Institute for Culture and Society Recalibrating culture: production, consumption, policy

A RESEARCH REPORT Professor Deborah Stevenson, Institute for Culture and Society Professor David Rowe, Institute for Culture and Society Dr Josephine Caust, JoCaust Arts Ms Cecelia Cmielewski, Institute for Culture and Society RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

ACKNOWLEDGEMENTS This project was funded by an Australian Research Council Linkage Grant (LP130100253) awarded to Western Sydney University in partnership with Auburn City Council, City of Sydney Council, Information and Cultural Exchange Inc., Fairfield City Council, Liverpool City Council, Parramatta City Council and Penrith City Council. Additional support was provided by Arts NSW.

The Chief Investigators were Professors Deborah Stevenson and David Rowe from the Institute for Culture and Society (ICS), Western Sydney University. Cecelia Cmielewski of ICS managed and contributed to the research project, while Dr Reena Dobson provided some expert editing of the final report. The Chief Investigators sincerely thank Dr Jo Caust of JoCaust Arts for the expertise that she was able to bring to the project and for the research she undertook which significantly contributed to its outcomes. Dr Caust’s contribution followed the untimely passing in mid-2014 of Dr Michael Volkerling, who had been intimately involved in the development and conduct of the project. We dedicate this report to Michael in memoriam.

The researchers would also like to acknowledge the work of the industry partners for helping to shape the research and activate their valuable networks, which made for successful and rich research outcomes. We thank: Ms Kim Spinks and Ms Augusta Supple, Arts NSW; Ms Jenny Cheeseman, Auburn City Council; Ms Karen Harris, Penrith City Council; Ms Tiffany Lee-Shoy, Fairfield City Council; Mr George Mannix and Ms Merryn Spencer, Parramatta City Council; Mr Khaled Sabsabi, Casula Powerhouse Arts Centre for Liverpool City Council; Ms Rachel Healy and Mr Ianto Ware, City of Sydney Council; and Mr John Kirkman, Information and Cultural Exchange Inc. We also thank the Institute for Culture and Society at Western Sydney University for providing such a productive and congenial research environment.

The researchers and partners would also like to express their sincere gratitude to all the cultural practitioners who responded to the survey, and to those who generously gave their time to be interviewed. Their insights and considered responses to the research questions greatly enhanced the research.

Authored by Professor Deborah Stevenson, Professor David Rowe, Dr Josephine Caust and Ms Cecelia Cmielewski. ISBN 978-1-74108-443-6 © 2017 University of Western Sydney ABN 53 014 069 881 CRICOS Provider No: 00917K Referencing guide: Stevenson, D., Rowe, D., Caust, J. and Cmielewski, C. (2017). Recalibrating Culture: Production, Consumption, Policy. Western Sydney University. Artwork: Khaled Sabsabi, Syria (video still). (2012). Image courtesy of the artist and Milani Gallery Brisbane. Photograph: courtesy of the artist.

2 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

TABLE OF CONTENTS

ACKNOWLEDGEMENTS Page 2

EXECUTIVE SUMMARY Page 4

INTRODUCTION Page 6

METHODOLOGY Page 8 Quantitative Page 8 Qualitative Page 8

INTRODUCING THE RESEARCH FINDINGS Page 8

DETAILED FINDINGS A. RESPONDENTS Page 15 B. DEMOGRAPHICS Page 16 C. CREATIVE ACTIVITIES Page 27 D. PROFESSIONAL AND SOCIAL FACTORS Page 41 E. INCOME AND HOURS WORKED Page 43 F. NETWORKING Page 50 G. ARTS ORGANISATIONS Page 51 H. RESOURCES Page 52

FUTURE NEEDS OF THE ARTIST/CULTURAL PRACTITIONER Page 54

REFLECTIONS AND RECOMMENDATIONS Page 55

REFERENCES Page 58

APPENDICES Page 60 1. Interviewee Characteristics and Interview Summaries Page 60 2. Outline of Interview Questions Page 69 3. Researcher Biographies Page 70

westernsydney.edu.au/ics 3 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY EXECUTIVE SUMMARY

The purpose of the ARC Linkage Project (LP On a per capita basis the Western Younger people, especially those from 130100253) Recalibrating Culture: Production, Sydney Cultural Arts sector has been working-class and disadvantaged Consumption, Policy is to understand the work grossly under funded and supported backgrounds, are less well-positioned to practices of artists and cultural practitioners ever since the region developed its take up creative work because of the lack of who live and/or practice in Greater Western first modern cultural institutions in educational possibilities in the region (there Sydney. The research aimed to find out the late 1980s and early 1990s. is no dedicated art school in all of Greater about the nature of artistic and cultural Western Sydney) and the lack of support and practice, how that work is undertaken, where Today Western Sydney represents 1 in associated low level of income in the arts. it is done, and what is needed for arts and 10 Australians yet attracts only 1% of An ageing artist population supported by cultural practice to happen and prosper. Commonwealth arts program funding, superannuation or a waged partner cannot and 5.5 % of the States Cultural Arts, sustain the creativity on which following Professors Deborah Stevenson and David heritage and events funding (2015: 9). generations can build. The resources allocated Rowe from the Institute for Culture and to the arts and cultural sector must take this Society (ICS) and a research team examined While such funding inequity is serious, the (apparently widening) schism into account. the changing modes of cultural activity Recalibrating Culture research suggests and participation in Australia. The research that artists and cultural practitioners do The Recalibrating Culture study found that consisted of a detailed online survey open not view their lives entirely as being ‘in artists and cultural practitioners commonly: for two months and drew 310 responses, deficit’. The respondents generally attempt of which 231 were eligible respondents to integrate their commitment to arts and • collaborate across artforms, particularly in who live and/or work in Greater Western culture into work from which they might, the Visual Arts and as cultural facilitators Sydney. This number is large enough to if desired or possible, make a living. For • earn below the national artist average draw reasonably robust conclusions and many, this impulse translates to feeling income for their arts practice for these to apply to the larger population that they ‘belong’, and even more so for • seek part-time employment in the of artists and creative workers in the those who feel like ‘outsiders’ in society. cultural sector if it is available region. Semi-structured interviews with 21 • encompass a range of artistic identities participants were also undertaken over a The findings here elucidate the sense of • network within their artform and tend not to two-month period. This report summarises independence available to them as creative associate formally with cultural institutions the key findings, provides a more detailed and cultural practitioners, and simultaneously • deploy digital technologies for analysis of them, and closes with a set of highlight the paucity of creative resources production if their work is screen-based conclusions and recommendations. available to the research participants. This • use digital technologies to combination suggests that there exists in build new audiences. As part of the attention being placed upon Greater Western Sydney a highly adaptable Western Sydney, the Deloitte’s report group of people who are able to combine Building Western Sydney’s Cultural Arts their passion for creative practice with Economy — A Key to Sydney’s Success (2015) a range of ‘portmanteau’ employment details the inequity of state and federal activities and economic resources to continue cultural resource expenditure in Western in their creative work. This is a response Sydney thus in its executive summary: of a resilient group, although it must be acknowledged that it is also a mature, well- educated one (many of whom are retired or semi-retired) who are more likely to be respondents to survey and interview requests. Demonstrable issues of demography and social equity emerge as a result.

4 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

This study highlights the immediate need for accessible and flexible spaces for cultural practice. The level of interest and support for location to Western Sydney by major and independent cultural institutions needs to be leveraged in ways that are not ‘business as usual’. Cultural infrastructure projects have to consider how flexible and accessible creative working areas can be incorporated into their development. Professional artist residencies and sites for semi-formal training are key considerations to be taken into account. This level of interaction with the diverse population of artists and cultural practitioners would increase the profile of cultural infrastructure in the region and, in turn, generate dynamic creative centres with which Western Sydney could be identified. Links to Learning. (2015). Information and Cultural Exchange, Crucially, it is the artists and cultural Granville Boys High School at the Museum of Contemporary Art. practitioners, both singularly and in Photograph: Marian Abboud. teams, who need to be recognised as the key existing creative infrastructure and sustainably supported as the creative leaders in the region.

Daisy Moon was Born This Way. (2017). Joan Sutherland Performing Arts. Photograph: Alana Dimou.

westernsydney.edu.au/ics 5 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY INTRODUCTION

THE RESEARCH Reconceptualising cultural activity assists also provided research management of the in the development of cultural policy and project) structuring the overall research PROJECT AIMS planning (Stevenson, 2000). The research report, and providing theoretical, conceptual undertaken in Recalibrating Culture: and empirical information and analysis. A Greater Western Sydney is one of the fastest Production, Consumption, Policy focuses on case study analysis of the cultural economy of growing regions in Australia. Commencing artists and cultural practitioners, exploring Australia’s most dynamic urban area – Greater at Parramatta, Greater Western Sydney their creative work and support systems. Western Sydney – was undertaken in the stretches to incorporate the Blue Mountains It advances knowledge and understanding context of metropolitan Sydney. The research in the west, Hawkesbury in the north/north- of contemporary cultural employment and adds a deeper quality and value to ‘broader- west, and Wollondilly in the south/south- activity. Our findings provide the basis for a brush’ national cultural statistics and current west (Fagan and O’Neill, 2015). Currently, 47 new approach to Australian cultural policy cultural mapping approaches. percent of Greater Sydney residents live in that reflects rapidly changing conditions in Western Sydney (Montoya, 2015). Over the technologies, precarious income sources, The purpose of Recalibrating Culture is to next 20 years, Western Sydney’s population portfolio practices, and working conditions for understand the working context of artists and is forecast to increase by 50 percent to artists and cultural practitioners. cultural practitioners who live and/or practice approximately 3 million (Montoya, 2015). in Greater Western Sydney. The research aimed It is anticipated that more than half of the Professors Deborah Stevenson and David to find out about the nature of their practice, Greater Sydney population will reside in the Rowe from the Institute for Culture and how they undertake their work, where they Western Sydney region (NSW Department Society (ICS) and a research team examined do it, and what is needed for their practice to of Planning and Environment, 2014). Western the changing modes of cultural activity prosper. Many artists and cultural practitioners Sydney is very culturally diverse: it is home and participation in Australia. This project volunteered to participate in this research. The to NSW’s largest population of Aboriginal was funded by the Australian Research participants responded to a detailed online and Torres Strait Islander people, and is Council through its Linkage Project grant survey and/or agreed to be interviewed, also one of the most multicultural regions scheme in collaboration with seven industry indicating the level of their commitment to in the state (Australian Bureau of Statistics, partners. The senior researchers were joined cultural production in the region. 2011a; Centre for Western Sydney, n.d.). by partners on the project from the City Councils of Auburn, Fairfield, Liverpool, Research into working conditions and Over the last decade, the number of Parramatta, Penrith and Sydney, the earnings of artists and cultural practitioners Australians engaging in paid or unpaid cultural Information and Cultural Exchange (ICE) is usually undertaken nationally (Throsby and activities has increased by over 50 percent and, later, by industry sponsor Arts NSW. Hollister, 2003), as an aspect of wider cultural (Australian Bureau of Statistics, 2007; 2011b; Dr Jo Caust undertook the survey analysis policy research undertaken at a local level 2013). This rise has occurred despite falling and conducted and analysed the interviews, (Yue, Khan and Brook, 2011), or in the context attendances at more traditional arts forms with Professor Deborah Stevenson, Professor of cultural strategy reviews (Lally, 2004, such as ballet, theatre and classical music David Rowe and Ms Cecelia Cmielewski (who 2006; Deloitte, 2015). Arts NSW is the main (Live Performance Australia, 2014). Western Sydney is acknowledged as having an active arts and cultural sector and is the location of a number of significant arts facilities, including Bankstown Arts Centre, Campbelltown Arts Centre, Riverside Theatres, and the Casula Powerhouse Arts Centre. According to the NSW Arts and Cultural Policy Framework, the sector has a key role to play in the development of the region (Arts NSW, 2015).

Olivia Barbarto, All Saints High School. (2017). From NEXT2017, Casula Powerhouse Arts Centre. Photograph: Courtesy Casula Powerhouse Arts Centre.

6 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

commissioner of arts and cultural reports beginning of 2016, and the report written at conditions which encourage contemporary into Western Sydney, the most recent being the end of 2016 and finalised in the first half dynamic arts production and are pertinent SGS Economics and Planning’s Mapping Arts of 2017. During the research period, Western to the results of the research findings. and Culture in Western Sydney (forthcoming, Sydney received increased political attention 2017). It is rare, however, to have an entire regarding cultural infrastructure. The NSW The context of arts funding across Australia research project such as Recalibrating Culture government’s announcement of its intention changed drastically during this time, with focus on the practices and experience of to relocate the Powerhouse Museum to small-to-medium sized organisations and artists in a particular region. This research Parramatta is, in part, considered to be a independent artists bearing the economic undertook a survey process combined with response to the lack of cultural amenity in brunt of the reduced appropriation to the interviews to generate a detailed picture the region (NSW Government, 2015). In 2015, Australia Council in the May 2015 federal of artists and cultural practitioners, of their Arts NSW employed a dedicated Western budget (Attorney General’s Department, environment and their needs in Greater Sydney staff member and established a 2015). It has been claimed that up to Western Sydney. These data contribute to Western Sydney Arts Fellowship, the first $300million has been removed from the the basis on which local governments and being awarded to Khaled Sabsabi (a partner arts in Australia since 2013 (Croggon, 2016). agencies might act in an informed way to on the Recalibrating Culture project), enabling Therefore, the responses and findings of support and accommodate artists and cultural him to focus solely on his practice for twelve this research provide valuable insight into practitioners. The research also provides months. During this time, the National Theatre where targeted investment may provide the valuable feedback to the participants in of Parramatta was established and staged most benefit to cultural practice. While, in appraising the ways in which their views fit in the first of several of its new productions early 2017, those funds were substantially with, or differ from, the general artist/creative (Froggatt, 2016). Both these examples returned to the Australia Council, the longer- worker community. demonstrate the dynamic possibilities for term impact of this disruption remains in arts and culture in the region. A survey of question (Watts, 2017). This research provides The Recalibrating Culture project began national case studies, Promoting Diversity a timely intervention in the matters under in 2014. The survey was conducted in the of Cultural Expression in Arts in Australia consideration for and by artists and cultural second half of 2015, the interviews at the (Mar and Ang, 2015), highlights the various practitioners in Greater Western Sydney.

CuriousWorks Stories Project. (2014). Photograph: Courtesy of CuriousWorks.

westernsydney.edu.au/ics 7 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY METHODOLOGY

QUANTITATIVE The online survey was directed towards artists The interviewees were asked a series of and cultural practitioners who live and/or questions, not necessarily in the same order, practice in Greater Western Sydney and aimed about their practices, beliefs and the rationale Recalibrating Culture online survey to establish the extent to which they: for their activities. All interviewees were asked The first stage of the research involved similar questions, with sufficient flexibility an online survey with artists and cultural • conform to a ‘crossover’ or ‘cross discipline’ to encourage them to express fully their practitioners who live and/or practice employment pattern views and feelings on issues of importance in Greater Western Sydney. The survey • encompass a range of artistic identities to them. Two were interviewed by phone, provided quantitative (pro-forma answers) one by Skype video internationally, and the and qualitative data (open answers) about • are networked rather than institutionalised remainder in person. The interview location the respondents and their arts and creative • are ‘mixing up’ original creative work, was determined by the interviewee, and practice. The aims of the research project and undertaking collaborative ventures, study, included a workplace, a Western Sydney its survey were promoted by the research travel and research in a context in which new University campus, and a convenient café. partners and other interested bodies via technologies (primarily digital) can open up The hour-long, semi-structured interviews online bulletins, direct email contact and new opportunities and build new audiences were audio recorded, transcribed and websites. Interested eligible participants were for artists analysed to reveal the major issues and invited to become involved in the study by • are from culturally and ethnically diverse themes. Direct quotations from interviewees accessing an online survey link. backgrounds have been allocated a pseudonym (brief demographic information and relevant The survey was conducted using a • benefit from targeted support from public creative discipline(s) are presented in SurveyMonkey site and was housed on the cultural agencies. Table 6, Appendix 1). The first time that Western Sydney University web server. The the interviewee is quoted, their principal anonymous survey (with a follow-up option) The survey questions were grouped into practice (e.g., visual artist, performing artist was open from the beginning of September sections and remain the key themes for the or film/media artist) is also indicated. 2015 until the beginning of November 2015. analysis of the responses: A. Respondents This report summarises the key findings, The survey questions were developed with the B. Demographics provides a more detailed analysis of them, aims of ensuring clear comprehension by the and proposes a set of conclusions and respondents, as well as enabling robust and C. Creative activities recommendations arising from the research. considered responses. The survey addressed D. Professional and social factors all artforms, modes of creative practice E. Income and hours worked and financial concerns, and provided an F. Networking INTRODUCING THE opportunity for open responses. As a result, RESEARCH FINDINGS it was lengthy and some respondents chose G. Arts organisations Western Sydney is a social, spatial and not to answer all the questions, particularly H. Resources those addressing sensitive financial issues. governmental entity that is not necessarily Nevertheless, most questions elicited at least bound by cultural and class connections. It 100 responses. This is still a significant sample QUALITATIVE is widely seen as a community that is able size, and although the error bounds are larger to work across different generations and for the smaller sample sizes, meaningful cultures, although the extent to which such conclusions can still be drawn about the larger THE INTERVIEWS a large, diverse geographical area can be population of artists/creative workers. The intent of the qualitative process is characterised as a ‘community’ is clearly to get a deeper understanding of issues questionable. Many of the interviewees frame at the heart of the research question/s the area as a more tolerant and accepting but can only be touched on in surveys. environment of difference when compared Analysis of the interviews conducted for with conceptions of Sydney (seen as the the project identified common emergent eastern and northern parts of the city, but themes. The questions were directly especially the suburbs surrounding the central connected to, or were driven by, issues that business district). emerged in the quantitative findings.

8 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

For example: A. RESPONDENTS B. DEMOGRAPHICS … the intergenerational thing that I find happens more regularly in Western Sydney Quantitative Quantitative (Vince, visual artist). The survey elicited a total of 310 responses, 75 percent of respondents to the survey were of which 231 were eligible respondents who female, with 70 percent born in Australia but … it’s quite a common thing that we can all lived and/or worked in Greater Western 60 percent having at least one parent born work together. We’re all different ethnicities Sydney. This number is large enough to overseas, and 12 percent of respondents do but we can still understand that same, similar propose statistical conclusions that can be not speak mainly English at home. There stories. … There’s a sense out in Western applied to the larger population of artists were three respondents of Aboriginal or Sydney that you can be your own identity and cultural practitioners in the region. Torres Strait Island heritage. The sample and ethnicity, and celebrate it (Azra, film/ However, the likelihood of sample bias must population was stable, with most respondents media artist). be acknowledged, as the survey relied on having lived and worked in the region for participants finding and responding to it, while many years. The respondent group was In this report, we recognise that Western sample bias may have played a role regarding generally highly educated, with 70 percent Sydney is commonly conceived, both by which questions were answered and which left having a university degree or postgraduate those who live and work there and those unanswered. Statistical sampling method was qualification, and a further 20 percent with who do not, as being ‘different’ from the used to calculate the representativeness of a diploma or technical qualification. Many rest of metropolitan Sydney in various the survey respondents in relation to the total had undergone specialist training. This ways, including its demographic diversity, population of artists and cultural practitioners survey population was not representative working-class solidarity, and even in its in Greater Western Sydney. The error bounds of Australia in general or of the Greater shared stigmatisation. Western Sydney, then, on the charts found in the quantitative Western Sydney region in particular, in that has both material and symbolic properties analysis section (from page 16) indicate, with the respondent cohort were predominantly that are elusive and contradictory – indeed, 95 percent confidence, the range within which Anglo-Celtic, older, middle-class and well- David Burchell (2003), in his thoughtful the results regarding the general population educated women. These respondents are book Western Horizon, suggests that it is of artists and cultural practitioners lie. All clearly committed to arts and culture and, best characterised by its many paradoxical conclusions in this report take these error as will become clear, they form networks dimensions. The communities that we most bounds into account. To reiterate, as the that support a range of cultural activities. focus on here are brought together by a respondents volunteered to complete the But, as we will argue, they are not often at shared concern with making culture. They survey and were not chosen at random from the centre of policy discourse surrounding operate through regular and occasional the larger population of artists and cultural the creative and cultural industries. interaction, as well as in the imagination. practitioners in the region, the possibility of These sometimes-conflicting elements are self-selection bias should be recognised when Qualitative held in productive tension, bringing to life the interpreting the survey results. Of the 21 interviewees, nine were female complexities that turn data into knowledge and twelve were male (43 percent female, that ‘breathes’. Qualitative 57 percent male). There were three 21 interviewees were selected to recognise Aboriginal and Torres Strait Islander (one This section summarises the key findings the diversity of the backgrounds of the man and two women) interviewees. Seven under their respective themes, with the respondents to the survey. The researchers interviewees did not have English as their quantitative followed by the qualitative were fully cognisant of the significant first language. There were 16 interviewees summaries. difference in demographic characteristics whose heritage can be described as culturally of those who live in the Blue Mountains, and linguistically diverse (CALD). Seven of which forms part of the Greater Western the interviewees were aged over 50 (33 Sydney Region, compared with those living percent). They all lived and/or worked in in various other parts of Greater Western Western Sydney. As noted above, these Sydney. The interviews were conducted in interviews were conducted in Parramatta, Parramatta, Penrith, Bankstown, Casula and Penrith, Bankstown, Casula and Fairfield. The Fairfield from April to May 2016. However, different demographic profile of the interview it should be noted that the extensive cohort sought, as already acknowledged, involvement of Blue Mountains residents to counter to some degree the dominant in arts and cultural practice constitutes characteristics of the survey population. a research finding in its own right.

westernsydney.edu.au/ics 9 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

C. CREATIVE ACTIVITIES These artists and cultural practitioners mostly embraced a collaborative approach to their Quantitative Qualitative work and acknowledged the advantages of 75 percent of respondents worked in multiple Interviewees can be described as being working with others. There was widespread artistic or creative disciplines and most did so passionate about their particular artform and engagement in using new technologies, in a ‘cross-cultural’ or interdisciplinary manner. spend as much time as they can pursuing but generally as tools for promotion and Most respondents spent at least some time it. This passion has determined the ways in communication of their work, rather than as working at home alone or in a shared studio which they live and the choices that they integral to the work itself. space with others. Respondents saw digital have made. Those engaged in Aboriginal and technology as moderately important in Torres Strait cultural practices emphasised D. PROFESSIONAL AND creating their work, but it was viewed more as the centrality of arts and culture to their lives. a means of communicating with others about Several interviewees who are former refugees SOCIAL FACTORS their work and for promoting it. talked about the importance of being able to Quantitative tell their stories through their engagement Respondents generally worked in multiple In general, the respondents participated in with the arts. more than one sub-category activity within industry sectors, such as the commercial, each creative activity. The Dance, Design and I’ve always loved films… I want to make professional (which includes working in Theatre disciplines had lower participation movies… (Walid, film/video artist). local councils), and the volunteer sectors. in multiple sub-categories than the other Many would have liked to earn their income disciplines, particularly Digital, Music and I always danced (Ursula, performing artist). uniformly across all three sectors, but only Visual Arts. 16 percent wanted to spend more than 50 I cannot go to bed without drawing every percent of their time in the commercial sector. The percentage of respondents participating night (Giuseppe, visual artist). in the digital artistic discipline was steady at Qualitative about 40 percent until around age 45; it then I describe myself as a translator. Several interviewees spoke of having a reduced to about 20 percent for those over 60 I’m strangely effective at understanding particular commitment to working with the years of age. what the community wants… community and talked about their roles in (Monique, visual artist). brokering relationships and facilitating arts activity. They described a practice of working inclusively with others to share knowledge and skills. Some interviewees worked in roles that ‘support’ or ‘facilitate’ arts/cultural activity. They took on these roles for a variety of reasons, such as a commitment to community engagement, wanting a steady income, or because they had moved consciously away from being a practising artist, but nevertheless wanted to stay active in the arts and cultural fields:

I guess my practice is really driven… I am politically motivated, I am contextually motivated. Questions that arise to me as justice questions. Equity questions (Helen, performing artist).

I can give young people a positive taste and experience with what it means to be Aboriginal… (Jack, performing artist).

Romaine Moreton in One Billion Beats. (2016). Campbelltown Arts Centre. Photograph: Heidrun Löhr.

10 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

E. INCOME AND HOURS WORKED F. NETWORKING

Quantitative Qualitative Quantitative Despite being highly qualified, the artists Practising artists did not usually receive a Networking was very important for the and cultural workers in this survey were very liveable income from their artistic work, and respondents for both producing and poorly paid. Median income from artistic/ had to take on other work to subsidise their marketing their work. The most important creative activities was only $15,000 per practice or were supported by a partner. networks were local artist-focussed and annum, and most respondents were forced to The choice to live in the Greater Western personal. State and regional arts and business take other work to supplement their artistic Sydney region was, for some, also influenced networks were not usually ranked income. This combination of activities brought by economic factors, principally the lower as important by the respondents. their total income to about $37,000 per cost of housing. Unsurprisingly, concern was annum. In 2009, an Australian artist earned often expressed about the financial future, Qualitative a median creative income of $7,000 and, on particularly in older age: The participants spoke about the ‘networking’ average, earned $22,500 for fulltime practice that they undertake, but several expressed I would say that per annum... about a (Throsby and Zednick, 2010). a reservation about feeling compelled to quarter of my taxable income comes from ‘network’ as part of their activity in the arts: Making a viable financial living was important dance and dance-related work (Jack). to the respondents in order for their artistic/ … it just kind of [is]… a bit emotionally … in terms of employment and income, creative practice to survive, but their main draining. The whole notion of networking I know it will continue to be precarious and focus was on their work, creative collaboration (Vince). and recognition by family, peers, mentors and when I am down and not happy, it really the community. A full-time job to support concerns me (Penny, performing artist). Others saw networking as a way of keeping their arts practice was not stated as a priority. abreast of what was happening in their artform and were actively engaged: As indicated in the survey responses, men worked slightly longer (30 hours/week) in … yeah I’m really engaged… I do find myself their artistic practice than women (26 hours/ at openings and things as a performer. But week), and slightly less time (13 hours/week) I absolutely do go and see stuff…. I’m always in their other employment than women (14 going to see work (Ursula). hours/week).

westernsydney.edu.au/ics 11 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

G. ARTS AND CULTURAL Qualitative There was also a consistent emphasis on a ORGANISATIONS The interviewees had, freely or of necessity, ‘divide’ between what happened in the West made the decision to work and/or live in and what happened elsewhere in Sydney. The Quantitative the Greater Western Sydney region. On the interviewees often expressed a strong sense The level of activity (and income) was similar whole, they believed that they receive many that what they did was both undervalued and in both the community and the not-for-profit intangible rewards for doing so. Whether under-resourced. arts sectors. The community sector in the they were brought up in or moved to Western arts is strongly subsidised and supported Sydney, most now strongly identified with I do feel like there’s a divide, at least for by government. Similarly, the not-for-profit it, regardless of their original economic or me – I don’t know how the other arts sector also receives government support. cultural motivations. Several described an workers and artists feel – between stuff However, the not-for-profit arts sector also environment that they felt provided more that happens in the city and the stuff generates other income, for example, from freedom artistically, and which supported that happens out west (Daichi, film/ sponsors and ticket sales, and is able to both risk and diversity. media artist). maintain a high level of creative activity. Identifying themselves as different from … the equity between how much funding It is not possible on the basis of this survey ‘mainstream culture’ (which they interpreted the galleries and the institutions in Sydney to evaluate return on investment for local as homogeneous and conformist) was valued get as opposed to Western Sydney – there’s government support for arts and creative by these interviewees in Western Sydney, quite a huge gap. A huge divide…. I don’t activities – this was not a major concern of the where they saw themselves as in some way think the issue is accessibility. It’s more like research. It can, though, be noted that local different: investment from government. Because, government invests in both the community I mean, art is accessible in Australia but and not-for-profit sectors, and both have … I love it out here. It’s a mix of people it depends on where you are or where greater participation by the respondents (Jack). it’s located (Sol, visual artist). than in the commercial sector. The research found that respondents looked to local … there’s this sense you can move freely government more readily than to federal and without having to be faced with mainstream state governments for support. Their local Australia (Azra). government and its spaces and initiatives were important to the respondents.

Jump First Ask Later. (2015). Powerhouse Youth Theatre. Jump First Zanny Begg in 1001 Nights (video still). (2015). is a collaboration between Force Majeure and the DMC Crew. From 1001 Nights in Fairfield: Little Baghdad. Presented by Photograph: Helen Tran. PYT in association with STARTTS. Photograph: Courtesy of the artist.

12 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

H. RESOURCES SUMMARY

Quantitative The Deloitte report (2015) detailed the The resource needs identified as most The interviewees generally reported feeling inequity of state and federal cultural imperative were financial support, help in hampered and frustrated in their work by resource expenditure in Western Sydney, selling and promoting work, discounted the current lack of cultural facilities in the and may have had some influence on the supplies or services, opportunities to Greater West Sydney region. In particular, interviewees’ responses. However, the network with peers, and opportunities to they expressed preferences for permanent Recalibrating Culture research suggests that meet with others or show to audiences. working spaces, including artists’ studios, respondents do not view their lives as being Those respondents from non-English workshops, and storage, exhibition, teaching ‘in deficit’. The findings elucidate the sense of speaking backgrounds particularly identified and performance spaces. Many expressed a independence respondents feel as creative opportunities to meet with other artists and sense of frustration over the slow progress of and cultural practitioners, and simultaneously to network outside their group as important; investment in cultural facilities in the region: highlight the paucity of creative resources however, they did not rate specialised services available to the research participants. This relating to language. I think Parramatta’s really in need of an arts highly adaptable, resilient group of people centre (Vince). combines their commitment to creative Qualitative practice with a range of ’portmanteau’ I can’t see why major performing arts The interviewees noted that some local employment in order to continue in their companies can’t grow and live in Western governments (e.g., Fairfield, Liverpool, and creative work. However, this is also an older, Sydney (Sol). Penrith) in the region supported different well-educated group of respondents with cultural and arts practices. However, they also There was also a clear sense that the a reasonable level of financial security, observed that getting practical outcomes interviewees wanted usable spaces and not many of whom are semi-retired. at local government level involved much expensive, inaccessible ‘white elephants’. By contrast, younger people are less well- lobbying, persuasion and communication. As well as spaces to work and exhibit, access positioned to take up creative work because They expressed a desire to see more long- to training was also seen as critical: term investment and better planning, and of the lack of educational opportunities in the wanted to be a part of the decision making … one of my key concerns is there isn’t really region (for instance, as stated above there in the creative and cultural development of any tertiary education for art in the region is no major art school in Western Sydney) Western Sydney: (Vince). and limited levels of support for, and low level of income in, the arts. An ageing artist I think the experience of Western Sydney’s population, supported by superannuation or been really interesting because still, in terms a waged partner, is not one that can sustain of people speaking for the region, no one a creative culture in the longer term. The bothers to talk to the region. It’s always resources allocated to the arts and cultural somebody outside (James, visual artist). sector must take this (seemingly widening) schism into account.

westernsydney.edu.au/ics 13 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

Parramatta Lanes Festival. (2016). 14 WesternPhotograph: Sydney UniversityGeorge Gittany. RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

DETAILED FINDINGS The sense of difference and freedom from Being born or growing up in the West scrutiny that many interviewees believed consistently created a sense of belonging Western Sydney offered is well represented to the region among those interviewed for A. RESPONDENTS in the following interview quotations: the project: The survey was directed towards those who reside or work in Greater Western Sydney and … I made a choice to live in the region. I also … I sort of grew up in Western Sydney – identify as an artist or cultural practitioner. made a particular choice to work in the came, left and came back to it. But I always Of the 310 responses, 231 are included in the region. So that’s been a very specific choice found that Western Sydney was my home analysis as they meet these criteria. However, (James). and so I reside here now (Pablo, visual not all respondents answered all questions artist). … I love it out here. It’s a mix of people (hence the variable numbers in the charts (Jack). ... It’s not like a conscious choice – I’m going below). to live in Western Sydney. This is home … there’s this sense you can move freely The interviewees were asked about their territory (Penny). without having to be faced with mainstream attitudes to arts and culture in general and to Australia (Azra). As the quotation immediately above Western Sydney in particular. Their responses indicates, returning to Western Sydney or revealed considerable dedication to pursuing Of course, material circumstances also played remaining there was not necessarily a matter their creative careers, as well as a sense of a significant role in where interviewees lived of conscious decision-making – some of the isolation and lack of recognition from much of and worked. interviewees had a deeply-held but largely the arts and cultural sector in Sydney. unexamined topophilic (that is, love of … It’s because I knew I could own my house place) commitment to the region as ‘home’. Most interviewees made a conscious decision a lot quicker (Matthew, visual artist). to work and/or live in the region and believed Although in some cases this might be a post- hoc rationalisation, as the opportunities to they receive many intangible rewards for … we weren’t able to afford living in live elsewhere are limited by employment, doing so. Originally, they may have chosen the Inner West… I live at Liverpool housing costs, and familial and friendship the region for economic or cultural reasons (Giulia, visual artist). (for example, not being able to afford to live networks, it was clear from the research that Greater Western Sydney exerts a powerful and/or work in the more expensive eastern The cultural needs of Western Sydney emotional pull on those involved in arts and northern parts of Sydney). But, whether influenced many to stay in the region and and cultural practice in the region (as it having been brought up in or moving to to dedicate themselves to assisting in the does on many of those with connections Greater Western Sydney, most now identified redressal of this situation of under-provision; to other fields – see Burchell, 2003). strongly with the region. They described an they believed the region was disenfranchised environment that they believed provides on many levels and that they had to try to help relative freedom artistically, and which remedy this ‘deficit’. supported both aesthetic risk-taking and cultural difference. The survey respondents I see that working in the cultural sector frequently identified themselves as being really is about, in the work I try and do, is outside ‘mainstream’ culture, and saw this about access and equity, and in a sense as a positive attribute because of a common cultural democracy…. that comes from self-apprehension of those associated with growing up in Western Sydney, with Western Sydney as being in various ways very poor cultural services, with very ‘different’. However, there is also an emphasis poor cultural programs, with very poor on a divide between what happens in the educational program (James). West and what occurs elsewhere in Sydney, and strong feelings that what they do is both undervalued and under-resourced.

westernsydney.edu.au/ics 15 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

B. DEMOGRAPHICS Please indicate your age as of 1 January, 2015 (194 respondents) B1. Age as of January 1, 2015 6 (3%) Of the respondents, 3 percent were aged between 15 and 25 years; 22 percent were 6 (3%) between the ages of 26 and 35 years; 23 percent were between 36 and 45 years; 15-25 31 percent were between 46 and 60 years; 41 (21%) and 21 percent were aged over 60 years. 42 (22%) 15-2526-35 The median age of the survey respondents 41 (21%) was relatively high (see Chart 1), with more 42 (22%) 26-3536-45 than half of the 194 respondents who supplied their age being over 45. According to the 36-4546-60 Australian Bureau of Statistics, in June 2014, 60 (31%) 45 (23%) the median age (the age at which half the 46-60Over 60 population is older and half is younger) of the 45 (23%) NSW population was 37.9 years (Australian 60 (31%) Over 60 Bureau of Statistics, 2014).

Chart 1: Age of Respondents

2 (1%) B2. Gender Please indicate your gender (188 respondents) 2 (1%) Of those respondents who indicated their gender (for the purposes of the survey, sex and gender were treated as synonymous), 70 percent were female (see Chart 2). Older women were over-represented in 55 (29%) Female the survey, which may have been a limitation of the pattern of participation, but also 55 (29%) FemaleMale indicated that they were a key group among artists or cultural practitioners in Greater MalePrefer not to answer Western Sydney. 131 (70%) Prefer not to answer 131 (70%)

B3. Respondents of Aboriginal or Chart 2: Gender of Respondents Torres Strait Islander Descent

Three survey respondents identified as being of Aboriginal or Torres Strait Island descent. This percentage of valid survey responses (1.29 percent) was slightly lower than both the proportion of Aboriginal and 47 (26%) Torres Strait Islander people in New South Australia Wales (1.9 percent), and that of the Greater 47 (26%) Western Sydney population (1.7 percent) AustraliaBorn Overseas (Profile.id, 2011a). 137 (74%) Born Overseas

16 137 (74%) Western Sydney University 6 (3%)

15-25 41 (21%) 42 (22%) 26-35

36-45

46-60 45 (23%) 60 (31%) Over 60

RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

2 (1%)

55 (29%) Female

Male

Prefer not to answer 131 (70%)

B4. Country of Birth of Respondents In which country were you born? (184 respondents)

Of those who responded, 74 percent were born in Australia and 26 percent were born overseas. This compares to the national figure of 28 percent of Australians being born overseas (Australian Bureau of Statistics, 2016). It also compares to 30 percent of the 47 (26%) New South Wales population and 44 percent Australia of the Greater Western Sydney population born overseas (Profile.id, 2011b). Born Overseas

137 (74%)

Chart 3: Country of Birth of Respondents

B5. Country of Parents’ Birth In which country were your parents born? (185 respondents)

Among respondents, 14 percent had one parent born overseas, with 48 percent having both parents born overseas. Combined, these figures are higher than the national figure of 44 percent for those who have at least one overseas-born parent (Australian Bureau of Both parents born in Australia Statistics, 2011a). 70 (38%) 89 (48%) One parent born overseas

Both parents born overseas

26 (14%)

Chart 4: Country of Parents’ Birth

2 (1%)

21 (11%)

Yes

No westernsydney.edu.au/ics Prefer not to answer 17 165 (88%)

2 (1%) 7 (4%) 2 (1%) 5 (2%)

Post graduate degree or diploma

University degree 39 (21%) Diploma or technical qualification 84 (45%) Certificate level

Completed secondary school 49 (26%) Completed primary school

Prefer not to say RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

Both parents born in Australia 70 (38%) 89 (48%) One parent born overseas

Both parents born overseas

26 (14%)

B6. Language Spoken at Home Do you speak mainly English at home? (188 respondents)

English was the main language spoken at 2 (1%) home (88 percent of respondents), with 11 percent speaking a language other than English (1 percent preferred not to answer). This is a more Anglophone demographic 21 (11%) composition when compared to the overall New South Wales context, where 73 percent speaks English at home and 23 percent speaks Yes a language other than English at home, or the Western Sydney context, where 50 percent No speaks English at home and 45 percent speaks a language other than English at home Prefer not to answer (Profile.id, 2011c). 165 (88%)

Other than English, there were 15 different languages comprising the main languages spoken at home among respondents. The largest language groups among them were Arabic (four respondents) and Spanish (three respondents). Other languages spoken at Chart 5: Language Spoken at Home home included Cantonese, Croatian, Finnish, French, German, Greek, Hindi, Hungarian, 2 (1%) Korean, Macedonian, Punjabi, Tamil and 7 (4%) 2 (1%) Vietnamese. The 12 percent of artists in the 5 (2%) study from a first-generation, non-English speaking background was higher than that of a national study, which found that 8 percent Post graduate degree or diploma of professional artists were of a non-English speaking background (Throsby and Zednik, University degree 2010). 39 (21%) Diploma or technical qualification 84 (45%) Artists often chose to live in the region where their parents settled upon arrival from Certificate level a different country, staying in the region because of their identification with a particular Completed secondary school cultural or ethnic community, and wishing to 49 (26%) retain close ethnic and kinship ties: Completed primary school

W e stayed with my uncle in Western Sydney Prefer not to say for a month until we found a house to rent … there’s a lot of Iraqis here (Fahim, film/ media artist).

… it’s always been Western Sydney because a lot of the Vietnamese population is out here (Azra).

18 Western Sydney University Both parents born in Australia 70 (38%) 89 (48%) One parent born overseas

Both parents born overseas

26 (14%)

RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

2 (1%)

21 (11%)

Yes

No

Prefer not to answer 165 (88%)

B7. Highest Level of Education Completed What is the highest level of education you have completed? (188 respondents)

The respondent group was highly qualified 2 (1%) educationally, with more than 70 percent 7 (4%) 2 (1%) having a university degree or higher 5 (2%) qualification, and a further 21 percent holding a diploma or technical qualification. Post graduate degree or diploma

University degree 39 (21%) Diploma or technical qualification 84 (45%) Certificate level

Completed secondary school 49 (26%) Completed primary school

Prefer not to say

Chart 6: Highest Level of Education Completed

B8. Type and level of specialised training Have you undertaken any specialised training in your creative/artistic practice? (166 respondents) The chart below shows the levels attained by those who have undertaken specialist training. 8 (5%) 1 (0.6%)

Almost all the respondents who answered this question had undergone some form of Post graduate degree or diploma specialised training in their artistic/creative practice. As noted, most held a diploma or 27 (16.2%) University degree higher qualification. A significant number had 47 (28%) also undergone training with a specialist in the Diploma or technical qualification field (16 percent). The interviewees described 12 (7.2%) the different ways in which they applied their Certificate level training, and revealed that there are also extensive ‘informal’ skills exchanges with Training with a specialist in field 23 (14%) particular groups. 48 (29%) Other

Prefer not to say

Chart 7: Type and Level of Specialised Training

4 (3%)

18 (12%)

Less than 12 months westernsydney.edu.au/ics 19 21 (15%) 1-2 years 89 (62%) 3-5 years 12 (8%) 6-10 years

11+ years

3 (9%)

8 (25%) Less than 12 months 9 (28%) 1-2 years

3-5 years

12 (38%) 6-10 years

11+ years RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

The interviewees described their commitment Map 1: Greater Western Sydney: Primary Living Locations of Survey Respondents both, to particular and general aspects of their culture, and to working with others in sharing that knowledge, including working in communities which were socially and culturally marginalised:

… the focus is working with young people out this way. Young Aboriginal and Torres Strait Islander people… Arts and culture- based programs to nurture Indigenous culture… (Jack).

… my interest in migration and storytelling marry all that together (Daichi).

I engage with local Aboriginal girls… and they do lots of performances, mostly at community level (Ursula).

I almost exclusively work with non- classically trained performers or unorthodox performers (Fazal, performing artist).

Several interviewees had views about what is needed in the future to support creative practice in Western Sydney. The absence of any formal tertiary training in the arts in the region was a major concern, for instance:

… one of my key concerns is there isn’t really any tertiary education for art in the region (Vince).

B9. Post Code and Suburb Name of Primary

Living Location as of January 1, 2015

Map 1 (plotted using a geographic information system) shows the postcodes where the survey research participants live.

The respondents lived mainly in an east- west corridor between Sydney and the Blue Mountains, with the main concentrations being in the Sydney area, the Inner West and Parramatta/Fairfield regions, the Blacktown/ Penrith regions, and the Blue Mountains. There was also a strong contingent living south of the east-west corridor in the Bankstown/Liverpool/Campbelltown area. Valid responses to the survey required that participants to live and/or work in Greater Western Sydney. Questions about Western Sydney also prompted responses from the interviewees regarding what they deem to be distinctive about the region. Given that it is

20 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

a geographically and demographically vast Map 2a: Living location of female respondents and diverse area, Western Sydney cannot be categorised as one place; rather, it is many places. Interviewees frequently emphasised this elusiveness of ‘the West’, although in other discursive contexts they ascribed a particular character of place:

There’s so many Western Sydneys now as well. And so many South-western Sydneys. They’re worlds within themselves (Penny).

… in terms of community, there’s actually more communities out in Western Sydney (Azra).

While there was recognition that Western Sydney is characterised by the co-location of many communities, there were also aspects of Western Sydney that were seen as particular to, or different from, other parts of the Sydney metropolitan region. Therefore, a strong sense of community came through in the interviews:

… I appreciate this sense of community and belonging I have in Western Sydney (Daichi).

I’ll always come back to community. This is like part of me (Fahim).

This was a community not necessarily bound by cultural and class connections, but rather one able to work across both different generations and cultures. This ‘community’ was framed as a more tolerant and accepting environment of difference than can be found elsewhere in Sydney:

… the intergenerational thing that I find happens more regularly in Western Sydney (Vince).

… it’s quite a common thing that we can all work together. We’re all different ethnicities but we can still understand that same, similar stories… There’s a sense out in Western Sydney that you can be your own identity and ethnicity, and celebrate it (Azra).

B10. Living Location of Respondents by Gender (Female)

Postcodes where the female research participants live are plotted on Map 2a. The results here are noticeably similar to Map 1 (which details the overall number of respondents); this is due to the high percentage of female respondents.

westernsydney.edu.au/ics 21 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

B11. Living Location of Respondents by Map 2b: Living location of male respondents Gender (Male)

Postcodes where the male research participants live are plotted on Map 2b. The male participants mostly live along the east-west corridor from Sydney to the Blue Mountains, with a smaller proportion living south of this corridor.

22 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

B12. Living Location of Overseas-Born Map 3: Living Location of Overseas Born Respondents Respondents

The postcodes of overseas-born participants residences are presented on Map 3. The distribution of overseas-born respondents is generally similar to that of the total respondents, recognising the overall demographic diversity of the region.

westernsydney.edu.au/ics 23 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

B13. Post Code and Suburb Name of Map 4: Post Code and Suburb Name of Residence and Primary Engagement Site of Residence and Primary Engagement in Creative Practice Creative Practice

Map 4 shows where respondents lived and where they primarily engaged in their creative practice.

The spatial distribution of where respondents worked is similar to where they live, but there is a gap in the inner west (for example, in the suburbs of Chippendale, Marrickville and St Peters) where respondents tended to live but not work. It is not clear whether this split between home and work sites was the result of choice or necessity. Further research may reveal whether a preference to live closer to the inner city, for example, may coincide with the greater availability of work, spaces and cultural networks further to the West.

24 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

8 (5%) 1 (0.6%)

Post graduate degree or diploma 8 (5%) 1 (0.6%) 27 (16.2%) University degree 47 (28%) PostDiploma graduate or technical degree qualification or diploma 12 (7.2%) 27 (16.2%) UniversityCertificate degreelevel 47 (28%) Training with a specialist in field 23 (14%) Diploma or technical qualification 12 (7.2%) 48 (29%) CertificateOther level

TrainingPrefer not with to saya specialist in field 23 (14%) B14. Living in, and Creative Production in, If you live in Greater Western48 (29%) Sydney region and do most ofOther your creative/artistic work Greater Western Sydney outside of this region, please indicate how long you have lived at this location. (144 respondents) Prefer not to say 77 percent of respondents both lived and 4 (3%) worked in Greater Western Sydney. Of these, 62 percent of respondents had lived in Greater Western Sydney for 11 or more years. This survey finding indicates considerable stability 4 (3%) in the co-location of domicile and creative 18 (12%) practice in the region Less than 12 months

18 (12%)21 (15%) 1-2 years 89 (62%) Less3-5 years than 12 months 12 (8%) 21 (15%) 1-26-10 years years 89 (62%) 3-511+ yearsyears 12 (8%) 6-10 years

Chart 8. Living in, and Creative Production in, Greater Western11+ yearsSydney

B15. Living in, and Creative Production If you live in Greater Western Sydney region and do most of your creative/artistic work outside, Greater Western Sydney outside of this region, please indicate how long you have lived at this location. 3 (9%) (32 respondents) 23 percent of respondents lived in Greater Western Sydney and worked outside the region. Most of the respondents in this group 8 (25%) had lived in Greater Western Sydney for less 3 (9%) Less than 12 months than 10 years. 9 (28%) 1-2 years 8 (25%) Less3-5 years than 12 months Of those who worked outside the region, 12 (38%) 9 (28%) 16 percent worked in Sydney, 2.8 percent 1-26-10 years years elsewhere in New South Wales, 1.7 percent interstate and 2 percent in an international 3-511+ yearsyears location. Most of the 32 respondents who had lived in Greater Western Sydney for 12 (38%) 6-10 years less than 5 years previously lived elsewhere in Sydney. A few had lived interstate and 11+ years only three overseas. It is apparent, then, that survey participants had not been very geographically mobile during their lives, and most had returned to their Chart 9. Living in, and Creative Production outside, Greater Western Sydney city of origin or of earlier residence.

westernsydney.edu.au/ics 25 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

4 (3%)

18 (12%)

Less than 12 months 4 (3%) 21 (15%) 1-2 years 89 (62%) 3-5 years 18 (12%)12 (8%) 6-10 years Less than 12 months 11+ years 21 (15%) 1-2 years 89 (62%) B16. Living Outside, and Working in, Greater If you live elsewhere but primarily do your creative/artistic3-5 work years in the Greater Western Western Sydney Sydney region, please indicate how12 long(8%) you have been working in the region. (39 respondents) 6-10 years 41 percent of respondents who lived outside Greater Western Sydney but worked in the 11+ years region had been doing so for more than 10 years, indicating a pattern of considerable 5 (13%) stability in living and working arrangements.

7 (18%) 16 (41%) Less than 12 months 1-2 years 5 (13%) 3-5 years 5 (13%) 6-10 years 7 (18%) 16 (41%) 6 (15%) Less than 12 months 11+ years 1-2 years

Chart 10. Living Outside,2% and Working in, Greater Western Sydney3-5 years 2% 3% 5 (13%) 6-10 years 6 (15%) 11+ years B17. Creative Work Undertaken in Wherever you live can you indicate what percent of your work is undertaken in which region? Various Regions (Chart shows the average distribution of responses from 144 respondents) 16% As was anticipated given the nature of 2% 2% this survey, most of the work (77 percent) 3% Western Sydney was undertaken by respondents in Greater Western Sydney, with 16 percent of work Other Sydney undertaken elsewhere in Sydney. 77% New South Wales 16% Interstate Western Sydney International Other Sydney 77% New South Wales

Interstate

International

Chart 11. Creative Work Undertaken in Various Regions

26 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

By practising in the West of Sydney, the city, as it enables artists and cultural accessibility. It’s more like investment several interviewees asserted that workers to have more creative space to ‘do from government. Because I mean art is there were fewer constraints for their own thing’. It was felt that in Western accessible in Australia but it depends on those working in arts and culture: Sydney there is less pressure to conform, where you are or where it’s located (Sol). allowing the creation of an environment that … I think that there’s a stronger sense supports both risk and difference. At the same This notion of a divide was further illustrated of freedom in the work. There’s less time, however, there was often a feeling that by a feeling of invisibility, with a view that regimentation in the work. It’s less living and working in the West was a factor much of what does happen in Western Sydney hide-bound by tradition (James). in producing not only physical distance from is not sufficiently recognised or valued. the inner city but also marked differences in Interviewees holding this position expressed … being based out at Western Sydney is culture and resourcing: a desire for the formal acknowledgement an asset because I feel like people are of arts practice in the West by drawing more free, in the sense that they have t I do feel like there’s a divide, at least attention to what is already happening there: he time to sit and discuss ideas (Azra). for me – I don’t know how the other arts workers and artists feel – between I would just love to see what’s already … Developing creative opportunities. stuff that happens in the city and the existing being celebrated (Vince). Being able to take risks (Pablo). stuff that happens out West (Daichi). It can be seen from these participant Instead of seeing themselves as the ‘other’, … the equity between how much funding responses that, while many of them relish these interviewees expressed a sense of not the galleries and the institutions in the sense of aesthetic and social separation being confined by conventional framings of Sydney get as opposed to Western that attends living and practising in Greater arts practice. This view asserts that it is an Sydney – there’s quite a huge gap. A Western Sydney, there is a cost both in advantage being away from the arts and huge divide… I don’t think the issue is terms of resources and recognition. culture milieu which dominates the East of

C. CREATIVE ACTIVITIES This section describes respondents’ artistic/ Which activities describe your creative/artistic practice? Select any that apply. creative practices, and how and where they (165 respondents, 41 identify one discipline only, 124 identify multiple disciplines) went about them. Respondents were asked to identify any of the indicated disciplines 22 (4%) in which they participate: that is, Dance, Dance Design, Visual Arts, Facilitation, Film/Video and Music. The respondents were also asked Design to identify any sub-categories of disciplines 68 (13%) 47 (9%) in which they were involved – for example, in Digital Dance, the subcategories are ballet/classical, Facilitation contemporary and folk. 65 (12%) 177 (23%) Film/Video C1. Respondents Working in Each of the Nominated Artistic Divisions Music 107 (20%) The majority of respondents (75 percent) reported working in more than one discipline. Theatre The most popular activities were Facilitation Visual Arts of the Arts and Visual Arts, with more than 24 (5%) 65 percent undertaking some of their work in Writing these disciplines. Dance and Theatre, with less 35 (7%) than 15 percent participation, were the least common activities among respondents. 35 (7%)

Chart 12. Respondents Working in 18Each (6%) of the Nominated ArtisticDance Divisions

Design 38 (12%) 24 (8%) westernsydney.edu.au/ics Digital 27

24 (8%) Facilitation

Film/Video 72 (24%) 48 (16%) Music

Theatre

33 (11%) Visual Arts 27 (9%) 19 (6%) Writing

8 General 7 Ballet or Classical 6 8 (36%) 8 (36%) 8 (36%)

5 Contemporary or Jazz

4

6 (27%) 6 (27%) Multicultural/folk/ethnic

3 Social Dance/Ballroom 2 4 (18%) Street 1 3 (14%) Other 0 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

The interviewees expressed a strong sometimes my job is a coordinator, some This negotiation of commitments and attachment to their particular artform, and of it’s a curator, sometimes it’s a director identities emerged repeatedly in the data. For reported spending as much time as they could (Raymondo, performing artist). those engaged in arts and cultural practice, pursuing activities such as painting, film/ there was a common commitment to it as a music making, dancing, or a mixture of arts I have a very, very deep personal ‘vocation’ that needed to be accommodated practices. This commitment has determined, commitment to capacity-building within in the face of other areas of their lives and to a significant degree, how and where they the sector (Shereen, performing artist). their associated, sometimes conflicting, live and the life choices that they have made. expectations and demands. Responses suggested that their identity is There are also those who talked about why connected with their arts and cultural practice they loved the arts or their cultural practice C2. Cross-correlations between Disciplines and is central to their everyday existence. in greater detail: Aboriginal and Torres Strait Islander artists Many respondents identified with multiple I’m a lot into painting. I love to paint and cultural practitioners, in particular, disciplines. This section looks at those in (Carol, visual artist). emphasised the centrality of arts and culture any two disciplines in order to highlight the to their lives. Several interviewees who are strongest correlations between disciplines. I’m a collector. …. I have an extensive art former refugees talked about the importance The data have been ‘normalised’ according collection (Sol). of being able to tell their stories through their to the maximum number of respondents that could be in any pair: that is, the percentage engagement with arts and culture. I’ve always loved films… I want to make of respondents in any pairing compared movies (Walid). There are many different ways of framing with the maximum pairing is shown. For each discipline, the median percent the work of the interviewees. For example, in I always danced (Ursula). some cases, there is an emphasis on forging interaction with all the other disciplines is connections and relationships, particularly in I could not stop drawing… I explore all presented, a calculation that is useful for different parts of the community: the possibilities in art. I cannot go to bed identifying which discipline has the strongest without drawing every night (Giuseppe). interactions with other disciplines. I’m building conversations, building relationships and developing skills with I just loved stitching and working with The level of multi-disciplinary activity is community organisations, individuals and fabric (Monique). generally high for all possible discipline groups (Penny). pairings. Respondents working in There is a sense here among the participants Facilitation of the Arts and in Visual I describe myself as a translator. And by that their enthusiasm for their art has, as Arts are, it is shown, the most likely also that I mean I’m strangely effective at noted earlier, influenced many of their life to be working in other disciplines. understanding what the community wants choices. Hence, they have tried to integrate (Monique). their passion for arts and culture into work from which they can make a living. This … my practice is, in this role, to assist people combination and coordination has translated to realise a seed of an idea and to just slowly into feeling that the intermeshing of art and develop it and see where it takes them work enabled a sense of ‘belonging’ for those (Walid). who otherwise felt like an outsider:

Others were proactive within their art and I was embraced in that contemporary arts community, developing new work and helping world … My weaknesses in that other world others to make their own work. They can be were my strengths in that world (Fazal). described as “cultural brokers” in Richard Kurin’s (1997) use of the term; that is, as I discovered after three years that I am not someone who translates aspects of one a scientist… I was always a creative inside culture for another group: (Monique).

I’m kind of the person that makes stuff For others, arts and cultural practice was an happen (Ursula). alternative to their previous career:

I’m a film maker but I’m also a cultural it was really just something that I got in my practitioner, a workshop facilitator (Azra). heart. I had done everything I really wanted to do in corporate life (Matthew). fi rst of all I organise exhibitions, I curate exhibitions… I teach (Matthew).

28 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

Respondents Engaged in Multi-Disciplinary Activity Dance Design Digital Facilitation Film/Video Music Theatre ArtsVisual Writing

Dance 100 59 68 86 55 45 32 55 50 22 (4%) Design 59 100 77 77 54 46 63Dance 85 62 Digital 68 77 100 75 86 57 71 78 62 Design Facilitation 86 77 75 68 (13%)100 4777 (9%) 77 92 64 72 Digital Film/Video 55 54 86 77 100 46 58 86 74 Facilitation Music 45 46 57 77 46 65 (12%) 100 54 80 66 177 (23%) Theatre 32 63 71 92 58 54 100Film/Video 79 83 Visual Arts 55 85 78 64 86 80 79Music 100 75 107 (20%) Writing 50 62 62 72 74 66 83Theatre 75 100

Median 55 62 73 77 66 56 67Visual Arts 79 69 24 (5%) Table 1. Pairs and Number of Respondents Engaged in Multi-Disciplinary Activity 35 (7%) Writing

C3. Practice in a Cross-cultural or Which activities describe35 (7%) your creative/artistic practice? Select any that apply. Interdisciplinary Mode (97 respondents)

78 percent of those working in more than 18 (6%) Dance one discipline are doing so in a cross- cultural (meaning across cultural forms) Design or interdisciplinary way. The most popular 38 (12%) 24 (8%) cross-cultural or interdisciplinary activity was Digital Visual Arts, with 74 percent of respondents undertaking some of their work in this area 24 (8%) Facilitation and in this manner. Facilitation of the Arts was also important for about 50 percent of Film/Video respondents, while Dance and Theatre were 72 (24%) the least common activities, with less than 48 (16%) Music 20 percent participation of respondents. Theatre

33 (11%) Visual Arts 27 (9%) 19 (6%) Writing

Chart 13. Practice in a Cross-cultural or Interdisciplinary Mode

8 westernsydney.edu.au/ics General 29 7 Ballet or Classical 6 8 (36%) 8 (36%) 8 (36%)

5 Contemporary or Jazz

4

6 (27%) 6 (27%) Multicultural/folk/ethnic

3 Social Dance/Ballroom 2 4 (18%) Street 1 3 (14%) Other 0 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

For some, however, a focus on one artform community engagement in work processes I actually am very collaborative in nature developed into another kind of practice – such which was common to the practice of many because I will ask people for suggestions as developing an interest in an artform other of the interviewees. It may also constitute a (Shereen). than the one they began in, or embracing a strategy to reduce creative isolation and to more multi-disciplinary approach. Several be able fully to realise a creative project: Yeah, I love working as a team. Yeah…. when interviewees moved from being practising you work as a team it’s so much easier to do artists to teaching, directing or nurturing the more and more I’ve discovered that it something (Fahim). others in their craft or artform. They had is important to be part of a community and This flexibility is an indication also of the realised that, while they wanted to work in that the making experience isn’t done in importance of creative networks that ‘the arts’, they did not necessarily want to isolation (Vince). consistently emerged as an important feature continue to be an artist. This decision was also it’s important to me to be able to of the lives of artists and cultural practitioners, in several cases driven by a need to make a understand the diversity of experiences and which many emphasised as being better living and to have a more ‘normal’, or and… that contribute to our community. particularly strong in Western Sydney. perhaps, ‘stable’ existence: And I can only do that really by working I don’t really consider myself an artist in partnership (Monique). C4. Cross-correlation between Disciplines anymore. I’m more of a curator and arts I think the most effective way forward is worker (Daichi). Respondents who worked in any that actually companies bring expertise two disciplines in a cross-cultural or I just felt dance wasn’t enough for the ideas I together around a community desire and interdisciplinary way were asked to identify was interested in to work with (Raymondo). actually work together (Helen). the strongest correlations between disciplines. … originally I trained to be in theatre. To be Others talked about collaboration as an The table below shows the ratio of the number a performer … I’ve really worked since, as added input enabling them to achieve of respondents who said that they were a career, in curatorial practice (James). better work outcomes: working in such a way, and the total number of respondents in a discipline regardless of how I work personally better in a collaborative Collaboration emerged as a common feature they are working (converted to a percentage). way …. I like the idea of bouncing ideas of how many artists and arts workers As previously noted, the median percentage undertook their work in Western Sydney. (Jack). interaction with all the other disciplines is found. This approach may relate to the high level of

Respondents Engaged in Cross-cultural or Interdisciplinary Activity Dance Design Digital Facilitation Film/Video Music Theatre ArtsVisual Writing

Dance 82 36 36 64 45 41 45 59 45 Design 36 51 32 34 37 29 38 43 32 Digital 36 32 37 26 57 37 46 25 23 Facilitation 64 34 26 45 60 49 63 34 37 Film/Video 45 37 57 60 94 46 50 69 54 Music 41 29 37 49 46 77 42 63 43 Theatre 45 38 46 63 50 42 79 50 50 Visual Arts 59 43 25 34 69 63 50 62 41 Writing 45 32 23 37 54 43 50 41 56 Median 45 35 34 43 52 42 48 46 42 Table 2. Pairs and Number of Respondents Engaged in Cross-cultural or Interdisciplinary Activity

30 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

22 (4%) Dance

Design 68 (13%) 47 (9%) Digital

Facilitation The amount of cross-cultural or 65 Several(12%) interviewees described making art Creative Sub-categories interdisciplinary activity177 (23%) was lower than that which connected with Film/Videoaudiences that are not for multi-disciplinary activity (as seen in Table already privileged. This work has political Each of the nine artistic/cultural practice areas 1), but was still substantial. Respondents ramifications: Music listed in the survey has been divided into sub- working in Film/Video and Theatre were 107 (20%) categories for additional analytical purposes. the most likely to be also working in a cross- I don’t want to createTheatre art for people with Most survey respondents indicated that they cultural or interdisciplinary way. Respondents rich pockets. I want to create art for those participated in more than one sub-category, working in Design and in Digital were the least who don’t have a voiceVisual (Walid). Arts and the survey then asked them to identify likely to be24 working (5%) in this way. from the list what these areas were. I guess my practice is really driven … I am 35 (7%) Writing Many interviewees felt strongly that arts and politically motivated, I am contextually The following charts show the number cultural practice needs to be inclusive35 (7%) and to motivated. Questions that arise to me as and percentage of respondents in each reflect the diverse experiences of the group. justice questions. Equity questions (Helen). sub-category, with one chart per artistic/ Their focus, therefore, was on working with creative discipline. The average number communities to get other perspectives seen The skills required to work and communicate of sub-categories of an artistic/creative 18 (6%) Dance and voices heard: with different communities or across cultures discipline in which each respondent is are frequently emphasised in a manner that involved is also calculated. We need real stories. There are a lot of one interviewee describesDesign as ‘brokering’: stories that are untold, they38 (12%) are inside 24 (8%) C4.1 Dance Digital people and you don’t know it (Fahim). I have a really slow approach… what are you doing and why are you doing it and how are The following chart shows the number and … it’s just more about having a voice really 24 (8%)you doing it? (Penny).Facilitation percentage of participants in each of the … I realised how important it is to have your Dance sub-categories. In total, 22 respondents … translating betweenFilm/Video the two so that they participated in Dance, and on average, they voice heard because72 (24%) it represents all these other people that are the underdogs (Azra). understand each other (Monique). were involved in 2.0 sub-categories each. 48 (16%) Music I can give young people a positive taste … essentially, I think I’m working in and experience with what it means to be multicultural performanceTheatre … to do Aboriginal (Jack). the brokering you have to have an 33 (11%) understanding of theVisual art forms Arts of 27 (9%) the communities and all that kind of I do see arts19 (6%) as part of people’s cultural wellbeing (Penny). stuff. A bit of historyWriting(Raymondo).

Number and percentage of participants in Dance sub-categories (22 participants, 2.0 subcategories per participant)

8 General 7 Ballet or Classical 6 8 (36%) 8 (36%) 8 (36%)

5 Contemporary or Jazz

4

6 (27%) 6 (27%) Multicultural/folk/ethnic

3 Social Dance/Ballroom 2 4 (18%) Street 1 3 (14%) Other 0

Chart 14. Participants in Dance Sub-categories

westernsydney.edu.au/ics 31 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

C4.2 Design Number and percentage of participants in Design sub-categories (47 participants, 2.1 subcategories per participant) The following chart shows the number and percentage of participants in each of the 30 Design sub-categories: 47 respondents General participated in Design, and on average, they 25 were involved in 2.1 sub-categories each. Digital 20 Fashion 28 (60%)

15 25 (53%) Graphics 30 21 (45%) General 10 Illustration

25 7 (15%)

4 (8%) Digital 5 Industrial 12 (25%) 20 1 (2%) Fashion

28 (60%) Other 0

15 25 (53%) Graphics Chart 15. Participants in Design Sub-categories 21 (45%) 10 Illustration 7 (15%) 4 (8%) 5 Industrial 12 (25%) 1 (2%) 35 OtherGeneral 0

30 Web C4.3 Digital Number and percentage of participants in Digital sub-categories (65 participants, 2.8 subcategories per participant) 25 Sound The following chart shows the number and percentage of participants in each of the

31 (48%) Visual

20 30 (46%) Digital sub-categories, with 65 respondents 29 (45%) 35 General participating in Digital, and on average, being 36 (55%) 15 Design involved in 2.8 sub-categories each. 30 Web 20 (31%) 10 Performance

25 17 (26%) Sound

15 (23%) Film/Video 5 4 (6%) 1 (1%) 31 (48%) Visual

20 30 (46%) 29 (45%) 0 Writing 15 36 (55%) Design Other 20 (31%) 10 Performance 17 (26%)

15 (23%) Film/Video 5 4 (6%) General 1 (1%) 80 Writing 0 Arts/ 70Chart 16. Participants in Digital Sub-categories Cultural facilitator/ Other Administrator 60

50 Community Arts/ 73 (68%) 73 74 (69%) 74 Community 40 developmentGeneral 80 30 Arts/

51 (48%) 51 Curating exhibitions 70 Cultural facilitator/ 20 15 (14%) Administrator 60 Programming 10

34 (32%) exhibitions 3 (3%)

50 25(23%) Community Arts/ 73 (68%) 73 0 (69%) 74 Community Programming 40 development screenings 30

51 (48%) 51 Curating exhibitions Other

32 20 15 (14%) Western Sydney University Programming 10

34 (32%) exhibitions 3 (3%) 25(23%) 0 Programming screenings

Other 30 General

25 Digital

20 Fashion 28 (60%)

15 25 (53%) Graphics 21 (45%) 10 Illustration 7 (15%) 4 (8%) 5 Industrial 12 (25%) 1 (2%) Other 0 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

35 General

30 Web

25 Sound

31 (48%) Visual

20 30 (46%) 29 (45%)

15 36 (55%) Design 20 (31%) 10 Performance 17 (26%)

15 (23%) Film/Video 5 4 (6%) 1 (1%)

0 Writing

Other C4.4 Facilitation Number and percentage of participants in Facilitation sub-categories (107 participants, 2.6 subcategories per participant) The following chart shows the number and percentage of participants in each of the General Facilitation sub-categories: 107 respondents 80 participated in Facilitation, and on average, Arts/ 70 were involved in 2.6 sub-categories each. 30 Cultural facilitator/ GeneralAdministrator 60 25 Digital 50 Community Arts/ 73 (68%) 73 74 (69%) 74 Community 20 40 Fashiondevelopment 28 (60%)

3015 25 (53%) Graphics

51 (48%) 51 Curating exhibitions 21 (45%)

20 15 (14%) 10 IllustrationProgramming 10 7 (15%)

34 (32%) exhibitions 4 (8%) 3 (3%)

5 25(23%) Industrial

0 12 (25%) 1 (2%) Programming Other 0 screenings Chart 17. Participants in Facilitation Sub-categories Other

C4.5 Film/Video Number and percentage of participants in Film/Video sub-categories (35 participants, 2.7 subcategories per participant) The following chart shows the number and 25 percentage of participants in each of the Film/ General Video sub-categories, with 35 respondents participating in Film/Video, and on average 20 Documentary involved in 2.7 sub-categories each. Film 22 (69%) 15 Experimental 22 (63%) Film

10 17 (49%) Narrative

16 (46%) Film

5 12 (34%) Video 3 (9%) 1 (3%) Mobile phone 0 Other Chart 18. Participants in Film/Video Sub-categories

General

20 Composing or mixing

Musical theatre/ 15 Cabaret

18 (51%) 18 (51%) New classical, electronic or improvised music or 16 (46%) 10 sound art Performing

12 (34%) 12 (34%) band/group 5 10 (29%) westernsydney.edu.au/ics 9 (26%) Playing a musical33 instrument 7 (20%) 0 (0%) 0 Singing contemporary/ popular

Singing opera/ classical

Other 30 General

25 Digital

20 Fashion 28 (60%)

15 25 (53%) Graphics 21 (45%) 10 Illustration 7 (15%) 4 (8%) 5 Industrial 12 (25%) 1 (2%) Other 0

RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

25 General

20 Documentary Film 22 (69%) 15 Experimental 22 (63%) Film

10 17 (49%) Narrative

16 (46%) Film

5 12 (34%) Video 3 (9%) 1 (3%) Mobile phone 0 Other C4.6 Music Number and percentage of participants in Music sub-categories (35 participants, 2.9 subcategories per participant) The following chart shows the number and percentage of participants in each of General the Music sub-categories: 35 respondents 20 Composing participated in Music, and on average, were or mixing involved in 2.9 sub-categories each. Musical theatre/ 15 Cabaret

18 (51%) 18 (51%) New classical, electronic or improvised music or 16 (46%) 10 sound art Performing

12 (34%) 12 (34%) band/group 5 10 (29%)

9 (26%) Playing a musical instrument 7 (20%) 0 (0%) 0 Singing contemporary/ popular Chart 19. Participants in Music Sub-categories Singing opera/ classical

Other

C4.7 Theatre Number and percentage of participants in Theatre sub-categories (24 participants, 1.8 subcategories per participant) The following chart shows the number and percentage of participants in each of the Theatre sub-categories, with 24 respondents 15 General participating in Theatre, and on average, being involved in 2.9 sub-categories each. Circus/ 12 Physical theatre

Contemporary/ 9

13 (54%) Community/ Street

6 11 (46%) Experimental/ 9 (38%) Not text based 3 2 (8%) Traditional 5 (21%)

4 (16%) theatre 0 Other Chart 20. Participants in Theatre Sub-categories

General 80 Photography as an artistic practice 70 endeavour 34 Western Sydney University 60 Craft like ceramics,

77 (66%) jewllery, sewing or 50 woodcraft 40 Digital or Video art 30 Painting/Drawing 45 (38%) 45 15 (13%)

20 (35%) 41

13 (11%) Performance art 38 (32%) 36 (31%) 10 34 (29%) Public art 2 (2%) 26 (22%) 26 24 (20%) 24 0 Sculpture Installation art Street art Other

30 General

25 Biography, memoir, essays of history

20 30 (44%) Critical writing 27 (40%) 27

26 (38%) 26 (38%) 26 about the arts

15 Novels, poetry, short stories 10 Plays and other

14 (21%) dramatic performances 5 11 (16%) 2 (3%) Blogging, writing for 0 other artistic sources Other RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

15 General

Circus/ 1512 PhysicalGeneral theatre

Contemporary/Circus/ 129

13 (54%) Community/Physical theatre Street

11 (46%) Contemporary/ 69

13 (54%) Experimental/Community/ 9 (38%) NotStreet text based 63 11 (46%) 2 (8%) TraditionalExperimental/ 9 (38%) 5 (21%) Not text based

4 (16%) theatre 03 2 (8%) OtherTraditional 5 (21%)

4 (16%) theatre 0 Other

C4.8 Visual Arts Number and percentage of participants in Visual Arts sub-categories (117 participants, 3.0 subcategories per participant) The following chart shows the number and General percentage of participants in each of the 80 Visual Arts sub-categories: 117 respondents Photography as an participated in Visual Arts, and on average, Generalartistic practice 70 endeavour were involved in 3.0 sub-categories each. 80 Photography as an 60 artisticCraft like practice ceramics, 70 77 (66%) jewllery, sewing or 50 endeavour woodcraft 60 40 Craft like ceramics, 77 (66%) jewllery,Digital or sewing Video artor 50 woodcraft 30 Painting/Drawing 40 45 (38%) 45 Digital or Video art 15 (13%)

20 (35%) 41

13 (11%) Performance art 38 (32%)

30 36 (31%)

34 (29%) Painting/Drawing 10 Public art 2 (2%) 45 (38%) 45 26 (22%) 26 15 (13%) 24 (20%) 24

20 (35%) 41

13 (11%) Performance art 0 38 (32%) Sculpture 36 (31%) 10 34 (29%) Public art 2 (2%) Installation art 26 (22%) 26 24 (20%) 24 Chart0 21. Participants in Theatre Sub-categories Sculpture Street art Installation art Other Street art Other C4.9 Writing Number and percentage of participants in Writing sub-categories (6830 participants, 2.0 subcategories per participant) General The following chart shows the number and percentage of participants in each of the 25 Biography, memoir, 30 writing sub-categories, with 68 respondents Generalessays of history participating in Writing, and on average, being 20 30 (44%) Biography,Critical writing memoir, involved in 2.0 sub-categories each. 25 27 (40%) 27 26 (38%) 26 (38%) 26 essaysabout the of history arts

15 30 (44%) 20 CriticalNovels, writingpoetry, 27 (40%) 27

26 (38%) 26 (38%) 26 aboutshort stories the arts 10 15 Novels,Plays and poetry, other

14 (21%) shortdramatic stories performances 5 10 11 (16%) 2 (3%) PlaysBlogging, and otherwriting for

0 14 (21%) dramaticother artistic performances sources 5 11 (16%) 2 (3%) Blogging,Other writing for 0 other artistic sources Other Chart 22. Participants in Writing Sub-categories

westernsydney.edu.au/ics 35 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

In general, the respondents indicated that Dance: Activities are well spread across Music: Activities are well spread across they participated in more than one sub- several sub-categories. several sub-categories. category activity within their main artistic discipline, concerning which the following Design: Activities are concentrated in the Theatre: There is a strong interest in summary observations can be made: digital/design/graphics sub-categories, with contemporary and experimental theatre. little in fashion/industrial. Visual Arts: Activities are well spread across Digital: Activities are well spread across several sub-categories, except that painting/ several sub-categories. drawing has almost double the participation of the other sub-categories. Facilitation: The primary activities are arts/ culture facilitation or administration, and Writing: Activities are well spread across community arts or community development. several sub-categories. There is less interest in programming exhibitions and screenings. All artistic/creative disciplines had a strong participation of respondents in multiple sub- Film/Video: Activities are well spread across categories of the discipline. The following several sub-categories. table shows how the average participation varies according to the primary discipline.

Respondents in Discipline and Average Sub-categories

Average number Number of of sub-categories Artistic/creative respondents in respondents discipline discipline participate in Dance 22 2.0

Design 47 2.1

Digital 65 2.8

Facilitation 107 2.6

Film/Video 35 2.7

Music 35 2.9

Theatre 24 1.8

Visual Arts 117 3.0

Writing 68 2.0

Table 3. Number of Respondents in Discipline and Average Sub-categories

As the above Table shows, the Dance, Design and Theatre disciplines have lower participation in multiple sub-categories than the other disciplines, particularly Digital, Music and Visual Arts.

36 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

C5. Location of Artistic Practice Where do you pursue your creative/artistic practice? (157 respondents) Most respondents (72 percent) pursued their artistic/creative practice at home alone, with the next most popular practice (50 percent) 30 (11%) being: “sharing with others in a studio/space outside of home”. Other options generally At home alone constituted less than 20 percent of the 28 (9%) nominated sites (the total comes to more Alone in studio/ 14 (5%) Space outside of home than 100 percent because some respondents 114 (38%) pursued their artistic/creative practice With others in studio/ in more than one space). Space outside of home 79 (26%) The location of artistic and cultural practice is In public place alone often due to personal preferences regarding 34 (11%) In public place how people interact with others. The with others interviewees described their social needs as applicable to their creative lives: Other

I get lonely actually in my office. I like the Chart 23. Location30 (11%) of Artistic Practice kind of cut and thrust of collaborations. At home alone It’s interesting (James). 28 (9%) 11 (2%) Alone in studio/ I call myself a social vampire because I love 14 (5%) 114 (38%) Space outside of home people, being around people, having people Work by myself with me (Giuseppe). 93 (16%) With othersWork in studio/ with materials other 113 (20%) Space outsidethan of digital home technology … the good thing with artists is they can 79 (26%) Use digital technology get together and they can talk about art ... In public place alone Use digital technology it’s just nice talking to people that have 66 (12%) In public place 92 (16%) 34 (11%) and other processes a similar interest (Matthew). with others Work with others with Other like skills 59 (10%) Work with others with C6. How Respondents Undertake their How do you undertake91 (16%) your artistic practice? di‹erent skills Artistic Cultural Practice (160 respondents) 11 (2%) Sometimes work with others and sometimes alone Most respondents (70 percent) spent 44 (8%) some of their time working by themselves, Other but many worked with others with similar, Work by myself complementary or different skills. Use of 93 (16%) Work with materials other digital technology was only moderately 113 (20%) than digital technology important for respondents in carrying Use digital technology out their artistic practice. Use digital technology 66 (12%) 92 (16%) and other processes 100 Work with othersDance with like skills 59 (10%) Design 80 Work with others with 91 (16%) di‹erent skills Digital 60 Sometimes workFacilitation with others and sometimes alone 44 (8%) Film 40 Other Music Chart 24. Location of Artistic Practice 20 Theatre

Visual Arts 0 westernsydney.edu.au/ics Writing 37 Creative collaboration important Creative collaboration less important 100 Dance

Design 80 Digital

60 Facilitation

Film 40 Music

20 Theatre

Visual Arts 0 Writing Creative collaboration important Creative collaboration less important 30 (11%)

At home alone 28 (9%) Alone in studio/ 14 (5%) 114 (38%) Space outside of home

With others in studio/ Space outside of home

79 (26%) In public place alone

34 (11%) In public place with others

RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY Other

11 (2%)

Work by myself 93 (16%) Work with materials other 113 (20%) than digital technology Use digital technology Use digital technology 66 (12%) 92 (16%) and other processes Work with others with like skills 59 (10%) Work with others with 91 (16%) di‹erent skills Sometimes work with others and sometimes alone 44 (8%) Some interviewees indicated that they C7. Importance of Creative Collaboration by Discipline Other collaborate, but suggested that they did so under self-imposed conditions: The following chart shows, for each discipline, how many respondents indicated that creative collaboration was important for them, and also, how many identified it as less important. I guess I collaborate in that way more under my own terms (Ursula). Respondents in each discipline indicating that creative collaboration is important vs number in discipline Contrastingly, there were those who had not collaborated in terms of making artistic 100 work, but indicated that it was something Dance that they would like to explore in the future: Design 80 I haven’t collaborated with others... Digital It would be something I’m really interested in actually (Giulia). 60 Facilitation Film 40 Music

20 Theatre

Visual Arts 0 Writing Creative collaboration important Creative collaboration less important

Chart 25. Importance of Creative Collaboration by Discipline

Respondents in the disciplines where people work together as part of the creative process – such as in Dance, Theatre, Film and Music – identified creative collaboration as being important for them; this was less the case for those who work mainly as individuals, such as in Writing and Visual Arts.

Within each discipline the proportions regarding collaboration were different. In the Visual Arts, for example, around 50 percent of respondents felt that creative collaboration was important, whereas in Facilitation, around 90 percent felt it was important. This finding is unsurprising given the history and type of the practice involved, although it could be argued that more general networking among creative practitioners can also be viewed as an indirect mode of collaboration.

For some interviewees, collaboration can be seen as essential to the creative process in particular artforms: Film making is a collaborative process and I think working with others, it helps build towards that vision (Azra). … it takes a team to make a film. It takes people with different interests in different areas (Walid).

38 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

C8. Importance of Access to Digital How important is access to digital technology for your work? Technology (159 respondents) 16 (2%) The following chart shows the importance of access to digital technology to the creative work of survey respondents. 59 (10%) 69 (12%) Creating work 16 (2%) Most respondents (60-70 percent) Presenting work indicated that digital technology was Communicating with 59 (10%) important for communicating with others, 8469 (14%) (12%) others aboutCreating work work and for sharing or promoting their work, 112 (18%) Presenting work but less so for creating (43 percent) Developing more work skills and selling (37 percent) their work. Communicating with 111 (18%) 84 (14%) Sharing workothers about work 112 (18%) 101 (16%) PromotingDeveloping work more work skills Selling work 67 (10%) 111 (18%) Sharing work No important 101 (16%) attributesPromoting identified work Chart 26. Location of Artistic Practice Selling work 67 (10%) No important attributes identified

C9. Take up of Digital Creative Discipline70 How important is access to digital technology for your work? by Age (159 respondents) 60

The following chart shows the uptake of 50 70 digital technology in the production of 40 respondents’ artistic work in relation to 60 30 their age. The percentage of respondents 50 participating in the digital artistic discipline20 40 was steady at about 40 percent until age 10 45, and then reduced further to about 30 20 percent for those over 60 years of age. 0 2015-35 35-45 45-60 Over 60 10 Number in Digital discipline Total participants 0 15-35 35-45 45-60 Over 60

Number in Digital discipline Total participants

Chart 27. Take up of Digital Creative Discipline by Age

Creative collaboration 80 Pay other creative 70 professionals

60 Creative collaboration 80 Pay other non creative professionals 50 (51%) 74 Pay other creative 72 (49%) 72 70 Facilitateprofessionals the creative 40 work of others 60 Pay other non creative professionals 74 (51%) 74

30 20 (14%) Sole practitioner with 50 72 (49%) 72 limited interaction Facilitate the creative 20 44 (30%) 40 Sole practitionerwork of others 37 (25%) 37 10 with no interaction 0 (0%)

30 20 (14%) Sole practitioner with 28 (19%) limited interaction westernsydney.edu.au/ics 0 No important 39 20 44 (30%) attributes identified Sole practitioner 37 (25%) 37 10 with no interaction 0 (0%) 28 (19%) 0 No important attributes identified RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

Several interviewees said they did not Many of the interviewees used social use digital technology to make their media (which are digital by nature) in their work. They mentioned a need to have various forms to market their work, to a more tactile or intimate relationship communicate with others in their field, or with what they were doing, as well as to share information about their projects: a predisposition to use particular kinds of material in the process of making. we’ve got a pretty active social media … We’ve got a Facebook In terms of making my work I’m currently not page and an Instagram (Ursula). using digital media …. what I’m interested in, is more of a tactile nature (Giulia). I’ll send out emails, I’ll connect through social media (Jack). I don’t find satisfaction in creating digital art … I like the feeling of the material, the feeling Absolutely. And using the evils of of the oil or the watercolour and so on. That’s Facebook too, because that’s become the thing that really attracts me (Giuseppe). like a huge marketing tool (Shereen).

Others mentioned their preference for … you can find an audience without having working with people rather than machines, to rely on a third party to do that for you. sometimes in relation to specific artforms. And a global audience as well (Daichi). For example, those who worked in Dance were less likely to use new media than, I have a popular Facebook page. say, those working in Film. But this pattern I have a webpage … I produced also related to the kind of work that the book on it (Fazal). people are doing within their medium. There was also a generational issue reflecting M y digital technology is basic. No, a reluctance to engage or embrace ‘new’ it’s not a tool that I use … I need media (some of which are no longer new): to work with others (Penny). I mean I look at those things but I’m not great at that. I guess also I don’t really use it in a way that because of what I do … dance … we do some of the younger staff do. I’m a lot of traditional dance and it’s about just a product of my age really. I’m a the live elements of that (Ursula). product of my generation (James).

I almost don’t (use digital technology). I feel [a] sort of weakness in my role My pieces are very minimalist … I’m more here is that the primary communication interested in this human contact (Fazal). is driven through camera (Helen).

There are also, though, interviewees who The proliferation of digital media and embrace digital media for making work social media networking platforms, then, and see it in a very positive way, both for has had a differential impact on arts and reasons of aesthetics and efficiency: cultural practitioners, with some using the former actively as a technology of it ’s really digital media and technology creative production (Hope and Ryan, that gave me access to art in terms of 2014), but most deploying the latter for experimenting with film and music … for the purposes of open and networked me technology is the greatest thing that’s communication (Dewdney and Ride, 2014). happened to arts in the last ten years or so, because it just means that anyone can be an artist because the technical skills are kind of taken care of (Daichi).

I have to say, technology makes it a hell of a lot easier (Shereen).

40 Western Sydney University 16 (2%)

59 (10%) 69 (12%) Creating work Presenting work Communicating with 84 (14%) others about work 112 (18%) Developing more work skills

111 (18%) Sharing work

101 (16%)RECALIBRATING CULTURE: PRODUCTION,Promoting CONSUMPTION, work POLICY Selling work 67 (10%) No important attributes identified

70

60

50

40

30

20

10

0 15-35 35-45 45-60 Over 60

Number in Digital discipline Total participants D. PROFESSIONAL AND SOCIAL FACTORS D1. Important Factors in the Creative Process Which of the following factors are important to your creative process? (146 respondents) This section of the report investigates factors Creative collaboration that are important to artists/cultural workers’ 80 creative process, professional development, Pay other creative 70 financial status and social interaction. The most professionals important factors relating to creative practice, 60 Pay other non creative professionals both at a level of about 50 percent, are creative (51%) 74 50 72 (49%) 72 collaboration and facilitating the creative work Facilitate the creative of others. 40 work of others

30 20 (14%) Sole practitioner with Collaboration was seen by several interviewees limited interaction as being essential to the creative process in 20 44 (30%) Sole practitioner particular artforms: (25%) 37 10 with no interaction 0 (0%) 28 (19%) F ilm making is a collaborative process and 0 No important I think working with others, it helps build attributes identified towards that vision (Azra). Chart 28. Respondents Identifying Factors as Important in their Creative Process C ollaboration … I mean I’m a theatre maker, so that’s what theatre making is (Helen).

D2. Attributes Important for How important is access to digital technology for your work? Professional Development (146 respondents)

Chart 29 shows which attributes are important Conferences/Seminars 100 to the respondents’ professional development. Specialist training workshops The most important aspects of professional 80 Engage with arts organisations in region

development were relationships with others 96 (66%) who are respected in their field; with others 60 Engage with arts in same field – especially those co-located organisations outside region 80 (55%) in Greater Western Sydney; and with arts 77 (53%) Involvement with 40 companies or venues

organisations in the region. (These were 64 (44%) 63 (43%) 63 (43%) 63 20 (14%) each noted in 50-65 percent of responses). 56 (38%) Involvement with cultural

54 (37 %) 54 (37 practitioner initiatives Survey participants viewed involvement with 20 companies or venues as least important for Involvement with others 36 (25%) in same field in GWS professional development. 0 Involvement with others in same field outside GWS Chart 29. Respondents Identifying Attributes Important to Relationships with people their Professional Development respected in field No important attribute identified

Financial sacrifices 80 and taking risks 70 Increasing financial success 60 80 (55 %) 80 (55 79 (54 %) 79 A full time job 50 74 (51 %) (51 74 72 (49 %) (49 72 A part time job with 40 flexible hours 61 (41 %) (41 61 westernsydney.edu.au/ics %) 62 (42 41 30 Making financial returns

20 46 (31 %) Receiving grants 10 (7%) 39 (27 %) (27 39 10 Receiving other financial assistance 0 Royalties/ Commissions No important attributes identified

100 Support from friends and family 80 Recognition by peers

60 94 (64 %) Recognition by people 90 (62 %)

86 (59 %) 86 (59 outside field

74 (51 %) (51 74 Encouragement 40 by mentors 21 (14%)

56 (38 %) Encouragement 20 of community No important 0 attributes identified RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

Conferences/Seminars 100 Specialist training workshops 80 Engage with arts organisations in region 96 (66%)

60 Engage with arts organisationsConferences/Seminars outside region 80 (55%) 100 77 (53%) InvolvementSpecialist training with 40 companiesworkshops or venues 64 (44%) 63 (43%) 63 (43%) 63 20 (14%) 80 56 (38%) InvolvementEngage with witharts cultural

20 %) 54 (37 practitionerorganisations initiatives in region 96 (66%)

60 InvolvementEngage with witharts others 36 (25%) inorganisations same field in outside GWS region 0 80 (55%) 77 (53%) InvolvementInvolvement withwith others 40 incompanies same field or outside venues GWS 64 (44%) 63 (43%) 63 (43%) 63 20 (14%) 56 (38%) RelationshipsInvolvement with with cultural people

20 %) 54 (37 respectedpractitioner in initiativesfield D3. Financial Factors that Enable a Which of the following aspects of your own behaviour are important toNoInvolvement your important Professional with others 36 (25%) attributein same field identified in GWS Successful Creative/Artistic Practice Development?0 (146 respondents) Involvement with others Chart 30 shows which financial factors are in same field outside GWS important for the respondents’ practice. Financial sacrifices 80 andRelationships taking risks with people respected in field 70 Increasing Most of the financial factors in this question No important financial success were regarded as important by the 60 attribute identified 80 (55 %) 80 (55 respondents, including financial sacrifices (54 %) 79 A full time job 50 74 (51 %) (51 74

and taking risks. By way of contrast, a full- %) (49 72 AFinancial part time sacrifices job with time job was generally not a high priority, 4080 flexible hours 61 (41 %) (41 61 62 (42 %) 62 (42 and taking risks but a part-time job with flexible hours was 30 Making financial returns frequently seen as important. Clearly, part- 70 Increasing

46 (31 %) financial success time employment (either in an art-related 2060 Receiving grants 10 (7%) 39 (27 %) (27 39 80 (55 %) 80 (55 or other area of work) enables creative (54 %) 79 ReceivingA full time other job 5010 74 (51 %) (51 74 practice. This arrangement demands %) (49 72 financialA part time assistance job with financial sacrifice, although, as noted above, 400 flexible hours 61 (41 %) (41 61

62 (42 %) 62 (42 Royalties/ many of the survey respondents were in Commissions 30 Making financial returns a position of not needing to be engaged Chart 30. Importance of Financial Factors for Practice No important in full-time work in order to survive. 20 46 (31 %) Receiving grants 10 (7%) attributes identified 39 (27 %) (27 39 10 Receiving other financial assistance 100 0 Royalties/Support from Commissionsfriends and family 80 D4. Importance of Social Factors to Enable How important are the following Social Factors? NoRecognition important by peers attributes identified Successful Creative Practice (146 respondents) 60 94 (64 %) Recognition by people 90 (62 %)

86 (59 %) 86 (59 outside field The following chart shows the social-relational 100

74 (51 %) (51 74 Encouragement factors that were important to the survey 40 Support from byfriends mentors and family respondents. 80 21 (14%)

56 (38 %) Encouragement 20 Recognition by peers The respondents generally (50-65 percent) of community

94 (64 %) Recognition by people rated recognition by family, peers, mentors 60 No important 90 (62 %)

86 (59 %) 86 (59 outside field and the community as particularly important 0 attributes identified for the successful conduct of their practice. %) (51 74 Encouragement 40 by mentors 21 (14%)

56 (38 %) Encouragement 20 of community No important 0 attributes identified

Chart 31. Respondents Identifying Types of Social Factors for Successful Practice

42 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

E. INCOME AND HOURS WORKED Which of these best describes your average annual income from your artistic/creative practice in $AUD? (102 respondents) E1. Average Annual Income from Artistic/ 50 Creative Practice in $AUD Less than $10,000

The following chart shows the income that 40 $10,000-19,999 respondents receive from their creative/ artistic practice. It should be noted that a 48 (47%) $20,000-29,999 30 sizeable proportion of survey respondents 50 $30,000-39,999 did not answer questions about income Less than $10,000 and finances, perhaps because they were 20 $40,000-49,999 felt to be intrusive. For this reason, the 40 $10,000-19,999 10 (10%) 8 (8%) 9 (9%) 9 (9%) $50,000-59,999

data relating to finances should be treated 6 (6%) 48 (47%) 10 5 (5%) 5 (5%) $20,000-29,999 with caution although, as is noted below, 30 2 (2%) $60,000-79,999 it is, in various respects, consistent with $30,000-39,999 those of other large studies in Australia. 0 $80,000-99,999 20 $40,000-49,999 $100,000-139,999 10 (10%) 8 (8%) 9 (9%) 9 (9%) $50,000-59,999 70 6 (6%)

10 5 (5%) 5 (5%) Chart 32. Average Annual Income from Artistic/Creative2 (2%) Practice in $AUD $60,000-79,999 35,000 $31,5130 30,000 0 $80,000-99,999 E2. Creative Income in Relation to Place 25,000Artistic/creative income vs place born $22,500 $100,000-139,999 of Birth 20,000 70 $15,000 15,000 The following chart shows income from the 35,000 $31,5130 10,000 $7,500 respondents’ artistic and cultural practices in 30,000 relation to their place of birth. Both median 5,000 $22,500 and average incomes are shown. 25,000 20,0000 It is shown here that respondents born in $15,000Median Average 15,000 Australia earned significantly more from their $7,500 artistic and creative income than those born 10,000 Born in Australia Born Overseas overseas. This finding is consistent with that 5,000 of Throsby and Zednick (2010) regarding 0 income from art work. Although not all those Median Average who were born in the country were Anglo- Australians, they were over-represented Born in Australia Born Overseas among respondents with 88 percent speaking English at home. They also had the additional advantage of being longer established in Chart 33. Creative Income in Relation to Place of Birth Australia. The Australia Council for the Arts (2015a; 2015b) found in its 2009 survey that 9 (13%) 0-10 hours per week less than 10 percent of professional artists are from a non-English speaking background. This 6 (9%) “diversity problem”, as Phillip Mar and Ien Ang 11-20 hours per week 32 (48%) (2015) describe it, needs to be addressed and overcome. Our survey and interviews found 21-30 hours per week 9 (13%) that, while there was considerable interaction 0-10 hours per week 31-40 hours per week and collaboration between arts and cultural 20 (30%) practitioners with diverse backgrounds, those 6 (9%) 11-20 hours per week from non-English speaking backgrounds were 32 (48%) generally less well established and, it follows, 21-30 hours per week in a more economically precarious financial position than the Anglo-Australian majority. 31-40 hours per week 20 (30%) westernsydney.edu.au/ics 43 50 Less than $10,000

40 $10,000-19,999

48 (47%) $20,000-29,999 30 $30,000-39,999

20 $40,000-49,999 10 (10%) 8 (8%) 9 (9%) 9 (9%) $50,000-59,999 6 (6%)

10 5 (5%) 5 (5%) 2 (2%) $60,000-79,999 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY 0 $80,000-99,999

$100,000-139,999 70

35,000 $31,5130 30,000

25,000 $22,500

20,000 $15,000 15,000

10,000 $7,500

5,000

0 Median Average

Born in Australia Born Overseas

E3. Hours per week Spent on If you have supplementary or other employment to your practice, approximately how many Supplementary or Other Employment hours per week do you spend on this? as an Artist or Cultural Practitioner. (67 respondents)

Chart 34 shows time spent per week on supplementary employment by the survey respondents (approximately half) who answered this question. 9 (13%) 0-10 hours per week Of those respondents who had a supplementary income, most spent less 6 (9%) 11-20 hours per week than 20 hours per week on this activity, with 32 (48%) the average hours worked being 14 hours 21-30 hours per week per week. They were likely to have several sources of income and to juggle them in 31-40 hours per week 20 (30%) order to support their creative practice. D efinitely other sources of income. That’s why I wear so many different hats(Vince). I film weddings most of the weekend. That’s like a job to get money so I can spend [it] on my projects (Fahim). Chart 34. Hours per Week Spent on Supplementary or Other Employment the majority of my income comes from teaching (Giuseppe).

E4. Average Annual Income from Which of these best describes your average annual income from your other employment Other Employment in $AUD in $AUD? (64 respondents)

Chart 35 shows the supplementary 1 (1%) 2 (3%) income of respondents. It can be seen that supplementary income is generally higher than artistic income, averaging Less than $10,000 5 (8%) $22,000 per annum and with a median income of $20,000 per annum. 14 (22%) $10,000-19,999 5 (8%) $20,000-29,999

$30,000-39,999 7 (11%) $40,000-49,999

18 (28%) $50,000-59,999 12 (19%) $60,000-79,999

$80,000-99,999

$100,000-139,999

Chart 35. Hours per Week spent on Supplementary or Other Employment

35

30

25

20 31 (44%) Hospitality/Service Community Industries 15 44 Family/PersonalWestern Sydney University 22 (31%) 7 (10%) 10 Professional/ Teaching/Research 5

9 (13%) Clerical/ 10 (14%) 0 Administration/ Clerical

160,00

140,00

120,00

100,00

80,00

60,00

40,00

20,00

0 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55 57 59 61

Artistic Income Supplementary Income Total Income RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

1 (1%) 2 (3%)

Less than $10,000 5 (8%) 14 (22%) $10,000-19,999 5 (8%) 1 (1%) 2 (3%) $20,000-29,999

$30,000-39,999 7 (11%) $40,000-49,999Less than $10,000 5 (8%) 18 (28%)14 (22%) $50,000-59,999$10,000-19,999 12 (19%) 5 (8%) $60,000-79,999$20,000-29,999

$80,000-99,999$30,000-39,999 7 (11%) $100,000-139,999$40,000-49,999 E5. Source of Most Supplementary Income Which of these best describes your average annual income from your artistic/creative practice in $AUD? (70 respondents) 18 (28%) $50,000-59,999 Chart 36 shows the broad sources of 12 (19%) respondents’ supplementary income, most of 35 $60,000-79,999 which comes from the professional, teaching and research sector (about 50 percent), 30 $80,000-99,999 although family sources are also important 25 $100,000-139,999 (about 30 percent).

31 (44%) Hospitality/Service In response to questions about whether 20 Community Industries they can live on their earnings from art, 15 35 interviewees commonly indicated that this Family/Personal 22 (31%) was not the case: 7 (10%) 10 30 Professional/ I would say that per annum ... about a Teaching/Research quarter of my taxable income comes from 5 25

9 (13%) Clerical/ dance and dance-related work (Jack). 10 (14%) 31 (44%) Hospitality/Service 0 20 Administration/ My personal arts practice? No. Not at all. Community Industries Basically the financial support I get is from my Clerical Chart15 36. Source of Most Supplementary Income part-time job and my husband also working Family/Personal 22 (31%) casual jobs and that’s about it (Giulia). 7 (10%) 10 Professional/ …No. No definitely not. I’m glad I’ve got a Teaching/Research partner who works full-time as an engineer … 5

9 (13%) Clerical/ it does not support me financially at all(Azra). 10 (14%) 160,00 0 Administration/ 140,00 Clerical E6. Total Income 120,00 Chart 37 shows income from artistic and cultural practice with supplementary income 100,00 Income from all sources superimposed. The two sources are added to 80,00 (Sample size of 61 respondents who identify both an artistic income and a supplementary income) indicate total income. Sixty-one respondents 60,00 provided both incomes, and are plotted from the 160,00 lowest artistic income to the highest. 40,00 140,00 Almost half the respondents had an artistic 20,00 income of less than $10,000 per annum and, 120,00 0 therefore, relied heavily on supplementary income 100,001 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55 57 59 61 (which was usually higher than their artistic income). Nevertheless, the total income of these 80,00 Artistic Income Supplementary Income Total Income practitioners was still low – about $30,000 per 60,00 annum. As respondents came to earn more from their practice, they progressively relied less on 40,00 supplementary income. Five respondents out of 61 earned more than $50,000 from their artistic 20,00 practice and did not have any supplementary 0 earned income. Given that, in November 2016 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55 57 59 61 (Australian Bureau of Statistics, 2017), full-time adult average weekly ordinary time earnings were Artistic Income Supplementary Income Total Income $1,533.10 (that is, $79,721.20 per annum), it can be seen that the arts and cultural practitioners Chart 37. Income from All Sources in the survey were generally lowly remunerated both in relation to their creative and to other work. Viewing both formal paid labour and unpaid creative labour as ‘work’, it is apparent that most respondents were engaged in ‘precarious labour’ (Oakley, 2009; Taylor and Littleton, 2016).

westernsydney.edu.au/ics 45 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

E7. Artistic and Cultural Practice Please indicate your Artistic/Creative Income earned from the following sources. Income Sources (95 respondents)

This survey question sought to identify Advances, royalties, sources of creative income, and the amount of 29 (9%) copyright permissions income from those sources. Chart 38 shows 42 (13%) how many respondents identified at least part Wages or salaries as an of their income as coming from a particular employee (including art teaching) source, and Table 4 displays how much of the 47 (14%) Student stipend respondents’ income comes from each source. Creative/Art work on 72 (22%) commission or contract for films, organisations or individuals 61 (18%) Direct selling of creative/ art work 26 (8%) Grants, awards, fellowships 54 (16%) for creative/artistic work Sponsored residencies (with income attached)

Chart 38. Sources of Creative Income

Proportion of Income Derived from Various Sources.

Creative/ Proportion 52Art (25%) work on Commercial of artistic/ Wages or commission creative income Advances, salaries as 79 (38%) or contract Grants, awards, Sponsored Not for profit earned from royalties, an employee for firms, Direct selling fellowships for Residencies the following copyright (including art Student organisations of creative/ creative/artistic (with income sources: permissions and teaching) Stipend or individuals art work Communitywork attached)

10% or less 39 24 22 74 (37%) 26 32 30 26

11-20% 2 1 0 9 5 4 1

21-30% 1 3 0 7 1 4 0

31-40% 0 3 1 0 2 3 0

41-50% 0 2 1 1 5 4 2 60 51-60% 0 3 0 1 2 0 0

61-70% 0 2 50 0 3 0 1 0

71-80% 0 2 0 3 2 0 0 40 58 (32%) 54 (30%) 81-90% 0 10 0 2 5 0 Arts Organisations/0 30 Art Centres/ 91-100% 0 22 2 2 7 1 Festivals 0

20

# Respondents 42 72 26 54 (20%) 35 61 47 Local Government29 32 (18%) 32

Table 4. Proportion of Income Derived from Various10 Sources Professional Volunteer 0 46 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

The chart and table reveal that 75 percent of … no, I don’t rely on the income. And Several of the interviewees were in full-time respondents earned some income from wages that’s good in a sense (Christine, jobs and lived off their one main income. or salaries, with 60 percent earning income performing artist). These jobs were usually in arts or cultural from commission and direct selling and 45 organisations, working as facilitators, I don’t subscribe to the starving artist percent from grants, advances and royalties. administrators, curators, animateurs or even philosophy because it’s hard to be creative For most respondents, artistic income was as council employees employed in a cultural when you’re trying to pay bills (Matthew). spread across multiple sources. The only role. Some of these individuals had spent area where most income came from a single There were also artists and cultural workers many years as practising artists who lived a source was wages or salaries. There were who were concerned that they could become precarious existence, sometimes in a freelance interviewees moving into the middle and later preoccupied by funding issues to their own role. They then made a conscious choice stages of their lives, and who were starting detriment: to seek full-time or at least more regular to worry about how they would manage employment. While still engaged in creative financially in the longer term: I’m not an artist who has had a great deal activities, these practitioners were trying to of funding ... I think that we can get really live a more ‘conventional’ or stable existence. … in terms of employment and income, caught up in just thinking that we can’t I know it will continue to be precarious make art and we can’t practise if we don’t I think I’m at a different point in my life now. and when I am down and not happy, have money (Ursula). I’m forty … I do value a full-time job. It’s the it really concerns me (Penny). first time I’ve had a full-time job(Raymondo). Others take the view that their artistic work will never support them entirely, so, while they may make some money from it, they do not expect to live on that income:

E8. Labour Market Segments Community: Refers to creative or cultural Commercial: Refers to the intention to make a services that meet a broad range of physical, profit from the enterprise, such as commercial Artists and cultural practitioners participate social, emotional, mental and spiritual needs; art galleries representing artists and charging in and move across a range of labour for example, community festivals, street a commission for work that is sold to dealers, market segments, including the not-for- theatre, public art and culturally specific institutions and private collectors. Or, for profit, community and commercial sectors. activity. Work in this sector may or may not be example, in the performing arts where The classifications provided in the survey reimbursed. The community sector focuses on commercial activities generate a profit from questions are as follows: a broad range of physical, social, emotional, ticket sales and merchandising, and which mental and spiritual needs, some of which range in size from state-based flagship arts Not-for-profit: Refers to organisations that relate to arts and creative practices. It is also centres to smaller local and regionally-based re-invest any profit in their creative activities. supported by local government in much the venues and companies. Support can be Not-for-profit organisations include arts same way as not-for-profit organisations, provided through local, state and federal organisations, theatre companies, galleries, for example, through sponsorship, access governments to some of these enterprises. arts centres and the like. They generate a lot to venues and spaces, organisational of their own income, for example, from ticket The following chart and table show the support and so on, and through support sales and sales of works of art. However, time that respondents devote to particular of arts organisations devoted to cultural they also receive considerable support segments of the labour market. development. from grants and subsidies, and also, in-kind support (for example, access to facilities and venues, sponsorship, promotion, equipment loan among others). Some of this support is provided by local government.

westernsydney.edu.au/ics 47 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

Advances, royalties, 29 (9%) copyright permissions 42 (13%) Wages or salaries as an employee (including art teaching) 47 (14%) Student stipend Creative/Art work on 72 (22%) commission or contract for films, organisations or individuals 61 (18%) Direct selling of creative/ art work 26 (8%) Grants, awards, fellowships 54 (16%) for creative/artistic work Sponsored residencies (with income attached)

E8. Labour Market Segments. Please indicate if any of your artistic/creative time is spent the following sectors. (95 respondents)

52 (25%) Commercial 79 (38%) Not for profit

Community

74 (37%)

Chart 39. Respondents who Devote Time to Particular Segments of the Labour Market

60

50

E9. What Proportion (if any) of Your Time Devoted over58 (32%) the Past Three Years by Sector to creative/Arts Activity 40

Creative/Arts Activity Time was Devoted 54 (30%) over the Past Three Years to these Sectors Amount Commercial Not-for-profit CommunityArts Organisations/ Sector 30 Sector sector Art Centres/ Respondents indicated that they spent time Festivals 10% or less 30 16 22 in more than one sector. Approximately 80 20

35 (20%) 35 Local Government

percent spent some of their time in the not- (18%) 32 11-20% 6 5 8 for-profit and community sectors. Just over 10 Professional half (55 percent) worked for some time in 21-30% 3 5 8 the commercial sector, but only 10 percent Volunteer of respondents spent more than 50 percent 031-40% 2 6 8 of their time in the commercial sector. 41-50% 1 8 7

51-60% 0 7 4

61-70% 2 3 1

71-80% 3 1 2

81-90% 2 6 3

91-100% 3 17 16

Total respondents 52 74 79

Table 5. Proportion of creative/Arts Activity Time Devoted over the Past Three Years by Sector

48 Western Sydney University Advances, royalties, 29 (9%) copyright permissions 42 (13%) Wages or salaries as an employee (including art teaching) 47 (14%) Student stipend Creative/Art work on 72 (22%) commission or contract for films, organisations or individuals 61 (18%) Direct selling of creative/ art work 26 (8%) Grants, awards, fellowships 54 (16%) for creative/artistic work Sponsored residencies (with income attached) RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

52 (25%) Commercial 79 (38%) Not for profit

Community

74 (37%)

The following chart shows where people Employment/Volunteering in Greater Western Sydney region in past three years were employed or volunteered, and (135 respondents) whether the work was professional 60 (that is, paid) or voluntary.

50

40 58 (32%) 54 (30%) Arts Organisations/ 30 Art Centres/ Festivals

20

35 (20%) 35 Local Government 32 (18%) 32

10 Professional

Volunteer 0

Chart 40. Type of Employment/Volunteering in Greater Western Sydney, 2012-15

E10. Creative Income in Relation to Artistic/creative income vs age Age Group

The following chart shows income from 40,000 the respondents’ artistic practices based 35,000 on the age of respondents (both median 30,000 and average incomes are shown). 25,000 $36,818 $33,026 $33,041 20,000 $30,000

15,000 $134,333 $25,000

In general, the data indicate that respondents 10,000 $7,500 earned most from their artistic/creative 5,000 $15,000 practices in their middle years, earning 0 significantly less when over 60 years of 15-35 36-45 46-60 Over 60 age. Average hours worked for artistic/ creative income are about the same for all age groups and, therefore, earning rates Median Income Average Income per hour for the older respondents are significantly less than applies to other age Chart 41. Income Based on Artistic Practices and the Age of Respondents categories. Additional research is needed to explain this difference, which may relate to relationships between age, main 12 (4%) artistic discipline and financial return. National networks

22 (8%) State and regional networks

Cultural networks 66 (24%) 27 (10%) Local artist focussed and community networks

Networks based on creative disciplines 17 (6%) 62 (23%) Funder-driven networks 29 (11%) Networks outside the cultural sector westernsydney.edu.au/ics 49 39 (14%) Business networks

Personal networks RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

40,000

35,000

30,000

25,000 $36,818 $33,026 $33,041 20,000 $30,000

15,000 $134,333 $25,000

10,000 $7,500

5,000 $15,000

0 15-35 36-45 46-60 Over 60

Median Income Average Income

F. NETWORKING Networks considered important for conducting creative work (110 respondents) F1. Use of Networks to Produce Work 12 (4%) Chart 42 shows which networks are reported National networks by respondents as being important or very important to them for conducting their 22 (8%) State and regional networks creative work. Cultural networks are identified Cultural networks as being the most often used, with those 66 (24%) 27 (10%) focused on local artists and community also Local artist focussed and community networks highly favoured. Networks based on creative disciplines 17 (6%) 62 (23%) Funder-driven networks 29 (11%) Networks outside the cultural sector

39 (14%) Business networks

Personal networks

Chart 42. Types of Networks

Networking, it should be recognised, It’s getting out and about … I’ve lost a drive Thus, networking can be seen simultaneously means different things to different people. to do that (Helen). as a chore – having to be seen and to ‘meet Moreover, although it emerged from the and greet’ significant others in order to gain survey as important to respondents, it was It is just kind of, a bit, emotionally draining. a professional/organisational advantage – or frequently disparaged by interviewees when The whole notion of networking (Vince). as a positive process of mutual engagement it was interpreted in instrumental terms and support with fellow cultural practitioners, as being expected to meet operational However, networking was represented in a sympathetic people and organisations. expectations of the arts/culture environment: more positive light by those interviewees These competing responses to the idea and who viewed it as part of their knowledge practice of networking obviously influence I do networking but I hate it (Shereen). building and commitment to their artform: the nature of the expressed attitudes to the practice that are shaped by prior … yeah I’m really engaged … I do find myself W hen I go to them, I have to, but I don’t assumptions of what constitutes ‘networking’. really enjoy them … those things aren’t at openings and things as a performer. particularly about the work. It’s usually But I absolutely do go and see stuff ... about something entirely different(James). I’m always going to see work (Ursula).

I think I was really excited about networking…. then I think after I realised – actually they’re not interested in my story at all … They’re interested in… ticking their boxes. And it’s the truth (Azra).



50 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

F2. Networks for Distribution and Marketing Identify one or more networks which are important for distributing and marketing. and Ranking (107 respondents) National networks Chart 43 shows which networks are identified 60 by the respondents as important or very State and important to them for distributing and regional networks 50 marketing their creative work. Cultural networks

40 58 (54%) Local artist focussed and 56 (52%) community networks

30 Networks based on creative disciplines

20 38 (36%) NationalFunder-driven networks networks 60 30 (28%)

10 5 (5%) StateNetworks and outside regional networks

0 (0%) the cultural sector 22 (20%) 50 19 (18%) 18 (17%) 0 CulturalBusiness networks networks

40 58 (54%) Local artist focussed and 56 (52%) Personal networks community networks Chart 43. Important Networks for Distributing and Marketing 30 Networks based on creative disciplines

2080 38 (36%) Funder-driven networks

70 30 (28%) G. ARTS ORGANISATIONS 10 5 (5%) Networks outside

60 0 (0%) the cultural sector

22 (20%) Venues/Sites/ 19 (18%) 80 (92%) G1. Importance of Sites, Organisations, 18 (17%) What0 are the sites, organisations, venues or festivals which are particularlyBusinessPublic important places networks for Venues or Festivals for Presentation 50 the presentation of your creative work? Include, if appropriate, your home, your studio or PersonalFestivals networks Chart 44 identifies the different sectors public40 places. Be specific and provide names and rank in order of importance. that are important for the presentation of (87 respondents) Other 30 organisations the respondents’ work. The most important places for presentation of work (92 percent 20 (52%) 45 80 of responses) are venues, sites and public (45%) 39 10 places, with festivals 52 percent) and other 70 organisations (approximately 45 percent). 0 60 Venues/Sites/ 80 (92%) Public places 50 Festivals 40 Other 30 organisations

20 (52%) 45 39 (45%) 39 10

0

Chart 44. Sites for Presentation of Work

westernsydney.edu.au/ics 51 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

H. RESOURCES The commitment and engagement of fellow Many respondents described Western cultural practitioners were regarded as the Sydney as an environment that provided The resource needs identified by the survey most valuable resource in Western Sydney, more artistic freedom than other parts of respondents and interviewees were those of but were felt to be frequently overlooked. The the metropolitan region (and, by extension, financial support; help in selling work; help data demonstrated that artists and cultural most other parts of the state and nation) in publicising work; discounted supplies or practitioners in Western Sydney were highly because it supported both aesthetic risk services; opportunities to network with peers; engaged with their work. They were animated and cultural difference. Their common view and opportunities to meet with others or to by both, a close attachment to one or more was that, in Western Sydney, there was a show to audiences. Those respondents of artforms, as well as a commitment to social, self-perception of difference, and therefore, Non-English Speaking Backgrounds (NESB) cultural and political issues. There was a there was a tendency to eschew associations identified the same needs as the majority generally strong belief that arts and culture with the cultural ‘mainstream’. Paradoxically, of respondents with English-speaking played a transformational and powerful alongside the greater artistic freedom, backgrounds, but particularly noted the role in their own lives and those of others. it was also felt that the emphasis on the importance of opportunities to meet with divide between the West and elsewhere in other artists and opportunities to network Sydney, enabled correspondingly strong (in the non-instrumental sense) outside views that arts and cultural practice and their group (see Chart 46). Specialised product in Western Sydney were both services relating to language were not undervalued and under-resourced. highly rated by NESB respondents.

52 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

H1. Services and Resources that Assist in What kinds of service/resource would most assist you in your creative/artistic practice? Artistic and Cultural Practice (117 respondents)

Chart 45 shows respondents’ identification of 80 their resource needs. 70

The services and resources that, by their 60 own account, would most assist respondents

50 (65%) 76 were: financial support; help in publicising 69 (59%) 69 40 (57%) 67

work; and opportunities to meet with (54%) 63 or show to audiences. In contrast, job 30 55 (47%) 55 55 (47%) 55 placement services, computer services, 17 (15%)

20 (40%) 47 46 (39%) 46 (39%) 7 (6%) office services, work-space and work (35%) 41 resource referrals were not highly rated. 10 (33%) 39 25 (21%) 25 (21%) 24 (21%) 24 0 28 (24%)

Financial support Internet access

Information about financial support Access to studio space

Help in selling work Access to equipment

Help in publicising work Opportunities to network with peers

Help in securing bookings Opportunities to meet with or show to audience Job placement services Work space referrals Discounted art supplies or services Work resources referrals Computer services No factors identified as important Oce services

Chart 45. Detailed Resource Needs

10 Language Services

8 Opportunities to network outside of your group 10 (50%)

6 Opportunities to meet

8 (40%) other artists

4 7 (35%) Information about financial support or other services in your language of origin 5 (25%) 2 5 (25%)

4 (20%) Access to specialised assistance/support 0 No factors identified as important

westernsydney.edu.au/ics 53 80

70

60

50 (65%) 76 69 (59%) 69 40 (57%) 67 63 (54%) 63 30 55 (47%) 55 55 (47%) 55 17 (15%)

20 (40%) 47

RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY 46 (39%) 46 (39%) 7 (6%) 41 (35%) 41

10 (33%) 39 25 (21%) 25 (21%) 24 (21%) 24 0 28 (24%)

Financial support Internet access

Information about financial support Access to studio space

Help in selling work Access to equipment

Help in publicising work Opportunities to network with peers

Help in securing bookings Opportunities to meet with or show to audience Job placement services Work space referrals Discounted art supplies or services Work resources referrals Computer services No factors identified as important Oce services

H2: Specific Services/Resources for those of If you have a non-English speaking background and/or are a recent migrant, are there Non-English Speaking Background and/or specific services/resources that would assist you in your creative/artistic practice? Recent Migrants (20 respondents)

Chart 46 shows specific requirements 10 for respondents of non-English Language Services speaking backgrounds. 8 Opportunities to network outside of your group While specialised services relating to 10 (50%) language were not highly rated by NESB 6 Opportunities to meet

respondents, 50 percent identified 8 (40%) other artists

opportunities to meet with other artists as 7 (35%) 4 Information about financial a specific service and 35 percent wished to support or other services be able to network outside their group. This in your language of origin 5 (25%) 5 (25%) suggests that the respondents perceived 2 a degree of distance from the arts milieu 4 (20%) Access to specialised assistance/support or ‘scene’. At the same time, however, 40 0 percent are not concerned about this matter, No factors identified which points to an acceptable level of Chart 46. Specific Resource Needs for Artists of as important involvement for them in the arts and cultural Non-English Speaking Background Backgrounds milieu. This paradox has been identified and analysed as a common experience (see, for example, Ang et. al., 2006).

FUTURE NEEDS OF support a range of cultural and arts practices. equally, with the greatest share of government However, they also observed that getting funding going to elite arts such as classical THE ARTIST/CULTURAL practical outcomes at local government ballet and major cultural facilities, usually PRACTITIONER level involves much lobbying, persuasion located in the city centre. Concern was and communication, and expressed a desire articulated about the future of arts and culture When asked about their views concerning to see more long-term investment and more generally, especially arts practice that is the future needs of Western Sydney, better planning. Interviewees emphasised not aligned with prevailing business models. participants often articulated a requirement their frustration about the lack of practical, A major divide was discerned between the for flexible and accessible cultural facilities, beneficial outcomes for arts and cultural kinds of art practised in the Western Sydney as well as for direct advocacy concerning practice despite the political attention that region and those which receive the major their needs as arts and cultural practitioners. the region has received via such strategies as share of government funding. Changes in Interviewees frequently expressed feelings the NSW Arts and Cultural Policy Framework arts funding policies reinforced this sense of being hampered and frustrated in their 2015 (Arts NSW, 2015), and other initiatives of a ‘cultural-material’ divide, and several of work by the lack of cultural facilities in the at the state (NSW Department of Planning the interviewees expressed a high degree of Greater Western Sydney region. In particular, and Environment, 2016) and federal levels anxiety about their future: they noted the benefits of permanent (Department of Infrastructure and Regional spaces where they could work and/or Development, 2016). …. if we’re talking about federal arts funding, expand the range of their work. Such spaces what has happened since the last federal include those devoted to artists’ studios, Support for Artists and Cultural Budget in 2015 is a huge dismantling. A workshops, storage, exhibition, teaching Practitioners really very significant dismantling of a and performance. Many expressed a sense respect for peers and assessments… if we of frustration over the slow progress of The interviewees generally shared strong didn’t know what arms-length funding investment in cultural facilities in Greater views about the importance of arts and meant before, we know what it means now Western Sydney. However, it was consistently culture to the wider society, seeing the by having it taken away (Penny). made clear that usable spaces were required, arts as playing a significant role in every rather than expensive ‘white elephants’ aspect of life, as well as being a vehicle for I have a feeling, and that’s based on the last that cannot be accessed or afforded. empowerment, communication, expression year or so of talk about funding and funding and fulfilment. They mostly felt that the arts cuts, that it’s going to be harder and harder Several interviewees acknowledged that are not sufficiently respected or valued in for individual artists to be able to fund their some local governments in the region Australian society, nor are they are supported practice through grants (Giulia).

54 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

Audiences and the Artist REFLECTIONS AND Thus, approaches embedded in a creative industries/creative cities framework tend to Notwithstanding a general impression that the RECOMMENDATIONS imagine creative workers as young, inner- arts are not highly valued in Australia, there is city, ‘slashies’ in the ‘gig economy’ forging The need to improve support for Western a prevailing view among the interviewees that mobile, flexible careers in the creative Sydney’s arts and cultural facilities is appreciation of arts and culture has increased industries (Gill and Pratt, 2008; Olding, acknowledged both in earlier research (for over the past few years, with a greater 2011). Recalibrating Culture, by contrast, example, Lally, 2004; 2006), and in the most proportion of the population having a better painted a rather less ‘fashionable’ image recent consultancies, reports and policy understanding of what constitutes good art: of arts and cultural workers. Some stayed documents focussing on arts development in close, or were drawn back, to their socio- … the view of art in Australia was, some Western Sydney (Arts NSW, 2015; Deloitte, spatial origins in Western Sydney, far from years ago, that they were all Philistines, 2015). From the Recalibrating Culture research the inner suburbs conventionally regarded but it’s not there anymore. People are reported here, it is clear that participants as metropolitan Sydney’s creative hubs. interested in art. So they go to see good would like this recognition to be demonstrated Ethnicity, community and social class were art and they get to know it (Giuseppe). by immediate actual practical outcomes. significant factors in determining where such Nevertheless, this perception is largely The concept of a ‘cultural space’ similar arts and cultural practitioners live and work. accompanied by the belief that the arts do to sport spaces, as was suggested by But we also found another important group not get enough respect or support, and that one interviewee, provided within and for which did not resemble the ‘typical’ cultural there are major gaps that exist as a result: every community, has strong potential worker foregrounded in creative industries- and could create a template for practices informed urban cultural policy. They are older, … the arts are nowhere near as supported and policies across the state and country. predominantly female, highly educated, and in Australia as they are in other countries The spaces envisioned by this interviewee not particularly mobile, but play a key role … there’s a really fine distinction between are similar, perhaps, to the Scandinavian in local creative communities and networks high art and those circles, and the rest of model of an ‘arts house’ where different (Stevenson, 2017). The Recalibrating Culture what the arts are in this country (Jack). art forms are able to be practised and project had demonstrated a clear need There is a view here of a form of ‘class the community has access to both usable to take such socio-cultural complexities divide’ in relation to the arts, where the spaces as well as skill development. into account in any consideration of arts high European arts (such as opera and and cultural policy development. Encouraging this concept in a contemporary classical ballet) receive more than is mode as part of the development of This research has covered a range of issues perceived by several interviewees to be multi-use spaces is an initiative that has of direct concern to cultural policy and their fair share of the funding dollar: considerable merit, and its implantation planning, both in the metropolitan Sydney I’m not saying I’m against the arts could be configured in conjunction with context and in the wider national and or anything but I notice a lot of the existing and proposed buildings. international spheres. While there has been big funding has always gone to considerable interest in employment in the Overall, there is a major need for more, like stuff like ballet…(Azra). cultural sector in inner Sydney (Rowe and better and accessible cultural facilities Lynch, 2012), comparatively little is known It is generally felt that a lack of respect across the Greater Western Sydney region, about the working lives of arts and cultural or appreciation of the arts, broadly and additional support for practising artists practitioners in its more populous West. conceived, has a major impact on and existing arts and cultural organisations. This problem has been compounded by a the culture of the country: It is beyond the scope of this report to tendency in Australia to deploy a creative recommend specific creative production industries model developed in the British … in general what I worry about is just the methods, but it is worth highlighting the culture in Australia in terms of – not arts context (Stevenson, Rowe, and McKay, 2010; valuable research undertaken in a survey of Stevenson, McKay, and Rowe, 2010) that and culture – but the culture of our society national arts case studies, Promoting Diversity and our appreciation for the arts (Fazal). has been of limited utility and privileged of Cultural Expression in Arts in Australia (Mar economic over public value (O’Connor, 2016). This lack of respect was also aligned by some and Ang, 2015). This work highlights a range As we have demonstrated here, the outcome interviewees as flowing to the cultural role of of conditions that encourage contemporary has been an under-appreciation of the high Aboriginal and Torres Strait Islander people: dynamic arts production that is pertinent levels of creative activity in ‘unfashionable’ to the Recalibrating Culture research. Indigenous people need to be at the places like Greater Western Sydney, much forefront of the arts. Indigenous leaders Importantly, urban arts and cultural policy of which is carried out by ‘unfashionable’ need to be driving the arts … We’re is dominated by a focus on economic people embedded in local networks receiving still not accepting the first people development and city reimaging rather than little recognition as integral elements of of Australia at the forefront of the by the priorities and experiences of local a broadly conceived cultural economy. arts in everything we do (Walid). artists and cultural workers (Stevenson, 2014). westernsydney.edu.au/ics 55 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

This is not an attempt to romanticise planning, monitoring and assessment. and for Western Sydney-based artists the suburban or peri-urban struggling The City of Sydney, for example, has and cultural practitioners, or residencies artist. The participants in our research begun such a program with an audit that could productively be undertaken as were well aware that they had chosen identified available and suitable spaces, a partnership with local councils. a relatively precarious lifestyle in order has funded minimal refurbishment, and to pursue their creative interests. Their made the spaces available through a 4. Develop a small grants program for . Small grant aspirations for remuneration, resourcing call for expressions of interest (City arts and cultural activities programs could be administered through and recognition were generally modest, of Sydney, 2016). This approach could local government bodies or via the NSW and their suggestions for improving the be conducted at local council or wider State Government, and directed solely to conditions of arts and cultural practice state levels, whichever is deemed to the Greater Western Sydney region, with in Western Sydney could by no means be more time and cost effective. a focus on the local government areas be described as extravagant. Instead, which were partners in this study. This they demonstrated how a combination 2. Undertake an audit of existing arts A program should be broad enough to allow of strategic cultural institution building and culture presentation spaces. recently completed audit of formal and both individuals and groups to apply, have and fine-grained resourcing of artists informal presentation venues across flexible deadlines, involve a streamlined and cultural practitioners, located in a the City of Sydney, Mapping Culture: one-page application, a one-page proliferating range of cultural spaces, could Venues and Infrastructure in the City of reporting back, and should be capped generate tangible public-cultural benefits Sydney (Ang et. al., 2016) revealed the at a maximum amount per application across whole communities and urban range and scope of facilities utilised by (e.g. $10,000-$50,000). Successful settings. Ultimately, then, the imperative of artists to show their work. Building on applicants in one year would be ineligible cultural recalibration is to adjust arts and the findings of this report, new research the following year, so that access to such a cultural policy settings in ways that nurture will examine the nature and extent of program is spread as broadly as possible. and value creative practice wherever it future needs for cultural space in the city, is located and irrespective of the social especially spaces for cultural creation and 5. Celebrate ‘success’ stories in the status of those engaged in it. A compelling production. Similar research in Greater Greater Western Sydney region through case is made in this report for Western There are many Western Sydney could reveal opportunities a targeted campaign. Sydney’s arts and cultural sector to be inspiring stories about what people are to increase presentation spaces, with given unprecedented attention, but its doing in the field of art and culture in relatively modest refurbishment costs. method, analysis and argument may also Greater Western Sydney. But many of Again, this outcome can be achieved in apply to other cities and regions that have those interviewed for this project felt that conjunction with artists and with arts/ experienced comparable under-recognition. their work is not recognised and/or that cultural centres who are actively working they are portrayed negatively because The following recommendations with artists and cultural practitioners. of where they live and work. Greater have been developed to enable their acknowledgment and wider recognition implementation and realisation within a 3. Establish paid or subsidised artist-in- that enable artists to can help alleviate this sense of invisibility short timeframe of 12 months, provided residency programs work in various communities for extended and marginality. Such celebration certainly that there is support via reasonable periods of time. These residencies can can occur in local media and council levels of expenditure, whether from local be based in government bodies such newsletters, and also at state level. A councils, state or federal government: as schools, hospitals, local government program of arts and culture writers 1. Establish permanent arts/culture offices and community centres, but also could be established that will work in working spaces in the local government located in semi-government and private conjunction with a range of media outlets areas covered by this study by consulting sector organisations. This initiative would and be mentored by established writers artists and cultural workers, and arriving at create employment opportunities for many and critics within New South Wales. This a working model for the Greater Western artists, and also allow them to contribute program would need to include arts and Sydney region. A working space might valuably to their cultural milieu. One cultural media as well as general media, be a large garage or similar covered significant benefit of such programs could and could begin as a series of internships. space that is dry, can be secured, has be intercultural exchange, understanding adequate ventilation, and is accessible to and inclusion – for both artists and host 6. Enhance arts and culture profile through Highlight public transport. Each group consulted organisations. The process for residency advocacy and partnerships. the work (discussions and achievements) in this study has clear ideas about what programs could be streamlined if artists of the Western Sydney Arts Advisory is needed, particularly in relation to identify and negotiate interest with an Group through a dedicated website which artforms. If a model of an artists’ run space institution or company with whom they is regularly updated. This group would be is preferable, then it would be possible would like to undertake a residency. Arts seen by artists and cultural practitioners to develop a ‘best practice’ model in NSW, for example, could offer a program as a platform for engagement and conjunction with likely participants through that can be promoted specifically to

56 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

dissemination of information, and thus formal arts and cultural practice training which can also include sites for semi- could help reduce the sense of isolation in Western Sydney (its local university, formal training. Enhanced interaction experienced by many consulted in the in particular, could be encouraged to with artists and cultural practitioners Recalibrating Culture study. The Casula re-establish its lead role in this area). An would increase the profile of institutions Powerhouse-based national arts advocacy audit of available short-term courses and and, in turn, generate dynamic creative organisation, Diversity Arts Australia workshops could be more effectively precincts. Crucially, artists and cultural (formerly Kultour), could be viewed as an publicised, and presentations on career practitioners (singularly and in teams), advocacy springboard site. The Western pathways held on a regular basis as part need to be recognised as the key existing Sydney Arts and Culture Lobby, an of artists’ networking opportunities. constituents of creative infrastructure, advocacy network that contributes usefully This type of service can be provided as and be sustainably supported as the to cultural policy debates, is a resource a community and outreach program by creative leaders in the region. that could be strengthened though modest a range of institutions or companies. strategic investment and support. 10. Counter creative and cultural worker 9. Create innovative cultural infrastructure. stereotypes. The survey and interview 7. Establish a continuous research Ensure that all cultural infrastructure research for Recalibrating Culture revealed program. Develop longitudinal knowledge projects have a flexible and accessible starkly the inadequacy of prevailing and analysis through research studies such working area for artist residencies. The conceptions of cultural creative workers as Recalibrating Culture in order to maintain level of interest in, and support for, and labour. It demonstrated not only momentum. An online survey, such as the location to Western Sydney by major and that artists and cultural practitioners in one developed for Recalibrating Culture, independent cultural institutions needs Greater Western Sydney are diverse in could be distributed every two years to to be leveraged in ways that are not demographic terms and in their aesthetic generate new, comparative data, along ‘business as usual’. Cultural infrastructure practices, but also that they often with an online interviewee update option projects need to consider how flexible did not match the rather stereotyped and new interviews every four years. and accessible creative working areas can image of the young, ‘hip’, urban, mobile Comparisons of, and shifts in, attitudes be incorporated into their development. creative worker around whom much and success (or otherwise) of implemented This level of interaction with the region’s creative industries discourse revolves. strategies could, therefore, be tracked diverse population of artists and cultural It is necessary, therefore, to develop over time. Western Sydney-specific practitioners would increase the profile of more inclusive explanatory frameworks research might, therefore, be aligned with cultural infrastructure across the whole of cultural activity and approaches to the longitudinal Macquarie University Sydney metropolitan region. In turn, it local cultural policy that focus first on artists’ income survey, which constitutes would generate dynamic creative centres artists and cultural practitioners rather a national report on the state of artists’ with which Western Sydney could be than subordinate their concerns to lives (Throsby and Hollister, 2003; Throsby identified. Professional artist residency abstract creative economy models. and Zednik, 2010). The current survey, spaces can be built into any new complex, as yet unpublished, could interlink with recommendations from the 2016 research commissioned by Screen Australia, Seeing Ourselves: Reflections on Diversity in Australian TV Drama (Screen Australia, 2016). This work in the screen sector could articulate productively with studies such as the Australian Film Television and Radio School’s Diversity: Building a Platform for Change (Australian Film Television and Radio School, n.d.), which addresses issues of lack of production space, profile and distribution that have also been identified in Recalibrating Culture.

8. Tackle the issue of training. Establish a mentoring program for different levels and types of arts and cultural practitioner careers. Entry advice and pathway development needs to be made more widely available in light of the lack of David Williams in Smurf In Wanderland. (2017). National Theatre of Parramatta. Photograph: Eric Berry.

westernsydney.edu.au/ics 57 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY REFERENCES

Ang, I., Brand, J., Noble, G. and Sternberg, J. Australian Bureau of Statistics. (2013). Deloitte (2015). Building Western Sydney’s (2006). Connecting Diversity: Paradoxes of 4920.0 - Arts and Culture: State and Territory Cultural Arts Economy — A Key to Sydney’s Multicultural Australia. 1st ed. Bond University. Profiles, 2012. [online] Available at: http:// Success. [online] Deloitte Touche Tohmatsu www.abs.gov.au/ausstats/[email protected]/ Limited. Available at: http://deloitte-au- Ang, I., Rowe, D., Magee, L., Wong, A., Swist, Lookup/4920.0Main+Features100142012 economics-western-sydney-cultural- T., Rouillard, D. and Pollio, A. (2016). Mapping [Accessed on 15 May 2017]. infrastructure-report-250215.pdf [Accessed 15 Culture: Venues and Infrastructure in the Aug. 2015]. City of Sydney. [online] Penrith: Western Australian Bureau of Statistics. (2011a). Sydney University. Available at: https:// Census of Population and Housing. ABS Cat. Department of Infrastructure and Regional westernsydney.edu.au/__data/assets/pdf_ No. 2001.0, released March 2013. Canberra: Development. (2016). Western Sydney file/0006/1209453/cultural_mapping_final_ Australian Government. Infrastructure Plan. [online] Available at: report_ISBN.pdf [Accessed 27 Apr. 2017]. https://infrastructure.gov.au/infrastructure/ Australian Bureau of Statistics. (2011b). western_sydney/ [Accessed 27 Apr. 2017]. Arts NSW. (2015). NSW Arts and Cultural 4172.0 - Arts and Culture in Australia: Policy Framework - Create in NSW. [online] A Statistical Overview, 2011. [online] Dewdney, A. and Ride, P. (2014). The Digital Available at: http://www.arts.nsw.gov.au/ Available at: http://www.abs.gov.au/ Media Handbook. 1st ed. London and New York: wp-content/uploads/2015/02/CreateInNSW_ AUSSTATS/[email protected]/Previousproducts/ Routledge. NSWArtsAndCulturalPolicyFramework.pdf AFCA257968000CB7B8?opendocument Fagan, R. and O’Neill, P. (2015). Work, Places [Accessed 27 Apr. 2017]. [Accessed on 15 May 2017]. and People in Western Sydney: Changing Attorney General’s Department. (2015). Australian Bureau of Statistics. (2007). Suburban Labour Markets 2001-2014. Portfolio Budget Statements - Australia 6281.0 Survey of Work in Selected Culture Parramatta, N.S.W.: Centre for Western Sydney, Council 2015-16. [online] Available at: https:// and Leisure Activities. [online] Australian Western Sydney University. Available at: www.ag.gov.au/Publications/Budgets/ Bureau of Statistics. Available at: http://www. https://www.westernsydney.edu.au/__data/ Budget2015-16/Documents/Portfolio-budget- abs.gov.au/Ausstats/[email protected]/lookupMF/ assets/pdf_file/0008/880235/CWS_ statements/PBS-Australia-Council-2015-16.pdf D86A9FF41EC1D574CA2568A900139430 WorkPlacesandPeopleinWS_platformpaper. [Accessed 26 Apr. 2017]. [Accessed 26 Apr. 2015]. pdf [Accessed 15 May 2017]. Australia Council for the Arts. (2015a). Arts Australian Film Television and Radio School Froggatt, E. (2016). Untold Stories: Western Nation: An Overview of Australian Arts. Sydney: (AFTRS). (n.d.). Diversity: Building a Platform Sydney Theatre Companies Put Diversity at Australia Council for the Arts. for Change - Australian Film Television and Centre Stage. The Guardian. [online] Available Radio School. [online] Available at: http:// at: https://www.theguardian.com/stage/2016/ Australia Council for the Arts. (2015b). Arts www.aftrs.edu.au/events/diversity-building-a- apr/19/untold-stories-western-sydney-theatre- Nation: An Overview of Australian Arts platform-for-change [Accessed 27 Apr. 2017]. companies-put-diversity-at-centre-stage Technical Appendix (2015 Edition). Sydney: [Accessed 22 Nov. 2016]. Australia Council for the Arts. Burchell, D. (2003). Western Horizon: Sydney’s Heartland and the Future of Australian Politics. Gill, R. and Pratt, A.C. (2008). In the Social Australian Bureau of Statistics. (2017). 6302.0 Melbourne: Scribe. Factory? Immaterial Labour, Precariousness - Average Weekly Earnings, Australia, Nov and Cultural Work. Theory, Culture & 2016. [online] Australian Bureau of Statistics. Centre for Western Sydney. (n.d.). Data and Society, 25(7-8): 1-30 [online] Available Available at: http://www.abs.gov.au/ausstats/ Visualisations. [online] Available at: https:// at: http://openaccess.city.ac.uk/4114/1/ [email protected]/mf/6302.0. [Accessed 27 Feb. 2017]. www.westernsydney.edu.au/cws/gws_ IntheSocialFactory.pdf research [Accessed 15 May 2017]. Australian Bureau of Statistics. (2016). Hope, C. and Ryan, J. (2014). Digital Arts: An 3238.0.55.001 - Estimates of Aboriginal City of Sydney (2016). Creative Space. [online] introduction to New Media. 1st ed. London: and Torres Strait Islander Australians, June Available at: http://www.cityofsydney.nsw.gov. Bloomsbury Academic. 2011. [online] Australian Bureau of Statistics. au/explore/arts-and-culture/opportunities-for- Available at: http://www.abs.gov.au/ausstats/ artists/creative-space [Accessed 13 May 2017] Kurin, R. (1997). Reflections of a Culture [email protected]/mf/3238.0.55.001 [Accessed 24 Apr. Broker. 1st ed. Washington, D.C.: Smithsonian Croggon, A. (2016). Culture Crisis. The Arts 2017]. Institution Press. Funding Cuts are just a Symptom of a Broader Australian Bureau of Statistics. (2014). Malaise in Australia. The Monthly. [online] 3235.0 - Population by Age and Sex, Regions Available at: https://www.themonthly.com. of Australia, 2014. Canberra: Australian au/issue/2016/october/1475244000/alison- Government. croggon/culture-crisis [Accessed 21 Nov. 2016].

58 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

Lally, E. (2006). The Arts in Western Sydney. NSW Department of Planning and Stevenson, D. (2017). The Unfashionable 2006 Progress Report on the NSW Ministry for Environment. (2014). A Plan for Growing Cultural Worker? Considering the Demography the Arts Western Sydney Arts Strategy. [online] Sydney. [online] Available from: http://www. and Practice of Artists in Greater Western Sydney: NSW Ministry for the Arts. Available planning.nsw.gov.au/~/media/Files/DPE/ Sydney. Unpublished paper. at: http://file://ad.uws.edu.au/dfshare/ Plans-and-policies/a-plan-for-growing- Stevenson, D. (2014). Cities of Culture: A Global HomesPTA$/90924802/My%20Documents/ sydney-2014-12.ashx [Accessed on 15 May Perspective. London and New York: Routledge. WS_-PROG_-REPORT.pdf [Accessed 24 Nov. 2017]. 2016]. Stevenson, D. (2000). Art and Organisation: Oakley, K. (2009). Art Works: Cultural Labour Making Australian Cultural Policy. Brisbane: Lally, E. (2004). A Strategy for the Arts in Markets: A Literature Review. 1st ed. London: University of Queensland Press. Western Sydney — An Evaluation Report. Creativity, Culture and Education. [online] Parramatta: Centre for Cultural Stevenson, D., McKay, K. and Rowe, D. (2010). O’Connor, J. (2016). After the Creative Research, University of Western Sydney. Tracing British Cultural Policy Domains: Industries – Rhetoric and Reality in Twenty-First Available at: https://www.westernsydney.edu. Contexts, Collaborations, and Constituencies. Century Australian Culture. Platform Papers 51. au/__data/assets/pdf_file/0008/196325/ International Journal of Cultural Policy, Melbourne: Currency House. Lally-New-Media-Art-Final-Eval-Dec9-report. 16(2): 159-72. pdf [Accessed 27 Apr. 2017]. Olding, R. (2011). Straddle, not Struggle, as Stevenson, D., Rowe, D. and McKay, K. (2010). Slashies Prove Ultimate Multi-Taskers. The Live Performance Australia. (2014). Size and Convergence in British Cultural Policy: The Sydney Morning Herald. April 23. [0nline] Scope of the Live Performance Industry in 2012. Social, the Cultural and the Economic. The Available at: http://www.smh.com.au/national/ [online] Live Performance Australia. Available Journal of Arts Management, Law, and Society, straddle-not-struggle-as-slashies-prove- at: http://reports.liveperformance.com.au/size- 40(4): 248-65. ultimate-multitaskers-20110422- scope-2012/pdf/LPA-Size-Scope-2012-Full.pdf 1drhg.html [Accessed 27 Apr. 2017]. Taylor, S. and Littleton, K. (2016). Contemporary Identities of Creativity and Creative Work. 1st Profile.id. (2011a) Indigenous Key Statistics. Mar, P. and Ang, I. (2015). Promoting Diversity ed. London and New York: Routledge. Based on ABS 2011 Census. [online] Available of Cultural Expression in Arts in Australia. at http://profile.id.com.au/wsroc/indigenous- Sydney: Australia Council for the Arts. Throsby, D. and Hollister, V. (2003). Don’t keystatistics [Accessed on 16 May 2017]. Give Up Your Day Job: An Economic Study of Montoya, D. (2015). Western Sydney: An Professional Artists in Australia. 1st ed. Surry Profile.id. (2011b) Birthplace. Based on ABS Economic Profile. Briefing Paper 10/2015. NSW Hills, N.S.W.: Australia Council for the Arts. 2011 Census. [online] Available at: http://profile. Parliamentary Research Service. Available id.com.au/wsroc/birthplace [Accessed on 16 at: https://www.parliament.nsw.gov.au/ Throsby, D. and Zednik, A. (2010). Do You May 2017]. researchpapers/Pages/western-sydney-an- Really Expect To Get Paid? An Economic Study of Professional Artists in Australia. 1st ed. Surry economic-profile_1.aspx [Accessed 15 May Profile.id. (2011c) Language Spoken At Hills, N.S.W.: Australia Council for the Arts. 2017]. Home. Based on ABS 2011 Census. [online] Available at: http://profile.id.com.au/wsroc/ NSW Department of Planning and Watts, R. (2017). Catalyst Funds returned to birthplace?BMID=40 Language Spoken at Environment. (2016). Western Sydney Priority Australia Council. [online] ArtsHub Australia. Home [Accessed on 16 May 2017]. Growth Area - Department of Planning and Available at: http://www.artshub.com.au/ news-article/news/grants-and-funding/ Environment. [online] Available at: http:// Rowe, D. and Lynch, R. (2012). Work and Play in richard-watts/catalyst-funds-returned-to- www.planning.nsw.gov.au/Plans-for-your- the City: Some Reflections on the Night-Time australia-council-253389 [Accessed 26 Apr. area/Priority-Growth-Areas-and-Precincts/ Leisure Economy of Sydney, Annals of Leisure 2017]. Western-Sydney-Priority-Growth-Area Research, 15(2): 132-47. [Accessed 27 Apr. 2017]. Yue, A., Khan, R. and Brook, S. (2011). Screen Australia. (2016). Seeing Ourselves: Developing a Local Cultural Indicator NSW Government. (2015). Powerhouse Powers Reflections on Diversity in Australian TV Framework in Australia: A Case Study of into Parramatta: $30 million to Grow Western drama. [online] Sydney: Screen Australia. the City of Whittlesea, Culture and Local Sydney Arts Precinct. [online] Available at: Available at: https://www.screenaustralia. Governance, 3(1), 133-149. doi: http://dx.doi. https://www.nsw.gov.au/your-government/ gov.au/getmedia/157b05b4-255a-47b4- org/10.18192/clg-cgl.v3i1.191 the-premier/media-releases-from-the-premier/ bd8b-9f715555fb44/TV-Drama-Diversity.pdf powerhouse-powers-into-parramatta-30- [Accessed 19 Apr. 2016]. million-to-grow-western-sydney-arts-precinct/ [Accessed 26 Apr. 2015]. SGS Economics and Planning. (2017, forthcoming). Mapping Arts and Culture in Western Sydney. Sydney: Arts NSW.

westernsydney.edu.au/ics 59 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY APPENDIX 1

INTERVIEWEE CHARACTERISTICS AND INTERVIEW SUMMARIES

Table 6: Interviewee Characteristics

Age Male Female not English languagefirst and Aboriginal Islander Strait Torres Perf. Arts Vis. Arts Film/Media Name (Pseudonym)

+50 √ √ Penny

+30 √ √ √ Vince

+30 √ √ Shereen

+50 √ √ √ Carol

+30 √ √ √ Jack

+60 √ √ James

+30 √ √ √ Giulia

+30 √ √ Raymondo

+30 √ √ Daichi

+30 √ √ Monique

+60 √ √ Christine

+80 √ √ √ Giuseppe

+60 √ √ Matthew

+20 √ √ √ Azra

-20 √ √ √ Fahim

+20 √ √ √ Walid

+30 √ √ Helen

+50 √ √ Sol

+20 √ √ Pablo

+30 √ √ √ Ursula

+30 √ √ √ Fazal

Totals 12 9 7 3 8 9 4 21

60 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

WHAT DID THEY SAY? Any field involves arts in one way or another. 6.2 What do you think about the position of But somehow people think of art as irrelevant the arts and artists in Australia? In the following section the views of the (Giuseppe). There were different views about how arts and interviewees are summarised and discussed. culture are framed in Australia. For example, These responses are framed within several Art is also seen as a healing mechanism one interviewee thinks that Australia does topics that were pursued during the interviews. because it provides an outlet for expressing better than most countries in this domain, The words in italics are the voices of the pain and loss. although a degree of adaptation is needed to interviewees, followed by a brief description of … If it wasn’t for the artists I met along the work successfully in the arts in this country. the interviewee and researcher comments. way I wouldn’t be the person I am today. I’d I do think Australia does extremely well be full of hate… (Walid) 6.1 What do the arts mean to you? for a small country…You just need to be a … it’s hard for me to explain what the arts is The arts are thus typically seen by the lot more flexible with the way you do stuff because… it’s part of my heart (Jack). interviewees as something powerful in (Raymondo). most people’s lives and, in fact, as having For several interviewees, the arts are at the Another interviewee notes that Australians a ‘transformative’ power that can change core of who they are and how they live. They take for granted free entry to arts and cultural people’s lives, in some cases being a talk about arts and culture giving meaning to facilities (such as galleries and museums), replacement for spiritual beliefs and practices. their lives. an access arrangement that is not common I don’t believe there’s a god. But I do believe throughout the world. It’s just part of who I am (Giulia). in the kind of transcendence of artistic … I think in terms of international scope I This personal identification suggests that the practice (James). think we do quite well…. I recently travelled interviewee sees the arts as a primal function … without religion the arts is (sic) an throughout Europe and there was only one and as something that defines their very being. expression of divinity and it’s an expression country that provided free entry to arts It just means everything, like – my life. I fight of your spirit (Helen). centres and cultural facilities, and that was for it every day (Fahim). Ireland (Pablo). For me it is creating meaning and meaning This way of seeing the arts is not simply or not only for myself …. The people we see There is also a common view that appreciation directly related to gender, age or culture, but to every day (Walid). of arts and culture has increased in Australia practising as artists. In addition, it is suggested over the past few years, with a greater The impact of arts and cultural practice on that humanity is defined by its involvement in proportion of the population understanding improving society and the world in general is the arts: what constitutes “good art” and appreciating it. also a recurrent theme. Art is a vital necessity. We cannot survive … the view of art in Australia was, some years … if more people were artists … then I think without art (Giuseppe). ago, that they were all Philistines but it’s not the world would end up being a better place there anymore. People are interested in art. It’s a beautiful expression that we humans (Fazal). So they go to see good art and they get to have (Giulia). …I think it should inform more policy, not just know (Giuseppe). In this context, arts and culture are seen as arts and cultural policy (Pablo). However, in general there were views that the giving meaning to others’ lives, as well as to … there’s all these people out there, like in arts do not get enough respect or support, and their own. Western Sydney … who are battling … And that there are major gaps that exist as a result. … the meaning is for people around me, the if they could just have this one amazing This position applies to the whole of Australia, communities that surround us (Walid). experience it might open them up to this not just Western Sydney, although it resonates whole world (Fazal). with the criticism cited above that the region’s Further, the practice of art is not seen as an art and culture are substantially disadvantaged activity that happens separately from the world Arts and culture are seen by some of the when compared to the highly subsidised in which we live, but is a part of everything that interviewees as giving meaning to their artforms that predominate in the inner city. we do. existence. Being engaged in the arts provides for them some personal as well as social power … the arts are nowhere near as supported We live the arts. The arts is (sic) with us that they believe frequently not acknowledged in Australia as they are in other countries … everywhere (Jack). or recognised by the broader society. there’s a really fine distinction between high While there is frequent reference to the art and those circles, and the rest of what the arts being everywhere, there is also a view arts are in this country (Jack). that this very omnipresence means that it is insufficiently recognised or valued.

westernsydney.edu.au/ics 61 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

There is acknowledgment here of a class divide … if we’re talking about federal arts funding, …. ideally the arts minister would be an artist in relation to the arts so that, as discussed what has happened since the last federal or have had some experience in the arts earlier, the high European arts are seen to Budget in 2015 is a huge dismantling. A really world (Fazal). receive more than their fair allocation: very significant dismantling of a respect for I think if you’re going to write a cultural policy peers and assessments. …if we didn’t know I’m not saying I’m against the arts or anything then you need to have the voice of artists what arms-length funding meant before, we but I notice a lot of the big funding has (Ursula). know what it means now by having it taken always gone to like stuff like ballet…(Azra). away (Penny). 6.3 What is Western Sydney? It is believed that a lack of respect or I have a feeling, and that’s based on the last Seeking to describe Western Sydney appreciation of the arts has a major impact on year or so of talk about funding and funding necessarily requires proposing what is the culture of the country. cuts, that it’s going to be harder and harder distinctive about it. But given that it is a huge … in general what I worry about is just the for individual artists to be able to fund their area, Western Sydney cannot be categorised as culture in Australia in terms of – not arts and practice through grants (Giulia). one place, but as many places. culture – but the culture of our society and This concern was crystallised in terms of those There’s so many Western Sydneys now as our appreciation for the arts (Fazal). benefiting and losing as a result of the funding well. And so many South-western Sydneys… This lack of respect is seen as notable with changes, and the subsequent impacts on how They’re worlds within themselves (Penny). regard to Aboriginal and Torres Strait Islander the cultural ecosystem functions in the future. … in terms of community, there’s actually arts and cultural practice. For example, there were views that, while some more communities out in Western Sydney parts of the arts sector may thrive, other fields (Azra). Indigenous people need to be at the are likely to disappear through neglect. forefront of the arts. Indigenous leaders While there is frequent recognition that need to be driving the arts. … We’re still not My feeling is that the big institutions – the Western Sydney is many communities, not one, accepting the first people of Australia at powerful institutions – will get richer and there are also aspects of Western Sydney that the forefront of the arts in everything we do richer (James). are seen as particular or different to other parts (Walid). A changing, commercially-oriented paradigm of Sydney. Arising from of this view that the arts are was also observed, particularly in an alignment For example, a strong overarching sense of not valued, there are ‘flow-on’ perceptions between business and the arts. ‘community’ comes through strikingly in the that working in the arts or as an artist are … there’s a bigger move towards aligning interviews. also not valued. Such attitudes are then business and art together, and that could be seen as impacting on the amount of capital … I appreciate this sense of community and problematic I think (Giulia). expenditure that the cultural sector receives. belonging I have in Western Sydney (Daichi). I’m just wondering whether the commercial, … as a society however… we still relegate … I’ll always come back to community. This is you know, the business drivers aren’t art as a hobby or something we do that’s like part of me (Fahim). undermining it. If we are forcing all artists to not really real. It’s not a real job.... If you’re be commercially viable… (Christine). This is a community that is not necessarily going to create a culture where an artist bound by spatial, cultural or class connections. can actually live by his art, you have to have Alternatively, there are also views that artists It is seen as a community in the abstract that venues where they can sell it (Matthew). and arts workers can become preoccupied by is able to work across different generations, as funding issues to their own detriment. As noted above, for several interviewees well as across different cultures. It is framed as negative framing of the arts has been I’m not an artist who has had a great deal of a more tolerant and accepting environment of compounded by recent changes in arts funding funding... I think that we can get really caught difference. at the federal level and their consequent up in just thinking that we can’t make art and … the intergenerational thing that I find impact on the cultural sector. Mostly, there we can’t practice if we don’t have money happens more regularly in Western Sydney were quite bleak predictions about the future (Ursula). (Vince). as a result. There are several comments by interviewees … it’s quite a common thing that we can all that artists need to be brought into any policy work together. We’re all different ethnicities conversations about arts and culture funding but we can still understand that same, similar and, in fact, should be playing a leadership role stories. …There’s a sense out in Western in them. Sydney that you can be your own identity … who else would be better to set policies and ethnicity, and celebrate it (Azra). regarding art and culture than the artists themselves? (Carol).

62 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

6.4 Why do you live and/or work here? … in Western Sydney, they’re so hungry. … being based out at Western Sydney is an Many of the interviewees have made a They’re hungry to contribute, to collaborate, asset because I feel like people are more free, conscious choice to live and practise in Western to participate, to show what they’re good at. in the sense that they have the time to sit and Sydney because of a sense of difference and (Azra). discuss ideas (Azra). freedom that they believe it offers. I think also the community cultural … Developing creative opportunities. Being … I made a choice to live in the region. I also development sector is more thriving in the able to take risks (Pablo). made a particular choice to work in the region and a lot of artists just seem to find Being geographically distant from the arts region. So that’s been a very specific choice themselves... more of an engaged way of and culture ‘scene’ in Eastern Sydney can be (James). working and more placed in the real world as construed as an advantage; it affords artists well, in some way (Vince). … I love it out here. It’s a mix of people (Jack). and cultural practitioners the space to ‘do their The needs of Western Sydney are what lead own thing’. This view suggests that there is less … there’s this sense you can move freely many interviewees to stay in the region and pressure to conform, and that an environment without having to be faced with mainstream help in whatever way they can. They believe in the West supports both risk and difference Australia (Azra). that the region is disenfranchised on many in a manner which contrasts with the more However, the original ‘choice’ to live in the levels and that they must try to remedy this recognised, better supported arts and culture region was also, in many cases, a matter of situation. of the inner city. economic circumstances. I see that working in the cultural sector really I do feel like there’s a divide, at least for me … It’s because I knew I could own my house a is about, in the work I try and do, is about – I don’t know how the other arts workers lot quicker (Matthew). access and equity, and in a sense cultural and artists feel – between stuff that happens democracy … that comes from growing up in the city and the stuff that happens out … we weren’t able to afford living in the Inner in Western Sydney, with very poor cultural west…. (Daichi). West… I live at Liverpool (Giulia). services, with very poor cultural programs, … the equity between how much funding the with very poor educational programs Additionally, sometimes the choice to remain galleries and the institutions in Sydney get as (James). was made partly because first-generation opposed to Western Sydney – there’s quite migrant parents had stayed in the region Furthermore, there is evidence of a different a huge gap. A huge divide…. I don’t think the and partly because of identification with a motivation visible in the stories of many people issue is accessibility. It’s more like investment particular cultural or ethnic community. This who work in arts and culture in Western from government. Because I mean art is ethnic and cultural heritage encouraged Sydney. Several interviewees talk about accessible in Australia but it depends on intergenerational congregation in Western wanting to do something for their community where you are or where it’s located (Sol). Sydney. rather than necessarily something for This notion of an East-West divide is themselves. … We stayed with my uncle in Western compounded by a feeling of invisibility, with Sydney for a month until we found a house to … I think artists are motivated, in Western a view that much of what does happen in the rent … there’s a lot of Iraqis here (Fahim). Sydney, less by commercial means (Vince). West is not recognised or sufficiently valued. It is, therefore, asserted by some interviewees … it’s always been Western Sydney because a … this sort of language that I was really that there needs to be some formal mechanism lot of the Vietnamese population is out there interested in when I first started, I would to highlight arts and cultural work that is (Azra). argue was developed in Western Sydney. already happening in Greater Western Sydney. Particularly in terms of outreach and Being born or growing up in the West also community engagement… (Pablo). I would just love to see what’s already meant that a sense of belonging to the region existing being celebrated (Vince). was often evident. There is also acknowledgement here that, by practising in Western Sydney, there are fewer … I sort of grew up in Western Sydney – constraints applying to those working in the came, left and came back to it. But I always arts. found that Western Sydney was my home and so I reside here now (Pablo). … I think that there’s a stronger sense of freedom in the work. There’s less ...It’s not like a conscious choice – I’m going regimentation in the work. It’s less hide- to live in Western Sydney. This is home bound by tradition (James). territory (Penny). There is also a common view that working in the West has particular rewards not evident elsewhere.

westernsydney.edu.au/ics 63 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

6.5 What do you do? Why do you do it? How I just loved stitching and working with fabric 6.6 What is particular about the way you do you describe your role? (Monique). work? There are many different ways of framing the There are many who feel strongly that arts There is a sense here that passion for their art work that the interviewees do. For example, in and cultural practice needs to be inclusive has influenced many of the interviewees’ life some cases there is an emphasis on building and to reflect the experiences of every group. choices. Hence, they have tried to integrate connections and relationships, particularly in Their focus, therefore, is on working with their arts and cultural work with activities from different parts of the community. communities to allow other perspectives and which they can make a living, or in some cases voices to be seen and heard. I’m building conversations, building have left professional occupations behind. relationships and developing skills with These decisions have translated into feelings We need real stories. There are a lot of stories community organisations, individuals and that they ‘belong’, when they previously felt like that are untold, they are inside people and groups. (Penny). outsiders. you don’t know it… (Fahim). I describe myself as a translator. And by I was embraced in that contemporary arts … it’s just more about having a voice really… that I mean I’m strangely effective at world … My weaknesses in that other world I realised how important it is to have your understanding what the community wants… were my strengths in that world (Fazal). voice heard because it represents all these (Monique). other people that are the underdogs (Azra). I discovered after three years that I am not … my practice is, in this role, to assist people a scientist … I was always a creative inside I can give young people a positive taste to realise a seed of an idea and to just slowly (Monique). and experience with what it means to be develop it and see where it takes them Aboriginal… (Jack). … it was really just something that I got in my (Walid). heart. I had done everything I really wanted I do see arts as part of people’s cultural Others are proactive within their work and in to do in corporate life (Matthew). wellbeing…(Penny). their community, developing new work and However, artform preferences are not This orientation is conducive to making art that helping others to make new work. necessarily stable, and it is not uncommon to communicates with audiences that are not … I’m kind of the person that makes stuff develop an interest in another artform, or to already privileged, and by so doing, enabling happen (Ursula). embrace a more multi-disciplinary approach. different voices to be heard. Several interviewees have moved between … I’m a film maker but I’m also a cultural being practising artists themselves, to …I don’t want to create art for people with practitioner, a workshop facilitator (Azra). teaching, directing or nurturing others in their rich pockets. I want to create art for those who don’t have a voice…(Walid). … first of all I organise exhibitions, I curate craft or artform. They realised that, while they exhibitions… I teach (Matthew). wanted to work in arts and culture, they did not I guess my practice is really driven … I am necessarily want to continue being an artist. politically motivated, I am contextually … sometimes my job is a coordinator, some This decision is also motivated by a need to motivated. Questions that arise to me as of it’s a curator, sometimes it’s a director make a better living and have a more ‘normal’ justice questions. Equity questions (Helen). (Raymondo). existence (see 6: 10 below). Several interviewees describe their skills in … I have a very, very deep personal I don’t really consider myself an artist working with different communities or cultures, commitment to capacity-building within the anymore. I’m more of a curator and arts talking about their capacity to understand sector (Shereen). worker (Daichi). particular aspects of the work of others when There are also those who talk about why they I just felt dance wasn’t enough for the ideas communicating with them. To work across love the arts or their practice in greater detail. I was interested in to work with (Raymondo). cultures, they describe particular strategies of communication that are important. I’m a lot into painting. I love to paint… (Carol). … originally I trained to be in theatre. To be a performer … I’ve really worked since, as a I have a really slow approach … what are you I’m a collector ... I have an extensive art career, in curatorial practice (James). doing and why are you doing it and how are collection (Sol). you doing it? (Penny). I’ve always loved films… I want to make …translating between the two so that they movies… (Walid). understand each other (Monique). … I always danced (Ursula). I could not stop drawing … I explore all the possibilities in art. I cannot go to bed without drawing every night (Giuseppe).

64 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

…essentially I think I’m working in Others talk about collaboration as a means of 6.8 Do you network? multicultural performance … to do the deriving better work outcomes. As discussed above, networking means brokering you have to have an understanding different things to different people. Several I work personally better in a collaborative of the art forms of the communities interviews disliked its instrumental, career- way … I like the idea of bouncing ideas (Jack). and all that kind of stuff. A bit of history oriented dimensions. (Raymondo). I actually am very collaborative in nature I do networking but I hate it (Shereen). because I will ask people for suggestions Other interviewees have a commitment to a (Shereen). particular culture or aspect of their culture When I go to them, I have to, but I don’t really enjoy them … those things aren’t particularly and to working with others to share that Yeah, I love working as a team. Yeah… when about the work. It’s usually about something knowledge. This sharing may involve working you work as a team it’s so much easier to do entirely different(James). in communities that are not part of the something (Fahim). conventional mainstream ‘demographic’. I think I was really excited about networking Collaboration can be seen as essential to the … then I think after I realised – actually they’re … the focus is working with young people out creative process in particular artforms. this way. Young Aboriginal and Torres Strait not interested in my story at all. … They’re Islander people… Arts and culture-based Film making is a collaborative process and interested in … ticking their boxes. And it’s programs to… nurture Indigenous culture… I think working with others, it helps build the truth (Azra). towards that vision (Azra). (Jack). It’s getting out and about. …I’ve lost a drive to … my interest in migration and storytelling Collaboration… I mean I’m a theatre maker, so do that (Helen). that’s what theatre making is… (Helen). marry all that together (Daichi). … it just kind of … a bit emotionally draining. I engage with local Aboriginal girls … and … it takes a team to make a film. It takes The whole notion of networking (Vince). people with different interests in different they do lots of performances, mostly at However, networking is seen more positively by areas… (Walid). community level (Ursula). interviewees when it is part of their knowledge I almost exclusively work with non- Or it can be a personal preference of how building and commitment to their artform. people interact with others. classically trained performers or unorthodox … yeah I’m really engaged… I do find myself performers… (Fazal). I get lonely actually. In my office. I like the at openings and things as a performer. But I kind of cut and thrust of collaborations. It’s absolutely do go and see stuff … I’m always 6.7 Do you collaborate when you work? interesting (James). going to see work (Ursula). Collaboration seems to be a common feature I call myself a social vampire because I love … involves a lot of talking to people. of how many artists and cultural workers people, being around people, having people Constantly, lot of the evenings, I go and see operate in Western Sydney, stemming from with me (Giuseppe). stuff(Raymondo). the high level of community engagement in work processes common to many of the … the good thing with artists is they can get 6.9 What about technology? interviewees. together and they can talk about art ... it’s How does it influence your work? just nice talking to people that have a similar ….the more and more I’ve discovered that it Several interviewees said that they don’t use interest (Matthew). is important to be part of a community and digital technologies in actually making their that the making experience isn’t done in There are also those who collaborate but work. They mention the need to have a more isolation (Vince). suggest that they do it under their own rules. tactile or intimate relationship with what they are doing, as well as a preference for using …it’s important to me to be able to I guess I collaborate in that way more under particular kinds of material in the process of understand the diversity of experiences and… my own terms, I guess (Ursula). making art and culture. that contribute to our community. And I can only do that really by working in partnership Others have not collaborated in terms of In terms of making my work I’m currently not (Monique). making artistic work, but indicate that it is using digital media … what I’m interested in, something that they would like to explore in the is more of a tactile nature (Giulia). I think the most effective way forward is that future. actually companies bring expertise together I don’t find satisfaction in creating digital art around a community desire and actually I haven’t collaborated with others ... It would … I like the feeling of the material, the feeling work together (Helen). be something I’m really interested in actually of the oil or the watercolour and so on. That’s (Giulia). the thing that really attracts me (Giuseppe).

westernsydney.edu.au/ics 65 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

Others mention their preference for working I have a popular Facebook page. I have … in terms of employment and income, I with people rather than ‘machines’, although a webpage … I produced the book on it know it will continue to be precarious and uses of technology may relate to artforms. (Ursula). when I am down and not happy, it really Therefore, those who work in say, dance, are concerns me (Penny). There is also a generational factor, reflecting a less likely to use new media than, say, those certain reluctance to engage or embrace new Others take the view that their artistic work will who are working in film. But it is a choice that is media in several of those in older age groups. never support them, so, while they may make also related to the kinds of work that people are some money from it, they do not expect to live doing within their medium. I mean I look at those things but I don’t really on that income. use it in a way that some of the younger staff My digital technology is basic. No, it’s not a do. I’m just a product of my age really. I’m a … no, I don’t rely on the income. And that’s tool that I use … I need to work with others… product of my generation (James). good in a sense (Christine). (Penny). I feel sort of weakness in my role here is that I don’t subscribe to the starving artist I’m not great at that. I guess also because of the primary communication is driven through philosophy because it’s hard to be creative what I do … dance … we do a lot of traditional camera (Helen). when you’re trying to pay bills (Matthew). dance and it’s about the live elements of that… (Ursula). Several of the interviewees are in full-time 6.10 Does your income from your arts jobs and live off their one main income. I almost don’t (use digital technology). practice financially support you? These jobs are usually roles where they are in My pieces are very minimalist … I’m more Generally, most interviewees, especially if they arts or cultural organisations as facilitators, interested in this human contact… (Fazal). are practising artists and cultural workers, administrators, curators, animateurs or even But there are also interviewees who embrace admit that they subsidise their cultural practice council employees working in a cultural digital media for making work and see it in a with other sources of income when asked role. Some of these individuals have spent very positive way. whether they can support themselves through many years as practising artists where they creative work. have lived a precarious existence, often as … it’s really digital media and technology freelancers. They have then made a conscious that gave me access to art in terms of I would say that per annum ... about a quarter choice to secure full-time or more regular experimenting with film and music … for of my taxable income comes from dance and employment. While they are still doing artistic, me technology is the greatest thing that’s dance-related work (Jack). creative activities, they are trying to live a more happened to arts in the last ten years or so, My personal arts practice? No. Not at all. ‘conventional’ existence. because it just means that anyone can be an Basically the financial support I get is from artist because the technical skills are kind of my part-time job and my husband also I think I’m at a different point in my life taken care of (Daichi). working casual jobs and that’s about it now. I’m forty … I do value a full-time job. It’s the first time I’ve had a full-time job... I have to say, technology makes it a hell of a (Giulia). (Raymondo). lot easier (Shereen). … No. No definitely not. I’m glad I’ve got a Many of the interviewees, however, use social partner who works full-time as an engineer 6.11 How do you see your future? … it does not support me financially at all media in their various forms to market their In terms of their own future, the interviewees (Azra). work, to communicate with others in the field, hold varied views about what they think will or to share information about their projects. Several have multiple sources of income that happen to them or what they hope will happen. There are those who are in organisational … we’ve got a pretty active social media they juggle to support their practice. roles who are thinking in terms of what their … We’ve got a Facebook page and an Definitely other sources of income. That’s contribution might mean. Instagram (Ursula). why I wear so many different hats(Vince). I think really what my job is here at the I’ll send out emails, I’ll connect through social I film weddings most of the weekend. That’s moment is I think really building towards who media (Jack). like a job to get money so I can spend on my comes in next. It’s about capacity for the Absolutely. And using the evils of Facebook projects (Fahim). future… (James). too, because that’s become like a huge … the majority of my income comes from Then there are artists who are hoping for more marketing tool (Shereen). teaching because I devote most of my time time, money and space to focus on their artistic … you can find an audience without having to to teaching (Giuseppe). practice. rely on a third party to do that for you. And a There are also interviewees who are moving global audience as well (Daichi). into the middle or later stages of their lives and are starting to worry about how they will manage financially in the longer term.

66 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

I’m hoping to be able to focus a bit more 6.12 What are your views about working I mean if you compare with what they (the on the art practice and to be able to have with governments? local councils) spend for sport you may not an ongoing process, where I’m continually Some interviewees talk about a very positive find it’s quite that impressive. But that’s the producing things… (Giulia). relationship with government, particularly problem, yeah (Christine). at the local government level. While there is The really hopeful individuals see a time when We need support. With funding or with stuff, a desire for more engagement, support and they may realise their ultimate aspiration of because if you want to make something provision of facilities, there is a recognition that making art and culture with few impediments you need finance. And there’s not much in some councils are doing their best to try to concerning time and money. Australia, especially [for the] arts [and] like meet their legitimate demands. cultural work in Western Sydney (Fahim). I would actually love to be known as a I find the Western Sydney Councils renowned Aboriginal artist… (Carol). Mention is made also of the political attention they’ve got quite an open engagement paid to Western Sydney in the domain of arts I have some books I want to publish and the with the community … we have constant and culture over recent years (especially the next one’s half finished. And I’ve got at least conversations on projects and things that are last two), but there is a common belief that that two or three others planned. And that’s fun … happening (Azra). interest has not born fruit. There’s some art in me that hasn’t come out Fairfield is just an extraordinary wonderful yet. But I can almost touch it (Matthew). It’s been almost a year, or just over a year, council. They have been for a long time. they since the Deloitte Report, and almost all the I really love writing. And creative writing for were real leaders … there’s these very strong recommendations haven’t been actioned. both performance and the page. And I would powerful cultural communities. So they’ve The only one that is actually happening is love to find more time for that(Helen). really seen that as a strength and they’ve relocation of the Powerhouse Museum to worked [with] that as a strength (Helen). I want to make films that represent Western Parramatta… (Sol). Sydney. I want to make films that represent … we are in close contact with the Council There’s been a lot of interest in Western the cultures that don’t exist in Australian of Penrith because they provided all the Sydney in terms of cultural investment … if we media … (I) want to give a voice to the facilities – the studio and so on (Giuseppe). want to support artists from Western Sydney voiceless… (Walid). Nevertheless, there is recognition of the or bring artists to Western Sydney to deliver Others accept that the path that they have constraints imposed by bureaucracy. projects and to lead the way in the arts, then chosen is likely to be difficult, but are accepting yeah, there needs to be better investment … the very structure of local government, of that less-than-ideal trajectory. and better planning, better policy (Pablo). dare I say, crushes innovation and it really is I just want to keep continuing with what I’m not a space for creativity (Monique). There is also comment that ‘others’ are taking doing. I’d really like, as I mentioned, to keep control of the agenda - people who are not Thus, a lot of work in brokering, communicating going. Yeah, I just want to keep doing what from the West (although the abovementioned and persuading is needed to get local I’m doing for probably the next five years Deloitte Report (2015) was a Western Sydney government ‘onside’ to support cultural (Ursula). initiative). activities. Furthermore, it is observed that to I’ve noticed that there are times when things get other tiers of government involved is even I think the experience of Western Sydney’s work out and then bang, you’re in a struggle. harder. been really interesting because still, in terms So moments are good, moments are bad. of people speaking for the region, no one … trying to get government to think about But I realised it’s just a part of the process bothers to talk to the region. It’s always art … not just institutions, but the support an (Azra). somebody outside (James). artist needs … there is a lot of need still in the area particularly with just capital (Vince). …there is always someone running … that didn’t grow up in Fairfield. Always. The Those who are involved in lobbying and being community wants to see people from the proactive about arts and culture in Western community running these organisations… Sydney reflect a sense of demoralisation at (Walid). times. My main concern here in the west is we don’t receive official support. Two years ago I was invited to a summit by Penrith Council about the arts but it never came to nothing so far. No support whatsoever (Giuseppe).

westernsydney.edu.au/ics 67 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

6.13 What are your views about the future There are also requests for culturally specific needs for Western Sydney? spaces that would function successfully as Several interviewees have unequivocal views both working and gathering places. about what is needed in the future in the … we need an (Indigenous) arts and culture West. The absence of any formal tertiary centre… (Carol). training in the arts in the region is a major concern, for instance. I have been, for a long time, interested in developing a space … A small cultural …one of my key concerns is there isn’t really space that has a broad focus on what the any tertiary education for art in the region – the language of Middle Eastern – Middle (Vince). Eastern cultural expression…. (Penny). Some argue that permanent arts centres Another view is that all communities need a structures and companies for arts practices cultural centre which everyone can access. are needed. I think this community needs beautiful I would love to see a contemporary collective spaces, public space, in which arts centre in Western Sydney. … I think they can define how they want to use those Parramatta’s really in need of an arts centre spaces. Like parkland, like cultural centres. (Vince). Basically places for gathering… (Helen). I can’t see why major performing arts companies can’t grow and live in Western Sydney (Sol). The most common concern is the lack of designated permanent spaces, whether for working in, showing, performing or gathering. … if I had a wish it would be that one day we get a permanent home (Matthew). … our biggest problem, I mean is we haven’t got a home… We need just a big shed on a big space where we can work… (Christine). … the things that did come up were artist studios, a 300-seat theatre. So they’re the things that we’re going to be advocating for (Monique). … there’s also no artist-run initiatives in the region (Vince). … I’m starting to think maybe an artist-run initiative is the only way to go, as opposed to trying to get local government support (Penny). However, there is also a view that artists and cultural practitioners can make spaces ‘happen’ if they take the reins with the help of local governments or other bodies. … I’m hoping that if there was an artist-run space it’s because there’s a group of artists that are keen and enthusiastic to do it themselves… (Monique).

68 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY APPENDIX 2

OUTLINE OF INTERVIEW QUESTIONS

THE INDIVIDUAL THE ENVIRONMENT THE FUTURE 1. Tell me about yourself and what you do? 9. How do you define ‘the arts’ or creative 14. Please outline what you hope to be doing What made you choose your pathway? practices more generally? in your creative practice/work over the next few years. 2. Did you complete the questionnaire? Do 10. What observations or trends have you you have any comments about it? noticed regarding artistic and/or creative 15. How confident are you about your future practice and production? creative production/work? Why/Why not? 3. Can you talk about why you live and/or work in Western Sydney? 11. Where do you believe ‘the arts’ or the creative sector in Australia are headed in 4. How do you describe your own practice, the future? how you go about it and where do you do it? 12. Do you believe that artists/creative workers can have a role in determining 5. Do you work with others? If so, how and the future directions of cultural policy at a why? local, regional or national level? 6. Do you network? If so, how and why? 13. Can you talk about the impact of local/ 7. Is digital technology important for your regional or national governments on your work? How do you use it? practice? Which sector (Not for profit, commercial, community/local government) 8. Does your practice support you financially? do you work in primarily, and why? If not, why do you continue to do it?

westernsydney.edu.au/ics 69 RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY APPENDIX 3

RESEARCHER BIOGRAPHIES

Professor Deborah Stevenson is a Professor Professor David Rowe, FAHA, FASSA is David has published over 90 research articles of Sociology and Urban Cultural Research Professor of Cultural Research, Institute in peer-reviewed journals, over 110 chapters in the Institute for Culture and Society at for Culture and Society, Western Sydney in edited collections and major reference Western Sydney University. She has held University, and was Director of its works, and many research reports. Professor academic positions at the University of predecessor unit, the Centre for Cultural Rowe’s books include Popular Cultures: Rock Newcastle, the University of Technology Research. Previously, he was Professor of Music, Sport and the Politics of Pleasure Sydney, and Western Sydney University Media and Cultural Studies and Director (Sage, 1995); Sport, Culture and the Media: where her roles have included Foundation of the Cultural Institutions and Practices The Unruly Trinity (Open University Press/ Dean of the Graduate Research School, Research Centre, University of Newcastle. McGraw-Hill, 1999, 2004); Global Media Sport: Associate Pro Vice Chancellor Research, He has been a Visiting Research Fellow at Flows, Forms and Futures (Bloomsbury, 2011); and Head of the School of Social Sciences. several international universities, including Sport Beyond Television: The Internet, Digital Goldsmiths’ College, University of London Media and the Rise of Networked Media An internationally acknowledged expert on and the University of Westminster, and is Sport (with Brett Hutchins, Routledge, 2012); arts and cultural policy and the uses of culture currently Honorary Professor, University and Sport, Public Broadcasting, and Cultural in city imaging and urban redevelopment, of Bath. In 2015 he received Western Citizenship: Signal Lost? (edited with Jay Deborah has published widely on these Sydney University’s Excellence in Research Scherer, Routledge, 2014). His work has been topics including in excess of forty refereed (Researcher of the Year) Award. translated into several languages, including journal articles and book chapters, and Chinese, French, Turkish, Spanish, Italian and ten authored or edited books. Her most His research and scholarship focus mainly Arabic, and he is a frequent commentator on recent books are, Cities of Culture: A Global on the relationships between popular socio-cultural matters in international and Perspective (Routledge, 2014), The City cultural texts and practices, socio-cultural Australian print, broadcast and online media. (Polity, 2013), and Tourist Cultures: Identity, institutions, and systems of power, with a Place and the Traveller (co-authored, Sage, particular emphasis on sport, national culture, 2010). In addition, she is co-editor of the media representation and globalisation. Research Companion to Planning and His Australian Research Council-funded Culture (Ashgate, 2013), Culture and the activities include projects on cultural City: Creativity, Tourism, Leisure (Routledge, planning; tabloidisation; the role of the 2013) and the forthcoming Routledge Urban Murdoch media in global sports television; Media and Communication Companion. international circuits of cultural policy; Her work has been published in translation the urban night-time economy; sport, in China, Serbia, Poland and Greece, and nation and cultural citizenship; cultural under license in India and South Asia. production and consumption in Greater Western Sydney; and Australian cultural Deborah is a member of the editorial boards fields and national cultural policy. He has of leading international journals, including been a research consultant to many public, the International Journal of Cultural Policy, commercial and community organisations. and advisory boards such as for the Palgrave Macmillan series New Directions in Cultural Policy Research. She is also a member of the European Science Foundation College of Experts and an Honorary Professor at the University of Bath, UK. Her research program has been supported by external funding from a range of sources, and she has been a chief investigator on seven successful ARC grants with her two recent projects being focused on arts and cultural practice in Western Sydney and cultural taste and consumption in Australia. Deborah has worked as an advisor and consultant to all levels of government and was a member of the Ministerial Reference Group for the NSW Arts and Cultural Policy Framework.

70 Western Sydney University RECALIBRATING CULTURE: PRODUCTION, CONSUMPTION, POLICY

Cecelia Cmielewski is undertaking her Associate Professor Josephine Caust is doctorate at the Institute of Culture and Principal Fellow (Hon) in the School of Culture Society. Her research interests address and Communication Studies at the University inclusion in the creative sectors with a of Melbourne. From 1997 to 2011, Associate focus on the relationship between creative Professor Caust led the postgraduate production and multicultural policies. Her program in Arts and Cultural Management at thesis researches the relationship between the the University of South Australia. She founded experiences and practices of artists of non- and edited the Asia Pacific Journal of Arts and English speaking backgrounds (NESB) and key Cultural Management from 2003-2011. She arts policies through a consideration of the has published three books; Leadership and roles of creative and organisational leadership. Creativity; Understandings of this Relationship Cecelia was a principal investigator on the in Arts Organisations (Muller, 2009), Arts ARC-funded Large Screens and Transnational Leadership-International Case Studies (edited, Public Sphere. She held senior roles at the Tilde University Press, 2013) and Arts and Australia Council, the Federal Government’s Cultural Leadership in Asia (edited, Routledge, arts funding and advisory agency, between 2015). She has also published more than 60 1998 and 2011. She is also a curator, most papers and articles worldwide. She continues recently curating meta_narratives for to write for learned journals and for the media ISEA2015 in the United Arab Emirates. and is an arts columnist for The Conversation. Dr Caust has worked extensively internationally, particularly in several Asian countries. She has held senior positions at the Australia Council and at the South Australian Department of Arts, as well as leading and managing several arts organisations. In 1995 Dr Caust began her own consultancy business, Jo Caust and Associates (now JoCaustArts), supporting government, arts organisations and arts projects, and developing curricula for arts training programs in Australia and Asia. She began her career as a freelance actor in mainstream theatre, film and TV in Australia and in the UK.

westernsydney.edu.au/ics 71 Contact information 9685 9600 [email protected]

Western Sydney University Locked Bag 1797 Penrith NSW 2751 Australia

WESTERNSYDNEY.EDU.AU