DOCSLIB.ORG

SUPPLY and DEMAND of CREATIVE ARTS in REGIONAL VICTORIA, AUSTRALIA TRISTAN ANDREW MASTERS BA Eurp.Stds

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SUPPLY and DEMAND of CREATIVE ARTS in REGIONAL VICTORIA, AUSTRALIA TRISTAN ANDREW MASTERS BA Eurp.Stds View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by RMIT Research Repository SUPPLY AND DEMAND OF CREATIVE ARTS IN REGIONAL VICTORIA, AUSTRALIA TRISTAN ANDREW MASTERS B.A. Eurp.Stds (Hons) School of Economics, Finance and Marketing March, 2007 A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy from the Royal Melbourne Institute of Technology. Certification: (a) Except where due acknowledgment has been made, the work is that of the candidate alone (b) The work has not been submitted previously, in whole or in part, to qualify for any other academic award (c) The content of the thesis is the result of work which has been carried out since the official commencement data of the approved research program Signed: _________________________________ Tristan Andrew Masters March 1st, 2007 Acknowledgments: I wish to acknowledge a number of people, without whom this research would have been a considerably more daunting prospect. I would especially like to thank Professor Robert Brooks and Associate Professor Roslyn Russell, for their unceasing efforts, tremendous support and constant geniality throughout the past three years. I would also like to thank Ms. Judy Morton for her ongoing support and expert advice on behalf of Arts Victoria - and the Australian Research Council, without whom this project would not have come to fruition. I would also like to particularly thank Sha Robertson for her constant love and encouragement, and recognise the valuable assistance I received from Professor Tim Fry, Sandra Mihajilo, Aruna Nair, Prue Lamont, Warren Staples, Andy Miller, Stuart Koop, Debra Jefferies, Lindy Bartholomew, Rob Robson, Eva Grunden, Andrea Court, Joan Kinnon, Dr. Roslyn Sayers, Michael Gangemi, Kalpana Lalji, Sandra Hart, my family in Perth, and the ‘Melbourne family’. Each of these people has helped shape this project, and I could not have come this far in the absence of such warm and generous support. ii TABLE OF CONTENTS: CHAPTER ONE - INTRODUCTION 1.1 – INTRODUCTION.............................................................................................................................5 1.2 – RESEARCH QUESTIONS, AIMS AND OUTCOMES ........................................................................6 1.3– INDUSTRY PARTNER COLLABORATION AND FUNDING ...............................................................7 1.4 - TARGET REGIONS ..........................................................................................................................8 1.5 - DEFINITIONS ..................................................................................................................................8 1.6 – OUTLINE OF THE THESIS...............................................................................................................10 1.7 – DELIMITATIONS OF SCOPE AND KEY ASSUMPTIONS................................................................11 1.8 – CONCLUSION .............................................................................................................................11 CHAPTER TWO - LITERATURE REVIEW 2.1 – INTRODUCTION...........................................................................................................................12 2.2 – CREATIVE INDUSTRIES AND THE NEW ECONOMY ....................................................................13 2.3 – THE ARTS, COMMUNITY REGENERATION AND ECONOMIC SUSTAINABILITY.........................14 2.4 – THE ARTS IN REGIONAL ECONOMIC REGENERATION .............................................................15 2.5 - SUPPLY OF CREATIVE ARTS.........................................................................................................16 2.6 - DEMAND FOR THE ARTS..............................................................................................................25 2.7 - EVENTS AND FESTIVALS ..............................................................................................................32 2.8 – CONCLUSION .............................................................................................................................38 iii CHAPTER THREE - METHODOLOGY 3.1 – INTRODUCTION...........................................................................................................................40 3.2 – RESEARCH DESIGN .....................................................................................................................40 3.3 – DATA COLLECTION AND ANALYSIS ..........................................................................................43 3.4 - ETHICAL CONSIDERATIONS........................................................................................................53 3.5 – CONCLUSION .............................................................................................................................54 CHAPTER FOUR - BACKGROUND 4.1 – INTRODUCTION...........................................................................................................................56 4.2 – THE ARTS INDUSTRY IN AUSTRALIA.............................................................................................56 4.3 - AUSTRALIAN CULTURAL FUNDING .............................................................................................57 4.4 – A SNAPSHOT OF THE VICTORIAN ARTS INDUSTRY....................................................................60 4.5 – A SNAPSHOT OF THE REGIONAL VICTORIAN ARTS INDUSTRY.................................................60 4.6 – ARTS DEMAND STATISTICS..........................................................................................................62 4.7 – FESTIVAL ATTENDANCE ..............................................................................................................63 4.8 - PROFILES OF SELECTED TARGET COMMUNITIES........................................................................63 4.9 – OUTLINE OF TARGET FESTIVALS..................................................................................................67 4.10 - CONCLUSION............................................................................................................................67 CHAPTER FIVE - SUPPLY OF CREATIVE ARTS IN REGIONAL VICTORIA 5.1 - INTRODUCTION ...........................................................................................................................69 5.2 – SNAPSHOT OF REGIONAL ARTS WORKERS ...............................................................................70 5.3 - COMMUNITY FOCUS GROUPS ...................................................................................................72 iv 5.4 - CURRENT OPERATIONAL ENVIRONMENT...................................................................................72 5.5 - COMMUNITY ATTITUDES TOWARDS THE ARTS ...........................................................................81 5.6– SOCIAL AND DEMOGRAPHIC CHARACTERISTICS AFFECTING SUPPLY...................................86 5.7 – COMMUNITY STRATEGIES FOR GROWTH IN SUPPLY ................................................................88 5.8 - COMMUNITY DEVELOPMENT FRAMEWORK ............................................................................103 5.9 – CHARACTERISTICS OF REGIONAL ARTS SMALL AND MICRO-BUSINESSES...........................104 5.10 – STRATEGIES FOR BUSINESS GROWTH.....................................................................................111 5.11 - BEST-PRACTICE RECOMMENDATIONS ..................................................................................120 5.12 - CONCLUSION..........................................................................................................................123 CHAPTER SIX - DEMAND FOR CREATIVE ARTS IN REGIONAL VICTORIA 6.1 - INTRODUCTION .........................................................................................................................125 6.2 - COMPARISON OF DEMOGRAPHIC CHARACTERISTICS .........................................................126 6.3 - DATA ANALYSIS AND RESULTS .................................................................................................138 6.4- MULTIVARIATE DEMAND MODEL – ORDERED PROBIT..............................................................167 6.5 - CONCLUSION............................................................................................................................186 CHAPTER SEVEN REGIONAL VICTORIAN ARTS FESTIVALS 7.1 – INTRODUCTION.........................................................................................................................188 7.2 – DATA ANALYSIS AND RESULTS .................................................................................................189 7.3 - REGRESSION ANALYSIS ............................................................................................................219 7.4 - CONCLUSION............................................................................................................................233 v CHAPTER EIGHT - CONCLUSION 8.1 – INTRODUCTION.........................................................................................................................235 8.2 – SUPPLY CONCLUSIONS ............................................................................................................235 8.3 – DEMAND CONCLUSIONS.........................................................................................................236 8.4 – FESTIVALS CONCLUSIONS........................................................................................................237
Load more

Recommended publications
  • Artin DETAIL
    Pacific Art IN DETAIL Jenny Newell © 2011 The Trustees of the British Museum Jenny Newell has asserted the right to be identified as the author of this work Contents First published in 2011 by The British Museum Press A division of The British Museum Company Ltd 38 Russell Square, London WC1B 3QQ www.britishmuseum.org Preface 000 A catalogue record for this book is available from the British Library 1 What Is Pacific Art? 000 ISBN 2 Art of the Moment 000 Photography by the British Museum Department of Photography and Imaging 3 Sea of Islands 000 Map by Mark Gunning (www.gunningdesign.com) 4 Gods and Spirits 000 Designed and typeset in Minion and Helvetica by Printed in 5 Living with Ancestors 000 The papers used in this book are natural, renewable and recyclable 6 Art of Power 000 products and the manufacturing processes are expected to conform to the environmental regulations of the country of origin. 7 Art of Dance 000 8 Art of War 000 9 Art of Change 000 10 Further Information 000 Sources 000 Further reading 000 Collections of Pacific art 000 Glossary 000 British Museum registration numbers 000 Index 000 4 5 Preface In recent decades Pacific Islanders have Kalissa Alexeyeff, Joshua Bell, Mike Gunn, been increasingly engaged with museum Crispin Howarth, Sean Mallon, Olympia E. Preface objects, historic photographic collections, and Morei, Paul Tapsell, Michel Tuffery, etc. [AQ: archives as documents of the art forms and more names to come?] techniques of their ancestors. This is part of The National Museum of Australia The arts of the Pacific are magnificently more widely accessible through publications a broader process within the post-colonial generously supported the writing of this diverse.
    [Show full text]
  • Australia Council for the Arts Submission to Inquiry Into Broadcasting, Online Content and Live Production to Rural and Regional Australia
    AUSTRALIA COUNCIL FOR THE ARTS SUBMISSION TO INQUIRY INTO BROADCASTING, ONLINE CONTENT AND LIVE PRODUCTION TO RURAL AND REGIONAL AUSTRALIA FEBRUARY 2016 1 TABLE OF CONTENTS TABLE OF CONTENTS ......................................................................................................... 2 About the Australia Council for the Arts .............................................................................................................3 Introduction .........................................................................................................................................................4 Arts ecology in the regions .................................................................................................................................4 Arts participation in the regions ..........................................................................................................................5 Funding breakdown ............................................................................................................................................6 Grant Programs ..................................................................................................................................................7 National Regional Touring Programs and other Government initiatives ............................................................9 Playing Australia .............................................................................................................................................. 10 National
    [Show full text]
  • Exploring 'The Rock': Material Culture from Niue Island in Te Papa's Pacific Cultures Collection; from Tuhinga 22, 2011
    Tuhinga 22: 101–124 Copyright © Museum of New Zealand Te Papa Tongarewa (2011) Exploring ‘the Rock’: Material culture from Niue Island in Te Papa’s Pacific Cultures collection Safua Akeli* and Shane Pasene** * Museum of New Zealand Te Papa Tongarewa, PO Box 467, Wellington, New Zealand ([email protected]) ** Museum of New Zealand Te Papa Tongarewa, PO Box 467, Wellington, New Zealand ([email protected]) ABSTRACT: The Pacific Cultures collection of the Museum of New Zealand Te Papa Tongarewa (Te Papa) holds around 300 objects from the island of Niue, including textiles, costumes and accessories, weapons, canoes and items of fishing equipment. The history of the collection is described, including the increasing involvement of the Niue community since the 1980s, key items are highlighted, and collecting possibilities for the future are considered. KEYWORDS: Niue, material culture, collection history, collection development, community involvement, Te Papa. Introduction (2010). Here, we take the opportunity to document and publish some of the rich and untold stories resulting from the The Pacific Cultures collection of the Museum of New Niue collection survey, offering a new resource for researchers Zealand Te Papa Tongarewa (Te Papa) comprises objects and the wider Pacific community. from island groups extending from Hawai‘i in the north to The Niue collection comprises 291 objects. The survey Aotearoa/New Zealand in the south, and from Rapanui in has revealed an interesting history of collecting and provided the east to Papua New Guinea in the west. The geographic insight into the range of objects that make up Niue’s material coverage is immense and, since the opening of the Colonial culture.
    [Show full text]
  • Table of Contents
    The Public and The Arts A Survey of Behaviour and Attitudes in Ireland Paula Clancy Senior Research Associate with the Business Research Programme, Graduate School of Business, University College, Dublin Martin Drury Arts Consultant Anne Kelly Director of Arts Administration Studies at University College, Dublin Teresa Brannick Newman Scholar in Marketing at University College, Dublin Sheila Pratschke Director of the Film Institute of Ireland Commissioned by the Arts Council/An Chomhairle Ealaíon from the Business Research Programme, Graduate School of Business, University College, Dublin 1994 Published by The Arts Council/An Chomhairle Ealaíon, 70 Merrion Square, Dublin 2. in association with The Business Research Programme, Graduate School of Business, University College, Dublin, Carysfort, Blackrock, Co. Dublin. © 1994 The Arts Council/An Chomhairle Ealaíon Graduate School of Business, University College, Dublin ISBN 0 906627 57 5 Cover design by Bill Murphy MSIA FCSD Printed by Criterion Press, Dublin TABLE OF CONTENTS Acknowledgements vi Foreword vii Executive Summary ix Preface xiv Overview of National Policy 1 Introduction…………………………………………………………………………………………. 1 Excellence in the Arts………………………………………………………………………………. 3 Access………………………………………………………………………………………………. 3 Education …………………………………………………………………………………………... 6 Artforms……………………………………………………………………………………………. 8 Funding Environment………………………………………………………………………………. 9 The Arts Context for the 1990s…………………………………………………………………….. 11 The International Context…………………………………………………………………………... 12 The
    [Show full text]
  • CBD Sixth National Report
    Niue’s Sixth National Report Convention on Biological Diversity August 2020 Department of Environment GOVERNMENT OF NIUE 1 Table of Contents Executive summary ......................................................................................................................................... i Acronyms ....................................................................................................................................................... iii Acknowledgements ....................................................................................................................................... v Introduction .................................................................................................................................................. 1 Section I. Targets being pursued at the national level................................................................................ 2 National Target 1: Protection of biological diversity .............................................................................. 3 National Target 2: Policy, planning and institutional frameworks ......................................................... 4 National Target 3: Local communities and customs ............................................................................... 5 National Target 4: Institutional strengthening ........................................................................................ 6 National Target 5: Financial sustainability ..............................................................................................
    [Show full text]
  • Adult Omnibus Survey 2019
    Adult Omnibus Survey 2019 General Attendance and Participation Arts Council of Wales makes information available in large print, braille, audio, Easy Read and British Sign Language. We’ll also try to provide information in languages other than Welsh or English on request. Arts Council of Wales operates an equal opportunities policy. Cover: Composer Teif Emerald working with Hijinx Theatre actors as part of Tŷ Cerdd’s CoDI Move project (image: Matthew Thistlewood) 2 Contents Introduction .......................................................................................................................................................................................... 5 Background ............................................................................................................................................................................................ 5 Methodology ...................................................................................................................................................................................... 5 Notes on Data Presentation .............................................................................................................................................................. 6 Executive Summary ............................................................................................................................................................................. 7 Summary Report .................................................................................................................................................................................
    [Show full text]
  • Australian Participation in the Arts
    Arts in Daily Life: Australian Participation in the Arts. Technical appendix Contents | Arts in Daily Life: Australian Participation in the Arts Contents Appendix I: Sample profile 6 Appendix II: Reasons for non-creative participation 12 Appendix III: Reason for non-attendance 14 Appendix IV: Changes to the 2013 survey 16 Appendix V: Survey questionnaire 18 Appendix VI: Detailed methodology 41 Appendix VII: Demographic profiles of creative and receptive participation 42 Appendix VIII: Profile of increase in creative participation from 2009 to 2013 52 Appendix IX: Regional differences 57 Appendix X: Demographic analysis of those taken to the arts as children 67 Appendix XI: Attitudinal differences between donors and non-donors 68 3 Arts in Daily Life: Australian Participation in the Arts | Appendix I List of tables Table 35: Sample profile: State 6 Table 54: Receptive participation Table 36: Sample Profile: Age 6 by Age – main artforms 48 Table 37: Sample profile: Gender 7 Table 55: Receptive participation by Employment – main artforms 49 Table 38: Sample profile: Employment Status 7 Table 56: Receptive participation by Household Income – main Table 39: Sample profile: artforms 50 Education 7 Table 57: Receptive participation Table 40: Sample profile: by Gender – main artforms 51 Country of birth 8 Table 58: Receptive Table 41: Sample profile: participation by Household Country of parents’ birth 9 Structure – main artforms 51 Table 42: Sample profile: Table 59: Creative participation Language spoken at home 9 by age 53 Table 43: Sample
    [Show full text]
  • Migration and Development on Niue Island
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2003 Migration and development on Niue Island Joslin Annelies Heyn The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Heyn, Joslin Annelies, "Migration and development on Niue Island" (2003). Graduate Student Theses, Dissertations, & Professional Papers. 2980. https://scholarworks.umt.edu/etd/2980 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. The University of Montana Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. **Please check "Yes" or "No" and provide signature** Yes, I grant permission No, I do not grant permission Author's Signature: Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. 8/98 MIGRATION AND DEVELOPMENT ON NIUE ISLAND by Joslin Annelies Heyn B.A Johns Hopkins University 1998 presented in partial fulfillment of the requirements for the degree of Master of Science The University of Montana May 2003 Apnroved by: >erson: Dean, Graduate5T-y-°s School: Date: UMI Number: EP34609 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted.
    [Show full text]
  • Adult Omnibus Survey 2019
    Adult Omnibus Survey 2019 Attendance by artform Arts Council of Wales makes information available in large print, braille, audio, Easy Read and British Sign Language. We’ll also try to provide information in languages other than Welsh or English on request. Arts Council of Wales operates an equal opportunities policy. Cover: Aberhenfelen, Theatr Bara Caws (image: llunia Cwmni) 2 Contents Attendance to Cinema ................................................................................................................................................................................................................ 4 Attendance to Musicals .............................................................................................................................................................................................................. 8 Attendance to Other Live Music ............................................................................................................................................................................................ 11 Attendance to Carnivals and Street Art .............................................................................................................................................................................. 16 Attendance to Exhibitions of Arts and/or Craft ................................................................................................................................................................. 20 Attendance to Plays ................................................................................................................................................................................................................
    [Show full text]
  • Native American Art I INTRODUCTION
    Native American Art I INTRODUCTION Native American Art, the visual works crafted by indigenous people of North America, starting after their arrival on the continent thousands of years ago and continuing until the present. These works may be painted, carved, woven, sewn, or built, and can incorporate such materials as feathers, porcupine quills, tree bark, animal skins and hair, and wood. They encompass a variety of objects, including clothing and jewelry, blankets and rugs, masks, totem poles, baskets, and bowls. Today, some Native American artists produce mainstream contemporary art—paintings on canvas, photographs, and performance art—while others continue to make art based on long-standing traditions. For information about native building traditions, see Native American Architecture. Many Native American artworks were intended for use in daily life as well as in ceremonies and rituals. Some items were made as garments or to store food. The ceremonies and rituals served various functions, including healing and maintaining success in hunting and farming, and they expressed beliefs about the relationship of Native Americans with the universe and the world around them. These beliefs gave shape and meaning to Native American art. Masks worn in healing ceremonies, for example, helped specialists in those rituals communicate with the spirit world. Carved wooden totem poles of the Pacific Northwest recorded family histories, and they were presented and displayed at elaborate ceremonies that helped the family preserve its history and status within the community. To serve its purpose effectively, a work of art was expected to be skillfully crafted and beautiful to its viewers. No written records of Native American life exist before contact with Europeans during the 1500s, and so scholars consider the period before contact as prehistoric.
    [Show full text]
  • Gauguin & Polynesia: Educator Resource Guide
    Contact Information Seattle Art Museum 1300 First Avenue Seattle, WA 98101 206.654.3100 seattleartmuseum.org © 2012 Seattle Art Museum Please direct questions about this resource guide to: Wyckoff Teacher Resource Center, Seattle Art Museum, 206.654.3186 [email protected] Exhibition itinerary Seattle Art Museum, February 9–April 29, 2012 Author Regan Pro, Manager of School + Educator Programs, Seattle Art Museum Editing Anna Elam, Wyckoff Teacher Resource Center Librarian/Educator, Seattle Art Museum Sandra Jackson-Dumont, Kayla Skinner Deputy Director for Education & Public Programs/Adjunct Curator, Department of Modern + Contemporary Art, Seattle Art Museum Advisory Committee Rochelle Fonoti, Interim Cultural Specialist, Asian American Native American Pacific Islander Serving Institution (AANAPISI) Federal Grant, South Seattle Community College Sandra Jackson-Dumont, Kayla Skinner Deputy Director for Education & Public Programs/Adjunct Curator, Department of Modern + Contemporary Art, Seattle Art Museum Willow Kosbab, Arts Specialist, John Hay Elementary School Chiyo Ishikawa, Susan Brotman Deputy Director for Art and Curator of European Painting & Sculpture Pam McClusky, Curator, Art of Africa & Oceania, Seattle Art Museum SPONSOR INFORMATION S u pport for K–12 programs during the 2011–2012 school year is provided by the Institute of Museum and Library Services, PONCHO, Th e Clowes Fund, Leona M. Geyer Charitable Trust, and the Margaret A. Cargill Foundation. Sustained support is provided by an endowment established in 1999 by a National Endowment for the Humanities challenge grant and the generous contributions of matching donors, including the Ann P. Wyckoff Education Endowment. The William Randolph Hearst Endowed Fund for Education Programs at the Seattle Art Museum has supported SAM K–12 programs since 1994.
    [Show full text]
  • Iere Mapping Summaryr
    The Management and Policy Institute Mapping Exercise of Trinidad and Tobago’s Arts & Cultural Industry Sector Suzanne Burke PhD 10 East 6th Street, Beaulieu Avenue, Trincity, Trinidad and Tobago. T 868 640 2113 Work Email: [email protected] Table of Contents Executive Summary 4 Section One: Fieldwork Findings 9 Introduction 10 Method 12 Structure 12 Limitations 13 Chapter One: The Creative Arts 15 Music 15 Music Ensembles 17 Dance 19 Drama 21 Literary Arts 22 Visual Arts 24 Arts Education 26 Conclusion 28 Chapter Two: Festivals and Public Organisations 31 Performing Arts Festivals 31 Music Festivals 35 Heritage Festivals 38 Visual Arts Festivals 42 Conclusion 44 Public Organisations (Literary, Visual & Performing Arts) 45 Culturing Development: The Dynamic Significance of the Arts and Cultural Industries 1 Public Organisations (Cultural service organisations) 47 Chapter Three: Cultural Industries 49 Bookstores 49 Publishing 51 Film and Video 53 Sound recording 55 Cinemas 57 Music Instrument Retail and Repairs 59 Commercial Media Arts Companies 61 Design 63 Chapter Four: Facilities 69 Introduction 69 Amphitheatres 69 Archives 71 Art Galleries 73 Community Arts Organisations 75 Heritage/Historic Sites 76 Libraries 78 Museums 79 Parks 81 Theatres 83 Conclusion 85 Chapter Five: Stakeholder Satisfaction 87 Introduction 87 Findings 87 Summary 92 Section Two: Analysis and Discussion 93 Culturing Development: The Dynamic Significance of the Arts and Cultural Industries 2 Chapter Six: Entrepreneurial Development 94 Introduction 94 The Creative Arts
    [Show full text]