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REGIONALDEVELOPMENT
STATS AND STORIES - THEME 5
THE IMPACT OF THE ARTS IN REGIONAL AUSTRALIA
RUTH RENTSCHLER AND KERRIE BRIDSON DEAKIN UNIVERSITY
JODY EVANS MELBOURNE BUSINESS SCHOOL
INVESTMENT IN THE ARTS
$1.6b Allocated by the Australian Government for arts and cultural heritage in the 2013 budget.1$104m TotalartsalesinAustraliaatauctionin2013,upfrom$95millionin2012.285% Australians think the arts make for a richer and more meaningful life.3
49% RegionalAustraliansparticipatedintheartsin2013,upfrom39%in2009.4
PLACE BUILDING THROUGH MUSEUM & GALLERY VISITS
46% DomesticovernightvisitorstoAustraliaattendmuseumsorartgalleries.36% Day-tripperstoAustraliaattendmuseumsorartgalleries.29% OvernightvisitorstoAustraliaattendhistoricalandheritagesites.21% DayvisitorstoAustraliaattendhistoricalandheritagesites.5
EDUCATION
89% Australiansthinkthattheartsshouldbeanimportantpartoftheeducationof every Australian.6
33% Artistsbringtheircreativeskillstootherindustries.775% Australiansaged20−24yearshavecompletedaYear12certificate.18% Increaseinpost-secondaryschoolqualificationattainmentofAustraliansaged25- 64between1997and2012.98% Employedandunemployedpeoplehaveweeklycontactwithfamilyandfriends.
FAST FACTS
21
CULTURAL INFRASTRUCTURE
76% Agreethattheartscanmeanveryprofitablebusiness,bothathomeand overseas.823.2m Culturalandheritagevisitorscontributedapproximately$28billionintourism expenditureto theAustralianeconomy.9
Regional Snapshot: Percent for Art Scheme
“TheschemeemploysWesternAustralianartiststodeliverexcitingartworkformajornewpublicbuildingssuchasschools,policestations,andhealthservices
throughoutWesternAustralia.TheStateGovernmentpercentforartpolicyrequiresuptoonepercentoftheconstructionbudgetfornewworksover$2milliontobe
expendedonartwork.”10
$11m+ Allocatedto203artworkprojects,commissioning200individualartistsand400 artworksthroughthepercentforartschemeinWAsinceitsinceptionin1991.$1.5b InfrastructurebuildingcostsinWA.$3.5m AllocatedtoregionalprojectsinWA.36% ProjectsareinregionalWA.11
CULTURAL TOURISM
25% Indigenouspeopleagreedthatasocialoutcomeofculturaltourismrelatedto recognitionandcultural diversity.12
33% Saleswithintheculturalindustriesisattributedtotourism.13
36,178 IndigenouspersonshavebeenaccountedforintailoringtheNorthernTerritory’s policyfortheAboriginalandTorresStraitIslanderart industry.$1 Supportfortheartsonaveragegenerates$6.40insalesand$4.30inreturnto producers.14
$500m EstimatedtobethevalueoftheIndigenousvisualartsindustryin2007.1540% PercentageofartssalesAboriginalandTorresStraitIslanderartistsgivebackinto their art centres.16
CREATIVE INDUSTRIES
“Creativeindustriesaredistinguishedfromotherindustriesinthatcreativityis used to create value for their consumers. They include cultural sectors
likethevisualandperformingarts,aswellasthosesectorsthatareoftendubbeddigitalmediaormulti-mediaincludingfilmandtelevision,
broadcasting,computeranimation,webdesignandmusic.Theyalsoincludearchitectureandurbandesign,industrialdesign,designerfashion,writingand
publishing.”17
122,564 RegisteredbusinesseswithinthecreativeindustriesinAustralia.18
$90.19b TotalannualrevenuefromAustraliancreativeindustries.19 $32,666m IndustrygrossproductofcreativeindustriesinAustralia2011-12.20 611,307 TotalAustraliancreativeworkforcein2011,a19%increasesince2006.21
ARTS PROGRAMS
Regional snapshot: Royalties for Regions, WA
“RoyaltiesforRegionsisanhistoricagreementlaunchedinDecember2008thatunderpinstheStateGovernment’slong-termfocusonregional
developmentthroughoutWesternAustralia.”22
$12m Allocatedin2012-13tofacilitatethedevelopmentandraisetheprofileof regionaleventsinWesternAustraliaaspartofa$47.9millionprogramfrom 2011-12to2014-15.23
$7.9m RegionalEventProgramfundingallocatedtoaRegionalTourismMarketing ProgramtodrivedomesticleisurevisitationinWesternAustraliain2012.24
$7.5m AllocatedfortheredevelopmentoftheBunburyRegionalEntertainment Centre 2011-2012. 25
Regional snapshot: Art Gallery of South Australia
$4m InvestedbyBHPfortheestablishmentofanAboriginalTorresStraitIslandvisualartsfestivaltobeheldin2015,supportedbytheStateGovernmentandArtGalleryofSouthAustralia.26
“Healthytourismcontributestotheeconomicandsocialwell-beingofallAustralians,butfocusesontheneedtobringmoresuchopportunitiesto
theregionalandruralareasofthecountry.Italsonotesit‘‘hasthecapacitytoreduceemigrationfromruralandregionalareasandmaintainregional
capacitiesandservices...[byexpandingon]...culturaltourismthemes,localfestivals,heritagetrails...[and]...theindustrywillneedtodevelopinamannerthatisenvironmentallysustainableandmeetstheneedsandaspirationsoflocal
communities’.27Inotherwords,itsupportsatriplebottomlineapproachtoregionaltourismdevelopment.”28
90% TourismbusinessesinAustraliaaresmall-to-medium-sizedenterprises (SME’s).40% SME’sarelocatedinregionalareas.80% SME’shavefewerthanfiveemployees,andsocanbeclassifiedasmicro- businesses.61% SME’sarefamilyorindividually-owned,withmostoftheremainder describingthemselvesassmallcompanies.29
INWARD INVESTMENT
Regional Snapshot: Wangaratta Performing Arts Centre
$8.5m InvestedintheWangarattaPerformingArtsCentre(WPAC),whichhasbeen operationalsince2009.130 DirectandindirectEFTjobscreatedduringtheconstructionoftheproject.70 EFTjobsareestimatedtohavebeentakenupbyregionalworkers.
43
Cover Image: ‘A Banquet of Wild Proportions’ event for the 2013 TropiCOOL Festival in collaboration with ‘Taste of the Gascoyne.’Photograph by Anton Blume.
Image: ‘A Banquet of Wild Proportions’ event for the 2013 TropiCOOL Festival in collaboration with ‘Taste of the Gascoyne.’Photograph by Anton Blume.
TABLE OF CONTENTS
OVERVIEW 6INTRODUCTION 7DEFINITION 8BACKGROUND 9DIMENSIONS 12END NOTES 17
OVERVIEW STATS AND STORIES: THE IMPACT OF THE ARTS IN REGIONAL AUSTRALIA
Stats and Stories: The Impact of the Arts in Regional Australiaisagroundbreakingprojectfunded by Regional Arts Australia and Australia Council for the Arts that calls for new ways to identifyandrespondtoAustralia’svastland,diversityanddifferences,includingitschallengesandopportunitiesinregionalAustralia,usingthearts as the vehicle.
TheStatsandStoriesprojectcoversfivethemesandfivecasestudies.Thefivethemesweredevelopedfromtheliteratureontheregionalimpactofthearts.Onecasestudyiswrittenoneachofthefivethemes.
Thefivethemesare:
1. Community connectedness2.Economicregeneration3.Socialinclusion4.Civicprideandcommunityidentity5.Regionaldevelopment
Thefivecasestudiesare:
1.AnimatingSpaces2.SilverBallScreeningFestival3.IntheSaddle;OntheWall4.BighArt5.FirstCoat
TheresearchprojectwasundertakenbyacademicstaffatDeakinUniversityintheBusinessSchool.TheprojectwasledbyProfessorRuthRentschler,andDrKerrieBridsonatDeakinUniversity,aswellas Associate Professor Jody Evans at Melbourne BusinessSchool.ResearchsupportwasprovidedbyClaudiaEscobar,EmmaWinstonandNickCooke.
FormoreinformationabouttheprojectpleasecontactJohnOster,ExecutiveDirector,RegionalArts Australia [email protected]
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Theartsareatoolforregionaldevelopment.Bybuildingqualityinfrastructure,theartscandevelopandbuildtourism,boostemploymentandmoraleofpeopleinthelocalcommunity.Whiletheartsmaybeconsideredbysometobeattheperiphery,withincreasingglobalisation,individualsandcommunitiesarerecognisingtheimportanceofregionaldevelopmentusingtheartsas the vehicle.
Regionaldevelopmentaddstothequalityofpeople’slivesinrun-down,economicallydepressedregions,boostingtheirviabilityandvitality.Hence,byusingarangeoftools,peopleinthecommunityarebroughttogether,developingsocial and economic skills and fashioning their own future.
REGIONALDEVELOPMENT
INTRODUCTION
7
Regionaldevelopmentprovidespeoplewithemploymentskills,opportunitiesforparticipation,ameansofbringingpeopletogetherandmakingacontributiontotheregenerationoftheircommunity.
Regionaldevelopmentresultsingreaterunderstandingofothers,particularlythosewhoaredifferentfromourselves,andastrongerregionalidentity.
REGIONAL DEVELOPMENT
is a broad term but can be seen as a means ofreducingregionaldisparitiesbysupporting(employmentandwealth-generating)economicactivitiesinregions.
Regionaldevelopmentachievedobjectivesbyinfrastructuredevelopmentandattractinginwardinvestment.Newapproachesreduceregionaldisparitiesbyhelpinglaggingregionstocatchup.30
DEFINITION
Finished mural by Drapl & Treas, First Coat Festival, Toowoomba, QLD.Photograph by Tim Caraco, 40/40 creative.
8
Againstabackgroundofruralandregionaldecline,populationdrifttothecitiesandtheclosingofmajorfacilities,developmentthroughtheartsisameansofstimulatingregions.Artsactivitiesandeventshaveflourishedanddiversifiedfromtraditionalcountryfairstofestivalsandblockbusterartexhibitions.
ThisthemesummarisesthekeyfindingsfromtheStatsandStories:ArtsImpactinRegionalAustraliaproject,whichdocumentstheextentandsignificanceoftheartstoruralandregionalAustralia.
Regionaldevelopmentactivitiesusesthecreativeeconomy to converge culture and commerce throughthecultivationofacreativeclassthatinnovates,thusbringingknowledgeintoregionaleconomies.Thisenablesthecreationofjobsthroughsmalltomediumenterprises(SME’s),possessingthecapabilityofgeneratingandexploitingintellectualproperty.
BACKGROUND
9
Wendy Jackamarra,Hunting for Foxes, Mullewa, WA. Photograph by Carlo Fernandes.
Additionalactivitiesforma‘creativeeconomy’includeongoingskillsdevelopmentandtraininginconjunctionwithculturalassetmapping,suchasidentifying‘creativeclusters’locatedinregionalareas.
Whilesomeartsactivitiesaremorecommercialortouristventures,othersaresmall,localandcommunity-focused.Theyoperatetoservethelocalcommunityascelebrations,creatingasenseofcommunityandidentity.Theyuselocalexpertisetosupportlocalorganisationswhethertheybetheartgallery,flowershoworlocalsmallbusiness.
Whileartsactivitiesmightbesmall,theyengagegrass-rootsactivityinlocalcommunitieswhichbuildavibrantsenseofregionaldevelopmentovertime.
Artsactivitiesnotonlymakemoney;theyalsoprovideacatalystforengagementthatbenefitsthe
communityonotherways:bybringingpeopletogetherandbyprovidinga
flow-oneffectforeconomicactivityinshops,cafesandaccommodation.
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DIMENSIONS OF REGIONAL DEVELOPMENT
REDUCING REGIONAL DISPARITIES
• Developing skills and training
Agreaterunderstandingandappreciationofcultureandtheartsthrougheducation,bothformal(school;university)andinformal(training;communicationwithstakeholders),leadstoinnovationandentrepreneurialskillstaughtwithinregionalareas,andanincreasedpublicinterestinthe arts.
Formalartseducationenhancesaregionalarea’sabilitytomaintainacreativeclass,includingpeopleinarchitectureanddesign,education,music,artsandentertainment.“Thisclassofcreativeindividuals,”Floridasays,“shareacommoncreativeethosthatemphasizesindividuality,creativity,differenceandmerit.”31
SUPPORTING ECONOMIC ACTIVITIES
Supportingeconomicactivitiesprovidesameans of leaving a cultural legacy for regional communities.Economicactivitiesincludework,skills,training,regeneratingurban,regionalandruralareasandpromotingpeople’shealthandwell-being.35
Artsactivitiesnotonlyprovideameansofbringingpeopletogetherincommunitiesbutalsoprovidingtheframeworks(throughinfrastructuredevelopmentandactivitiesthatresultfromtheirbuilding)tosolvingsocialissuesofrelevancetopeopleinthecommunity.
Culturalmappingcansupporteconomicactivities.Itidentifiesandpromotesaregion’sculturalheritage,includingartgalleriesandmuseumswhichcontainmemoriesofpastandpresentand
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RegionaldevelopmenthasfivedimensionswhichimpacttheartsinregionalAustralia:reducingregionaldisparities;supportingeconomicactivities;infrastructuredevelopment;inwardinvesting;newapproachestoregionaldevelopment.
Audience and cast dance, My Heart is a Hall, Roma’s heART, Animating Spaces, 2014, Roma, QLD. Photograph by Jasper De Seymour .
Regionalareaswithacreativeclassandentrepreneurialthinkershavetheopportunitytodeveloplocalexpertiseandbusinessestoemploythem.32AccordingtoEger,citiesofthefutureare“creativecommunities”astheyrecognisethatartsandculturearevitaltoaregion’sliveabilityandtothepreparednessofitsworkforce.33
KarenQuinlan,DirectorofBendigoArtGallery,providesinsightintothebenefitsofinformaleducationonregionaldevelopment.Quinlanexplainedthatshe“educatedthepublic”tovisitregionalBendigoby“findingsomethingthattheywanttosee,makingadayorweekendofit and building the regional economy as well as developingaperceptionthattheartmuseumcontributestomakingBendigoliveableforpeopleseekingtorelocate.”34
imaginingsofthefuture,enablingindividualsandcommunitiestodecidewhichonestorestore,maintainorpreserve.
Maintaininganddevelopinginfrastructurecreatesjobs.Ruraldesignandspatialplanningappearsasapopularstrategytoalleviatethedisplacementoftheculturalheritageofareasexperiencingrapidexpansionandgrowth.
Dynamicandflexibleplanningsupportseconomicactivities,whilstavoidingtop-down,rigidstructures.Planningwelldonecapturestheregional legacy or heritage while ensuring that qualityinfrastructurecontributestotheevolvingnature of neighbourhoods.
“Citiesofthefutureare‘creativecommunities’astheyrecognisethatartsandculturearevitaltoaregion’sliveabilityandtothepreparednessofitsworkforce.”33
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Asregionalcommunitiesmaybeaffectedbyaturbulentenvironmentanddeclininggrowth,innovativesolutionsarerequired.
Innovativesolutionsoftenpertaintoactivitiesintheservicessector,ofwhichtheartsareapart.Someexpressconcernthatgovernmentsupportisdirectedtowardscentreswithgrowthpotentialandnottoplacesthataresufferingdecline.38 Othersdon’tcomealongonthejourneyofchangeand renewal.39
Environmentaldevastationssuchasdrought,bushfiresandfloodswithinregionalareaslimitassetsrequiredfortheartstothriveinregionalareas.Sponsorshipfromlocalbusinessislostdueto economic downturn and community resilience becomescompromisedresultinginadeclineofskilled workers.40
“However,theartshaveprovento have an ‘in-built resilience to economicfluctuations’duetolowoutlays,smallamountsofsponsorshipneededandaffordableticketpricesforlow-incomeresidents.”41
INFRASTRUCTURE DEVELOPMENT
Qualityinfrastructuredevelopsregions.Debateaboutqualityinfrastructurecentresaroundtheideaofcreativecitiesandtheimportanceofcultural infrastructure.
Thereisaconnectionbetweenurbanorruralspaceandthesystemsoflocalculturalproductionandconsumption.Creativecitiesareseenascomplexadaptivesystems,36 which can mean focusinginvestmentonprojectsorflagshipdevelopment,aswellasininfrastructure,networks and agents engaging in cultural development.
Forexample,investinginqualityinfrastructureforlibraries,museumsorevenstateschoolsprovidesplatformsforupliftingdisplacedpeople,boostingtheirmoraleanddevelopingtheregion.37Nurturinglocalartsandcultureaspartofinfrastructuredevelopment,alsoprovidesskillsdevelopmentforlocal,healthimprovements,well-beingandbetterqualityoflife.
Withqualityinfrastructurecomesincomefromtheactivitiesitbrings,suchastourism.Hence,regionalcommunitieschange.
14
• Percent for art programs
Public art works have been commissioned in regional centres and towns around the world throughthepercentforartprograms.Percentforartprogramsentailcommissioningpublicartworkwhichispaidforbyaonepercentlevyondeveloperswhoarebuildingmajorinfrastructureprojects.
Itisamisconceptiontobelievethatpercentforartprogramsareonlyincities.Manyareinregions,smalltownsandruralareas,whetherthatisinAustraliaorinothercountries,suchastheUSA.Further,publicartprogramsseektobuildrelationshipswithcommunitiesbeyondsimplyinstalling the art work.42
Hence,publicartplaysapivotalroleinthedevelopmentofqualityinfrastructurewithinregionalareas.Theinstallationofpublicartattractseconomicattentionthroughthetransformationaleffectofimpersonalpublicspaces,offeringopportunitiesforpersonalisationand enhancement.43
Forexample,statedepartmentsoftransportationworkinpartnershipwithcommunitydevelopmentcorporationstoimplementpublicartinitiativeswithinregionalareas.Theactofconsumingpublicartmanifestsitselfthroughartisticeventsandthecreationofphysicalinfrastructureactingaslandmarks for the arts.44 Local artist Twolaks, First Coat Festival,
Toowoomba, QLD. Photograph by Tim Caraco, 40/40 creative.
ATTRACTING INWARD INVESTMENT
Attractinginwardinvestmentmeansbringingbusiness and businesses to an area from elsewhere in the country and from other countries.Carefulconsiderationshouldbegiventothecostsandbenefitsofattractinginwardinvestors.45
Attractinglargemanufacturingandservicesectoremployersintocommunitiesisoneofthemostdifficult,frustratingandriskiestofalllocaleconomicdevelopmentstrategies.Thisispartlybecause there are far fewer investors than there arecommunitiesseekingtoattractthemandmanycommunitiesarepreparedtooffermassiveincentivestoinwardinvestors.ForeigndirectinvestorsoftenpreferGreenfield,edge-of-townsites.
Toaccommodatethesepreferences,communitiesoftenover-ridetheirplanningpoliciesinordertoattracttheinvestment.Thismaybringwithitconsiderableproblemsandmaycontributetourbansprawlandtransportationproblems.
Attractinginwardinvestmentthroughtheartsislessrisky,lowercostbutalsolowerincomereturns.Balancingthestrategicneedsofthelocalcommunityisrequiredindecision-makingonthesematters.
Attractinglargemanufacturingandservicesectoremployersintocommunitiesisoneofthemost
difficult,frustratingandriskiestofalllocaleconomicdevelopment
strategies.
Leslie Pearce, Tjupi Band and the central desert sand, Country Arts WA Sand Tracks tour, 2012.Photograph by Mathew McHugh.
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NEW APPROACHES TO REGIONAL DEVELOPMENT Anewapproachtoregionaldevelopmentisemerging;onethatpromisesmoreeffectiveuseofpublicresourcesandsignificantlybetterpolicyoutcomes.Thisinvolvesashiftawayfromredistributionandsubsidiesforlaggingregions in favour of measures to increase the competitivenessofallregions.
Somekeyfeaturesofthisnewapproachtoregionaldevelopmentinclude:
• adevelopmentstrategythatcoversawiderange of direct and indirect factors that affecttheperformanceoflocalfirms;
• afocusonspecificregionalassets,andlessontop-downinvestmentsandtransfers;
• anemphasisonopportunityratherthanondisadvantageorneedforsupport;
• acollectiveandnegotiatedgovernanceapproachinvolvingnational,regionalandlocalgovernmentplusotherstakeholders,with central government taking a lesser role.46
Toachieveanewapproachtoregionaldevelopment,appropriatecommunityservicesarerequired.Appropriatecommunityserviceshelptoattracttalent,obtainhighlevelfacilities,andcompeteonaninternationallevel,allofwhichrequiresstrategicdecision-making.47
However,sometimesthereislackofcoordinationandstrategicthinkingattheregionallevel,48 which
limitstheprovisionofcommunityservices.Theartsprovidesitesofstrategicformation,providingsupportforongoinggovernmentandphilanthropiceffortstodevelopregionalareas.49
The arts can absorb elements of global culture at thelocallevel,ashashappenedwithBendigoartexhibitions.Ortheartscansupportperformances,eventsorexhibitions,forexample,thatmaylaudaninternationalcanon(botanicalart)whilecelebratingadistinctive,nationalandlocalidentity,ashappenedwiththeArtGalleryofBallaratCapturingFloraexhibition.
Whenlarge,generic,globalartisusedtosubsidisesmall,specific,localart,everyonewins,withtheglobalpayingforthelocal.Ifthereistoomuchconcentrationonglobalculture,itmaybeperceivedbysomelocalsasinauthenticand“sellingout”thepurposeofartsforthelocalcommunity.
Dangersinherentinthepursuitofinternationalcompetitionincludeneglectinglocalresourcesandcultural needs of community members. In some instances,itmaybeperceivedbysomethatseniorartsleadersfocusonmoneyattheexpenseofstrategies to facilitate community success.50
Withinthecontextoffestivalculture,thepressuretocompeteinternationallyhasfocusedattentiononanexternalaudience:eliteortransitorysocialgroups,suchastourists.Anexternalfocushasbeencriticisedasneglectinglocalcommunities,their cultural needs and local resources.51
Left: Cowra Civilian Internment, Cowra Canowindra Art Project, Cowra, NSW.
Photograph by Mayu Kanamori.
Right: ‘A Banquet of Wild Proportions’ 2012, TropiCOOL Festival in collaboration with
‘Taste of the Gascoyne.’Photograph by Anton Blume.
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• Building a foundation for the arts
A lack of knowledge and understanding of the arts isconsideredanobstacletothedevelopmentofarts and culture within regional areas. ‘There is anambiguitysurroundingthedefinitionofwhatconstitutesthearts,andthatthismaynotonlybeabarriertoattendanceorparticipationinthearts,butalsotocoordinatingandhostingartsprojectsandevents.’52
“Thedevelopmentofregionalartsandculturehasbeencriticisedforhavingaudiencedevelopmentstrategiesinplace,withoutfirststrengtheningthefoundationoftheartswithinregionalareas.”53
Onewaytoovercometheselimitationsisforplannerstobeeducatedinthepracticeofartistsandartiststobeeducatedinthepracticeofplannerstoallowcollaborationtooccurbetweenthe two.54
Withoutasolidsystemthatbuildsafoundationfortheartsbynurturing,attracting,andretainingartists,willseeworkexportedfromelsewhere
rather than tailoring art to local needs.55
• Technology is a powerful tool
Web-accessiblemapsprofilingculturalactivitysuchasCulturemapdevelopedbyAudienceLondonwithsupportofArtsCouncilEngland,respondstotheneedbothtomapculturalprovisionandtolinkittousage,populationtypologiesandcatchments.56
Ithasproventoprovidevaluableevidenceandinformationontherelationshipbetweenartsprovisionandattendanceinademographicandspatialcontext.Thisonlinetoolcanrevealgapsinprovisionandparticipation,drawingonsecondaryandprimarysurveysshowingcorrelationsbetweenaudiences,venuetypesandlocations.57
1ABC2014,Budget 2013: where will your tax go?,ABCNews,retrieved12December2014,m<http://www.abc.net.au/news/2013-05-09/interactive-budget-2013-where-will-your-tax-go/4682404>.2Dow,S2013,‘Artsalespaintapositivepicture’,TheAge,17December,retrieved12December2014,<http://www.theage.com.au/victoria/art-sales-paint-positive-picture-20131217-2zjcc.html>.3AustraliaCouncilfortheArts2014,Arts in Daily Life: Australian Participation in the Arts,retrieved6November2014,<http://www.australiacouncil.gov.au/workspace/uploads/files/research/arts-in-daily-life-australian-5432524d0f2f0.pdf>.4 Ibid5 AustralianBureauofStatistics2014,Arts and Culture in Australia: A Statistical Overview,July2014,cat.no.4172.0,retrieved1November2014,<http://www.abs.gov.au/ausstats/[email protected]/Lookup/4172.0main+features172014>.6AustraliaCouncilfortheArts,Op.Cit.7 Throsby,D&Zednik,A2010,Do You Really Expect to Get Paid? An Economic Study of Professional Artists in Australia, Australia Council fortheArts,Syadney.8Saatchi&SaatchiAustralia2001,Australians and the Arts,TheFederationPress.9CommonwealthofAustralia2011,Regional Development and Social Dividends Through Community-Based Arts And Cultural Programs: What Has Been Achieved,NationalCulturalPolicy,retrieved12December2014,<http://creativeaustralia.arts.gov.au/archived/module/creative-australia-pathways/theme-connecting-to-national-life-for-a-social-and-economic-dividend/pathway-regional-development-and-social-dividends-through-community-based-arts-and-cultural-programs/regional-development-and-social-dividends-through-community-based-arts-and-cultural-programs-what-happens-next-2/>.10GovernmentofWesternAustralia2014,Percent for art scheme,GovernmentofWesternAustralia,retrieved18December2014,<http://www.finance.wa.gov.au/cms/Building_Management_and_Works/New_Buildings/Percent_for_Art.aspx>.11DepartmentofCultureandtheArts,Statistics and Recommendations,DCA,Perth,WA,retrieved19November2014,<http://www.dca.wa.gov.au/Documents/Developing%20Arts%20and%20Culture/Spaces%20and%20Places/Percent%20for%20Art/Dev%20Arts%20and%20Cult_Spaces%20and%20Places_Percent%20for%20Art_Integrating%20Views%20Stats%20and%20Recomm.pdf>.12ArtsVictoria2007,Small Arts Organisations Research and Evaluation,ArtsVictoria,retrieved26October2014,<http://www.arts.vic.gov.au/Research_Resources/Research_Program/Small_Arts_Organisations>.
13 Ibid14 Myer,R2002, Report of the Contemporary Visual Arts and Craft Inquiry,CommonwealthDepartmentofCommunications,InformationTechnologyandtheArts,Canberra.15CommonwealthofAustralia2007,Australian government funding for the indigenous visual arts industry, Office for the Arts, retrieved 12 December 2014, <http://www.google.com.au/url?sa=t&rct=j&q=&esrc=s&frm=1&source=web&cd=1&ved=0CB0QFjAA&url=http%3A%2F%2Farts.gov.au%2Fsites%2Fdefault%2Ffiles%2Findigenous%2Fivais%2Fivais-factsheet.pdf&ei=yJ6PVITGM5CD8gWooKIAg&usg=AFQjCNGxEg8-CI9kae2bRIYfgE7rBaTweg>.16 Ibid17 CreativeIndustriesInnovationCentre2013,ValuingAustralia’screativeindustriesfinalreport,CreativeIndustriesInnovationCentre,retrieved12December2014,<http://www.google.com.au/url?sa=t&rct=j&q=&esrc=s&frm=1&source=web&cd=2&ved=0CCMQFjAB&url=http%3A%2F%2Fwww.creativeinnovation.net.au%2Fce_report%2Fwebapp%2Fstatic%2Fpdfs%2FCIIC-Valuing-Australias-Creative-Industries-2013.pdf&ei=FqKPVJrnOMbV8gWV0IDACw&usg=AFQjCNH8870i41RaR1ZhJSDY2OWhYVpZlQ>.18 Ibid19 Ibid20 Ibid21 Ibid22GovernmentofWesternAustralia2013,RoyaltiesforRegions:Progressreport2012-2013,GovernmentofWesternAustralia,retrieved15December2014,<http://www.google.com.au/url?sa=t&rct=j&q=&esrc=s&frm=1&source=web&cd=2&ved=0CCMQFjAB&url=http%3A%2F%2Fwww.drd.wa.gov.au%2Fpublications%2FDocuments%2FRoyalties_for_Regions_Progress_Report_2012_13.pdf&ei=ja-PVMmsNpe58gXUwYCIDQ&usg=AFQjCNH-QRw1k9ztlban6C_Uvo1YkfONAw>.23 Ibid24 Ibid25 Ibid26GovernmentofSouthAustralia2013,‘SAtohostworld-classAboriginalartfestival’,mediarelease,26September,retrieved19December2014,<http://www.google.com.au/url?sa=t&rct=j&q=&esrc=s&frm=1&source=web&cd=1&ved=0CB0QFjAA&url=http%3A%2F%2Fwww.artgallery.sa.gov.au%2Fagsa%2Fhome%2FMedia%2Fdocs%2FCurrent_media_releases%2FSA_Aboriginal_Art_Festival_Media_Release.pdf&ei=7ImXVKT5KJTn8AWRpYGwBQ&usg=AFQjCNHEcbll0hEXf8wfQtmuweMuII_HVQ>.27CommonwealthofAustralia2003GreenPaper:AMediumtoLongTermTourismStrategy.CommonwealthofAustralia,Canberra.
ENDNOTES
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28 Jackson,J&Murphy,P2006,‘ClustersinRegionalTourismAnAustralianCase.LaTrobeUniversity’,Annals of Tourism Research,vol.33,no.4,pp.1018–1035.29 Ibid30 OECD2014,Regional Development,OECD,retrieved30October2014,<http://www.oecd.org/gov/regional-policy/regionaldevelopment.htmaccessedon30/10/2014>.31Florida,R2003,The Rise of the Creative Class, BasicBooks,NewYork.32 Ibid33Eger,J.M2003,The Creative Community Forging the Links Between Art Culture Commerce & Community,SanDiegoStateUniversity,TheCaliforniaInstituteforSmartCommunities,California. 34Rentschler,R,Bridson,K&Evans,J2014,‘Exhibitionsassub-brands:anexploratorystudy’,Arts Marketing: An International Journal,vol.4,no.1/2,pp.45-66.35Kay,A.2000,‘Artandcommunitydevelopment:theroletheartshaveinregeneratingcommunities’,Community Development Journal,vol.35,no.4,pp.414-424.36Comunian,R.2009,Questioningcreativeworkasdriverofeconomicdevelopment:thecaseofNewcastle-Gateshead,Creative Industries Journal,vol.2,no.1,pp.1-20.37McClellan,A2003,‘Abriefhistoryoftheartmuseumpublic’,inA.McClellan (ed.),Art and Its Publics,Blackwell,Oxford,pp.1–49.38Collits,P2000,Small town decline and survival: Trends, success factors and policy issues,PaperpresentedtotheFutureofAustralia’sCountryTownsConference,LaTrobeUniversity,Bendigo,Australia.39Morton,Jn.d,‘Lettertotheeditor:Pleasecanwehaveourgalleryback’,BendigoAdvertiser.40Gibson,C&Stewart,A2009,Reinventingruralplaces:TheextentandimpactoffestivalsinruralandregionalAustralia,AustralianResearchCouncil&UniversityofWollongong,Wollongong.41 Ibid42PublicArtNetworkn.d,Percent for Art Programs A Program of Americans for the Arts,WashingtonDC,USA,retrieved19November2014,<http://www.americansforthearts.org/sites/default/files/pdf/2013/by_program/networks_and_councils/public_art_network/PublicArtAdvocacy_talkpnts.pdf>.43Becker,J2004,‘PublicArt:AnEssentialComponentofCreatingCommunities’,Monograph,AmericansfortheArts,March2004,pp.1-16.
44Cameron,S&Coaffee,J2005,‘Art,GentrificationandRegeneration-FromArtistasPioneertoPublicArts’,European Journal of Housing Policy,vol.5,no.1,pp.39–58.45TheWorldBank2014,PromotingInwardInvestment,TheWorldBank,retrieved30October2014,<http://web.worldbank.org/WBSITE/EXTERNAL/TOPICS/EXTURBANDEVELOPMENT/EXTLED/0,,contentMDK:20198993~menuPK:341145~pagePK:148956~piPK:216618~theSitePK:341139,00.html>.46 OECD,Op.Cit.47Reeves,M2002,Measuring the economic and social impact of the arts: a review,ArtsCouncilofEngland,UK.48Creight-Tyte,A2005,‘Measuringcreativity:acasestudyintheUK’sdesignerfashionsector’,CulturalTrends,vol.14,no.2,pp.157–183.49Davies,A.2011,‘LocalLeadershipandRuralRenewalthroughFestivalFun:TheCaseofSnowFest’,inCGibson&JConnell2011,Festival Places: Revitalising Rural Australia,ChannelViewPublications,Bristol,UK,pp.61-73.50Quinn,B.2013,‘Artsfestivals,tourism,cities,urbanpolicy’,inDStevenson&AMatthews2013,Culture and the City: Creativity, Tourism, Leisure.Routledge,Oxon,pp.69-84.51Quinn,B.2006,‘Problematisingfestivaltourism:ArtsfestivalsandsustainabledevelopmentinIreland’,JournalofSustainableTourism,vol.14,no.3,pp.288-306.52AnwarMcHenry,J2011,‘They’dRatherGoPlayFooty:anExploratoryStudyoftheEnjoymentandBenefitsoftheArtsinWesternAustralia’sRemoteMurchisonRegion’,Geographical Research,vol.49,no.1,pp.37–46.53Grodach,C2011,‘ArtSpacesinCommunityandEconomicDevelopment:ConnectionstoNeighborhoods,Artists,andtheCulturalEconomy’,Journal of Planning Education and Research,
Vol.31,no.1,pp.74–85.54Chapple,K&Jackson,S2010,‘Arts,Neighborhoods,andSocialPractices:TowardsanIntegratedEpistemologyofCommunityArts’,Journal of Planning Education and Research,vol.XX,no.X,pp.1–13.55Grodach,Op.Cit.56Evans,G&Foord,J2008,‘Culturalmappingandsustainablecommunities:planningfortheartsrevisited’,Cultural Trends,vol.17,no.2,pp.65–96.57Brook,O2007,‘Response1’,Cultural Trends,vol.16,no.4,pp.385–388.
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Signal site, Lake Guy, Mount Bogong, 2013. Photograph by John Billan.
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