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CREATIVE BARKLY: Sustaining the Arts and Creative Sector in Remote Australia

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CREATIVE BARKLY: Sustaining the Arts and Creative Sector in Remote Australia CREATIVE BARKLY: Sustaining the Arts and Creative Sector in Remote Australia Brydie-Leigh Bartleet Naomi Sunderland Sandy O’Sullivan Sarah Woodland Final report for the Australia Research Council (ARC) Linkage Project, Creative Barkly: Sustaining the Arts and Cultural Sector in Remote Australia (LP150100522) ISBN: 978-0-6486692-1-0 Citation Bartleet, B.L., Sunderland, N., O’Sullivan, S., & Woodland, S. (2019). Creative Barkly: Sustaining the Arts and Creative Sector in Remote Australia. Australia Research Council Linkage Report. Brisbane: Queensland Conservatorium Research Centre, Griffith University. Funding acknowledgement This research has been funded through an Australia Research Council Linkage grant, with partners Barkly Regional Arts and Regional Development Australia Northern Territory. The views expressed herein do not necessarily represent the views of the ARC, nor the project’s partners. This report has been peer reviewed by the project’s partners, Advisory Group members, and leading experts in the fields of regional development, cultural policy, cultural economics, and arts evaluation. For additional information Professor Brydie-Leigh Bartleet Queensland Conservatorium Research Centre, Griffith University, South Bank Campus, PO Box 3428, South Bank, 4101, QLD. Email [email protected]. Web www.creativebarkly.org © Queensland Conservatorium Research Centre 2019. Information contained in this publication may be copied or reproduced for study, research, information or educational purposes, subject to inclusion of an acknowledgement of the source. Cover images: Melbourne City Ballet performing ‘Romeo and Juliet’ at Desert Harmony Festival 2016; Needlework display at the Tennant Creek Show 2017; scrapping workshop at Desert Harmony Festival 2016; Artists of Ampilatwatja works on display at Desert Mob 2018; Brian Morton performing at Territory Day 2019; Susan Nakamarra Nelson doing beadwork at Barkly Artist Camp 2019 First Nations’ Acknowledgement The Creative Barkly team would like to acknowledge the Traditional Custodians of the lands on which we live and work, and the lands on which we conducted this research. We also pay our respect to Elders past, present, and emerging, and extend that respect to all First Nations’ Peoples. Cover images: Melbourne City Ballet performing ‘Romeo and Juliet’ at Desert Harmony Festival 2016; Needlework display at the Tennant Creek Show 2017; scrapping workshop at Desert Harmony Festival 2016; Artists of Ampilatwatja works on display at Desert Mob 2018; Brian Morton performing at Territory Day 2019; Susan Nakamarra Nelson doing beadwork at Barkly Artist Camp 2019 1 Contents First Nations’ Acknowledgement 1 Front Matter 1 Contents 2 Executive Summary 5 Project Team 10 Acknowledgements 12 Notes on Terminology 14 List of Tables and Figures 18 List of Acronyms and Abbreviations 21 Part 1: Background 22 Chapter 1: Research Context 23 Chapter 2: Literature Review 29 Chapter 3: Research Design and Methodology 50 Part 2: Findings from the Mapping 60 Chapter 4: The Barkly Arts and Creative Sector Ecology 61 Chapter 5: Arts Employment, Enterprise, and Education 71 Chapter 6: Support, Collaboration and Spaces 93 Chapter 7: Value, Aspirations, and Impact 101 Part 3: Case Studies 111 Chapter 8: Barkly Regional Arts 113 Chapter 9: Desert Harmony Festival 126 Chapter 10: Arlpwe Art and Culture Centre 138 2 Part 4: Discussion, Implications, and Recommendations 150 Chapter 11: The Value of Arts and Creativity in the Barkly 151 Chapter 12: Strengths and Challenges for Arts in the Barkly 175 Chapter 13: Recommendations 184 References 199 Appendices 210 Appendix A: Ethics Forms 210 Appendix B: Program Logic Model 216 Appendix C: Survey for Individuals 218 Appendix D: Survey for Arts Organisations 241 Appendix E: Survey for Non-Arts Organisations 256 Appendix F: Interview Questions 268 Appendix G: DHF Survey Questions 271 Appendix H: Codebook 272 Appendix I: Supply Chain Analyses 278 3 Executive Summary There is increasing recognition that the arts and creative sector has a crucial role to play in supporting and sustaining communities in Australia’s remotest regions where the demographics and circumstances are vastly different from other urban, peri-urban, and regional locations. The Creative Barkly project worked closely with partners Barkly Regional Arts (BRA) and Regional Development Australia, Northern Territory (RDANT) to address a pressing need for evidence-based research that examines how this sector is currently functioning in very remote Australia and where its growth potential lies. Specifically, the project sought to address the following three aims: 1. To map the arts and creative sector in the Barkly Region to create a detailed picture of the current realities of how it operates in this very remote context and its implications for regional development; 2. To examine the role that arts organisations, such as BRA, play in sustaining the arts and creative sector and in developing the region in cultural, social, and economic terms, in order to inform local, national, and international work in this sector; 3. To explore the growth potential of the arts and creative sector in the Barkly Region and identify both grassroots actions and broader recommendations for organisations, policy makers, and funders for how best to achieve this. In order to address these aims, there were two key phases of data collection: Phase 1: Mapping the arts and creative sector in the Barkly Region: With the assistance of the project’s partners, the research team undertook extensive face-to-face surveys with 120 artists in communities across the Barkly Region, as well as sector interviews with 36 key stakeholders and organisations. This constitutes the first cultural mapping of its kind ever to be undertaken in the region. This phase provided significant information about the kinds of activities that Barkly artists and creative workers are involved in and how they are supported by colleagues, communities, organisations, and networks in the region. Phase 2: Case studies of arts programs and organisations: Fieldwork for three case studies of specific programs and organisations was undertaken in order to provide a clearer picture of how these programs and organisations are supporting the arts and creative sector in the Barkly Region (these case studies include an arts organisation, an art centre, and an annual festival). Data collection involved interviews, festival audience surveys, document and report analysis, and observations. This research design enabled an ecological approach to studying the arts and creative sector in the Barkly and incorporated cross-cultural, cross-art form, and cross-sector perspectives from a total of 156 informants. This marks the first independent evidence base of its kind to be generated for arts and creativity in the Barkly. In order to contextualise these findings, and inform their interpretation, the report features a significant review of literature from Australia and overseas that relates to regional and remote development broadly. In this literature review we discuss the predominant deficit construction of regional and remote areas as well as the major role of the arts in development. This covers 5 areas such as inclusive social and economic development, human rights, community development and renewal, regional and remote health and wellbeing, and cultural transmission. This review also discusses the diverse roles of regional arts organisations in development. We conclude by highlighting key concepts from existing literature, such as creative placemaking, livelihoods, strength-based development, and mobility, that speak to the diverse lived experiences of arts and development evidenced in our research in the Barkly Region. Being the first study of its kind in the region, the Creative Barkly project aimed to generate a foundational evidence base that could provide insights into the current realities, value and future potential of the arts and creative sector in this region. Following ten extensive field trips to the region, the resulting data set was large and high in quality with insights from a total of 156 participants. It revealed the strength of the arts and creative sector in the Barkly, and its unique situation at the intersection of a number of diverse cultures. Within the Barkly there are 16 different First Nations’ language groups and non-Indigenous cultures that include Anglo- European, Filipino, Indian, Chinese, Italian, Fijian, Zimbabwean, and Indonesian. The mapping process also revealed how these cultures were being expressed through the region’s 550+ artists and creative practitioners, working across over 40 different art forms and practices, and all contributing their skills, knowledge and experience to the cultural capital of the Barkly. This holistic and “ecological” approach also recognised relationships and patterns between traditionally separated domains such as commercial, amateur and subsidised. The findings from this study show a broad array of art forms and creative activities being practised by adults of all ages across the Barkly’s culturally diverse population. While the Barkly is more widely known for painting and music; several other creative practices such as photography, drawing, and teaching or facilitating were also strong. A total of 85.8% of respondents were engaged in multiple art forms, which has implications for program design and delivery, where certain skills may be transferable between different art forms. The study revealed that voluntary
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