said. “This government continues to advocate for the arts and supports Queensland Theatre as it secures additional investment.”

Musica Viva moves into slick new national office by Elsabeth Parkinson on September 25, 2017 Limelight Magazine

The new premises at Green Square boasts administrative space, a performance and recording studio, and a production suite.

After almost 30 years of managing national operations from premises in Surry Hills, Musica Viva Australia has officially moved into their new office in Sydney’s fast- evolving Green Square precinct.

At the heart of the new construction – which has been conceived as a hub for Australian music – is the Janette Hamilton Studio, a purpose-built space named for the supporter who made it possible. “The Janette Hamilton Studio will provide much needed space for Musica Viva artists to rehearse, workshop and record their work,” said Create NSW CEO Michael Brealey. “It is also the organisation’s plan, as of January 2018, to make this studio available on a cost-neutral basis to independent artists and ensembles who are crying out for affordable creative space.”

With an eye to the evolving nature of the music industry the premises will also include a digital production suite. “Named for visionary leader Kim Williams AM, a new digital production suite will enable future generations to become involved in music, minimising the limitations of geographic distance,” he said.

The suite is one of several dedications in honour of Musica Viva’s supporters. The boardroom will bear the name of the Berg family, the resource centre will recognise Board Director Kathie Grinberg, and the Tribe Room will honour the company’s first Patron, Ken Tribe.

“A new building is always exciting,” Charles Graham, Musica Viva’s Chairman. “But this building stands for so much more than bricks and mortar,” he says. “It also fulfils the early dreams of [Musica Viva] founder Richard Goldner, and stands as testimony to those who have carefully nurtured Musica Viva over the past 72 years. Thanks to their prudent stewardship, we are in the fortunate position of an arts organisation that owns its main office, enabling us to take the artistic risks that keep the company vibrant today in its presentation of 2000 events a year.”

“A family of wonderful supporters has also enabled us to secure a grand piano from our partners at Theme and Variations Piano Services,” said Graham. “With thanks to Nora Goodridge and Bob and Ruth Magid, it will bear a plaque in tribute to their mother, Ira Magid, an accomplished pianist and long-time supporter of Musica Viva.”

The Goldner String Quartet – also named for the organisation’s founder – was the first ensemble to perform in the new premises, officially opening the building with a string quartet by Australian composer Matthew Hindson. ‘Little big band’ Adam Hall and the Velvet Players, from the Musica Viva in Schools programme, also gave the Janette Hamilton Studio a try-out to an audience of Musica Viva’s friends and supporters.

“Musica Viva holds a special place in the arts landscape as an organisation deeply committed to bringing live music to audiences of all ages and stages, regardless of where they might live across this vast country,” Brealey said. “Luckily for all of us, the benefits of this far-sighted wisdom will be enjoyed for many generations to come.”

Belvoir:

From Belvoir’s Annual report 2006 Company B sprang into being out of the unique action taken to save the Nimrod Theatre building from demolition in 1984. Rather than lose a performance space 16 in inner city Sydney, more than 600 arts, entertainment and media professionals as well as ardent theatre lovers, formed a syndicate to buy the building. The syndicate included nearly every successful person in Australian show business.Company B is one of Australia’s most celebrated theatre companies.