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STRATEGIC PLAN

Granville Boys at the Haines & Hinterding Exhibition, MCA 2015. Photo Marian Abboud, 2015

2016 – 2020

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EXECUTIVE SUMMARY Information and Cultural Exchange (ICE) has built a reputation for its fresh and innovative approach to creative engagement with our communities (particularly via screen and digital-based platforms). Importantly, this work has been accompanied by training and professional development initiatives that have seeded new artistic work and creative outcomes.

Since 1984 ICE has worked with Western Sydney communities, artists and creative producers. Together, we have created exciting art, built community capacity and enhanced our region’s cultural vibrancy. We began in the 1980s as a part-time service supplying mobile information services to our local community. We have since evolved into a dynamic, nationally and internationally unique organisation that offers a rich synergy of community engagement, cultural production, digital technology, training and artist development.

Collaborative and responding to community demand, our work is embedded in and determined by community. We work across a range of Western Sydney local government areas (Auburn, Blacktown, Fairfield, Holroyd, Liverpool, Parramatta and Penrith) with a diverse range of communities: Aboriginal, African, Arabic-speaking, asylum seekers and refugees, Central and South Asian, Muslim, newly arrived migrants, Pacific Islander and people with Disability.

Western Sydney is Australia’s fastest growing region, and is the fourth largest economy in the nation. However, despite economic growth and increased community affluence, pockets of severe disadvantage and major barriers to social, creative and educative participation and community engagement persist. This is where we work.

However, ICE recognises that history is merely a foundation for the future; and that in order to remain a relevant creative force ICE must be more competitive, innovative and proactive in our commitment to Community Cultural Development, creative production and community engagement. There is more work to be done. We are ready and raring to go.

Delivery of our 2016-2020 plan will enable ICE to expand, enrich and deepen our engagement with Western Sydney’s most vulnerable. The plan is built on achieving four goals:

• Intensive Engagement: To make more art via an increased range and number of creative projects that engage with our key communities (existing and new)

• Accelerated Capacity Building: To expand our training and skills/professional development programs to increase our community’s cultural, creative and social capacity

• Staying Local – Going Global: To ensure our community and its creativity is increasingly seen and celebrated locally, nationally and internationally

• Stocking the Larder: To build long-term sustainability so we can do more

Information and Cultural Exchange confidently believes our 2016-2020 Strategic Plan will position us as a national and international leader in our field; and that it will give voice to dynamic and expressive communities, artists and cultural producers who live, work and create in the most culturally diverse and vibrant region in Australia. Without hubris, we want to be champions with our community.

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ICEAbout UsICE is a Western Sydney community arts and training organisation working with our region’s most vulnerable and disadvantaged communities:

• Aboriginal young people and their families• Asylum seekers and their families• At-risk Youth • Culturally and linguistically diverse communities (CALD)• Emerging Western Sydney artists and community-engaged cultural producers • People with Disability• Refugees and newly arrived migrants and their families

Our VisionOur communities are empowered and equipped to make art that is bold, exciting and challenging.

Our MissionOur mission is to provide creative access, equity and opportunity for Western Sydney communities.

Our WorkICE believes that creativity can change our lives and world. We work with communities, emerging cultural producers and community-engaged artists via our dynamic multi-disciplinary/multi-platform work, including:

• Digital and screen-based work for TV, cinema and other multimedia platforms• Music across a range of genres (including Hip Hop, Rap, Electronic and RnB)• Performances and community events• Film festivals and forums • Digital storytelling• Digital and video art• Creative writing and literacy (e.g. spoken word, poetry and script development)• Training and professional development• Outreach and school-based engagement

Our CommitmentOur commitment is to contribute to and reveal the rich and evolving cultural life of Western Sydney and our inspiring communities.

We Value• Creativity• Ambition• Collaboration• Inclusion• Integrity

Our ImpactOur work fosters and increases community pride, cohesion and creativity. For over thirty years ICE has collaborated successfully with communities, artists and educators to build creative opportunity and social capacity in Western Sydney and produce art that drives cultural change.

Call to Prayer, Imam Musa Celik, Auburn Gallipoli Mosque. The Calling, 2014 Sydney Festival. Photo Marian Abboud

ICE...COMMUNITY

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Our HistoryFor over thirty years ICE has worked with Western Sydney communities, artists and creative producers. Together, we have created exciting art, built community capacity and enhanced our region’s cultural vibrancy.

We began in the 1980s by supplying mobile information services to our local community. We shifted focus in 1993, initiating Community Arts and Cultural Development programs targeting culturally diverse communities and community access to information technology. In the late 1990s, responding to community demand for projects engaging with technology, our focus sharpened to include the nexus between arts, technology and cultural engagement, and we widened our community reach across Western Sydney.

Critical to our development and effectiveness has been the establishment of our purpose-fitted digital arts facility in Parramatta. Operating since 2010, this multi-purpose creative hub enables us to deliver digital media and professional development, production and training programs that incubate Western Sydney creative and cultural enterprises and deliver next level professional development pathways for emerging cultural entrepreneurs.

ICE has consistently created professional development pathways and employment opportunities for thousands of Western Sydney artists. In particular, ICE has built a diverse range of cross-sectoral linkages, producing projects with and for the Powerhouse Museum (MAAS), Stockland Property, Australian Immigrant and Refugee Women’s Alliance, Football United, Aurora Community Television, SBS TV, the Museum of Contemporary Art Australia (MCA), Campbelltown Arts Centre, Casula Powerhouse Arts Centre and the Auburn Community Development Network.

In 2010 ICE partnered with the British Council and UK urban theatre creator/MC Jonzi D to produce East London West Sydney for the 2011 Sydney Festival. In 2013, 2014 and 2015 ICE produced projects for a number of major Sydney-based arts festivals, including the Sydney Festival, Sydney Writers’ Festival and Sydney Architecture Festival. In 2015 ICE partnered with the Museum of Contemporary Art Australia to present the international Civic Actions Artists’ Practices Beyond the Museum conference.

ICE continues to work directly with communities and regionally based artists to generate cultural engagement and activity, and has been responsible for the production and presentation of hundreds of community-based projects. As well as working locally and regionally (across 14 local government areas), we have developed a host of national and international creative projects and partnerships, e.g. the Arab Film Festival Australia (AFFA). Launched in 2001, AFFA is now one of the largest events on the Arab-Australian cultural calendar and an important ongoing national screen culture event. Screening each year to over 4,000 people in Sydney, Canberra and Melbourne, AFFA is set to expand to Perth in 2016. Importantly, it has been the model for the establishment of similar community specific film festivals in Australia, Korea and the United States.

ICE is unique nationally and internationally in that we are able to offer a rich synergy of community engagement, cultural production, digital technology, training and artist development.

John Shand. Sydney Morning Herald, 13 January 2014

“They hand out gongs for much less than what ICE does … If community cohesion is the name of the game in Western Sydney – and only fools think otherwise – what could be more important …”

7Stephanie and Davin, Mum’s Creative Hub. Photo: Eddie Abd, 2015 - Kids, Mum’s Creative Hub. Photo: Marian Abboud, 2015

ICE...CREATIVITY

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Our PlanOur plan for 2016-2020 is to expand our engagement with Western Sydney’s most vulnerablecommunities by:• Deepening and enriching programs (and partnerships) that tackle community need and demand• Attacking disadvantage by utilising multimedia platforms that deliver digital literacy and equity• Widening the demographic, geographic and digital reach of our programs into new areas of need• Building resources that enables ICE to make/present art that drives social change and builds for the

future• Developing creative partnerships that drive increased creative outcomes

Our vision and plan is built around four pillars:

Intensive Engagement We will make more art via an increased range and number of outreach, online and studio-based projects that engage with key communities:

• Aboriginal kids and families• Asylum seekers• At-risk youth (particularly African, Arabic-speaking and Pacific Islander)• Emerging CALD artists and community engaged cultural producers • People with Disability• Refugee and recently arrived migrant families (particularly Iranian, Syrian, Iraqi, Afghani and Sri Lankan)

Accelerated Capacity BuildingWe will expand our training and skills/professional development programs. Our focus will include:

• Creative enterprise development• Project-based informal learning • Partnerships with accredited institutions to enhance existing course offerings• Industry-based mentorships• Referral and advocacy• School and community facility-based outreach

Staying Local – Going Global We will ensure our community and its creativity is increasingly seen and celebrated by combining innovative and dynamic digital marketing campaigns with local, national and international publicity, as well as through digital interaction with our participants, audiences and partners. We will do this by:

• Producing and distributing compelling screen content for specific platforms (TV, cinema, computers, tablets, iPhones)

• Presenting performances/events in partnership with major arts/cultural festivals• Integrating compelling social media content into all marketing campaigns• Utilising mobile and online technologies to ensure local and global reach

Stocking the Larder We will build towards long-term sustainability by developing partnerships and resource development initiatives, specifically:

• Developing strategies to diversify funding and increase revenue stream from the non-public sector• Developing strategic alliances with new businesses and corporates to identify areas of income generation

and partnership (e.g. cash and bartered sponsorship, philanthropic partnerships, product sales, online giving)

• Leveraging existing infrastructure to generate increased income from venue and equipment hire• Maximizing income from commercial revenue sources (e.g. event box office, memberships and donations,

consulting, curating and project commissions)

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Engagement We will expand the reach, focus and output of our programs, i.e.

• Community Development • Youth Engagement• Emerging Artist and Cultural Producer Development• Disability

PartnershipsWe will expand our creative, educative and operational partnerships, including:

• Community organisations• Community social service providers • Government (local, state and federal)• Regional arts organisations• CBD arts institutions • Broadcast media/organisations • Tertiary and secondary educational sector• Screen industry• Major Arts/cultural festivals

Resources We will strive for increased sustainability via:

• Increased/diversified income streams• Increased commercial partnerships and creative commissions• Increased income from philanthropy and fundraising programs

CommunicationWe will maximise digital communication to:

• Develop new audiences • Expand ICE profile • Create communication partnerships• Drive income generation

How We Will Do This

I think it (Kasey is Missing) is amazing. This is about the kids...we let them have the power to tell

their own story, to write their story, make their film. It’s about letting them know that they have

control of certain aspects of their lives.Aunty Mary Ridgeway, Community Elder and ‘Kasey is

Missing’ (web mini-series) Co-producerABC Radio 702, November 6, 2015

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Where We Are Now

StaffICE employs 13 staff (7 full-time and 6 part-time positions – plus contracted artists/facilitators/cultural workers) who come from a range of cultural backgrounds, including Arabic-speaking, Aboriginal, Pacific Islander, South Asian and Vietnamese. Their expertise includes:

• Community Cultural Development• Youth/urban culture• Digital/screen culture• Music (production and presentation)• Literature/publishing• Artist training and development• Community based events

Community Engagement ICE is creatively engaged with communities across Western Sydney (primarily Auburn, Blacktown, Fairfield, Granville, Guildford, Mt Druitt, Parramatta, Penrith and Villawood). These connections have been long-term, hard-won, respectfully nurtured and based on trust. Importantly, we are repeatedly invited to keep coming back.

Artistic ReputationWorking successfully within and between two mutually inclusive artistic practices—meaningful Community Art and Cultural Development (CACD) and socially-engaged contemporary practice—we believe ICE has built a strong and distinctive local, national and international reputation for artistic excellence and innovation.

Our Primary Markets• Community-based project participants• Training program participants (including schools-based

projects)• Emerging artists • Film festival and cultural event audiences • Screen/digital/social media audiences• Venue and equipment hirers• Community organisations and service providers

Financial Position ICE receives most of its funding from the public sector. In 2014, ICE turnover was $1.56 million i.e. 75% public sector funding ($1,166,428), 11% private sector donations/grants ($178,641) and 14% self-generated revenue ($218,683). Turnover for 2015 is predicted to be $1.45 million i.e. 72% public sector funding ($1,044,530), 15% private sector donations/grants ($216,429) and 13% self-generated revenue ($194,087). There is currently (as of 30 Sep 2015) $649,000 in employee and building provisions and a reserve of $60,700.

Funding and RevenueICE currently receives core support/multi-year funding from:

• Arts NSW • NSW Department of Family and Community Services• NSW Department of Education and Communities• Multicultural NSW• Scanlon Foundation• Screen NSW• Vincent Fairfax Family Foundation (VFFF)• Crown Resorts Foundation and Packer Family Foundation

We also receive project funding from:• Screen NSW• Commonwealth Department of Foreign Affairs and Trade• Local government (Auburn, Parramatta, Fairfield and

Penrith City Councils)• ClubGrants NSW (Parramatta, Auburn)• Corporate sponsors and philanthropic foundations

Each year we raise additional revenue from:• Box office/event income (e.g. Arab Film Festival Australia)• Project commissions (e.g. Sydney Festival)• Facility, equipment and venue hire • Commercial enterprise hire (e.g. hot-desking)• Consultancies and training initiatives• Philanthropic trusts and foundations • Project partners/sponsors (e.g. Etihad Airways, Abu

Dhabi Tourism and Culture Authority)• Fundraising/resource development activities

INTERNAL SITUATION ANALYSISOver the last three years ICE has been re-built from the ground up: program, staff, operations and finance, governance and policy. This has been challenging. As a result we are better connected and more focused (with increased efficiency and productivity). ICE is now better prepared to address the challenges facing our work, our communities and the small-to-medium arts sector. We are well prepared to expand into the future.

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InfrastructureICE operates from a purpose-fitted facility providing:

• Office, performance, workshop and exhibition space• Video and audio production, graphic design and digital

media studios• A video editing suite with industry standard software/

equipment• Facility/equipment for screen projection and digital

display• Long-term and short-term facility hires• Subsidised access for community based artists/groups

with limited capacity to pay

TechnologyICE currently offers community access to the following technologies:

• Video cameras and digital photography equipment (entry level to advanced)

• PA equipment suitable for use by people with minimal training

• Projection equipment for computers and AV equipment for screening and presentations

• Professional quality recording devices for audio and video applications

• MacBooks and iPads equipped with video, audio and graphic software

Benchmark Organisations/ProjectsICE looks to a range of organisations and projects for inspiration, including:

• Creative Time, New York• Edgeware Road Project, Serpentine Galleries, London • Feral Arts, Brisbane• Flying Fruit Fly Circus, Albury/Wodonga • Footscray Community Arts Centre, Melbourne• Peckham Platform, London• Situations, Bristol (UK)• Soul City Arts, Birmingham (UK)• Urban Theatre Projects, Bankstown

(ICE’S) Disco Dome: To have history and the hysterical – in this case both trippy film and performance art on the up and down escalator – in the one package is reward enough but then to top it with percussion-enhanced gym workout to disco favourites is

possibly the best Friday night out ever.Bernard Zuel, ‘Critic’s Pick of the 2015 Sydney Festival’

Sydney Morning Herald, January 26, 2015

I have been to screenings all over the world and I follow the peoples’ reactions and tonight was one of the best...

Amin Dora, Film Director, Ghadi (Lebanon)Arab Film Festival Australia 2015, Opening Night, Parramatta

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EXTERNAL SITUATION ANALYSISThe external situation for ICE is both challenging and promising.

FundingThe reduction of funding to the Australia Council and the newly created Catalyst - Australian Arts and Culture Fund has tested ICE’s ability to plan. Best/worst case scenarios have been prepared. ICE has secured ongoing multi-year funding from Arts NSW, Screen NSW and from a range of philanthropic foundations.

Rising Youth Unemployment in Western SydneyThe national youth unemployment rate is currently 13.9% (Western Sydney @ 17%). However, both these national and Western Sydney rates are well below that of the suburbs where ICE primarily works, e.g. Auburn, Granville, Guildford and Mt Druitt @ 25%+ and Parramatta expected to rise to 24% in 2016. (Source: ABS and Brotherhood of St Laurence statistics). ICE has established a range of project specific/employment focused partnerships in order to expand work in this area.

Youth Disengagement There are increasing levels of youth disengagement in a range of our participant communities, especially:

• Arabic-speaking youth in Auburn, Granville, Parramatta, Holroyd, Fairfield and Bankstown• Muslim youth across Western Sydney• Aboriginal youth in Penrith, Blacktown and Mt Druitt• Pacific Islander youth in Penrith, Blacktown and Mt Druitt

Supported by philanthropic funding, ICE has established a range of project specific/employment focused partnerships in order to expand work in this area. Also concerning are low levels of literacy, numeracy and school retention in the schools where ICE works e.g.

• Auburn Girls High (97% Arabic speaking. 2014 HSC performance ranked 428 out of 585 schools)• Granville Boys High (93% Arabic speaking. 74% Year 9 students in bottom quarter on all 2014 NAPLAN

measures). NB: HSC retentions in both are 12.5% lower than the NSW state average

Community DemonisationCommunity confidence and cohesion is being challenged by the continued demonisation of a range of communities (e.g. Arabic-speaking, refugee and newly arrived migrant, Aboriginal, Pacific Islander and Muslim). The media exacerbate the situation by declaring communities ‘bomb throwers’, ‘radicalised’, bludgers’, ‘bogans’ and ‘un-Australian’.

Increased Refugee/Migrant Intake in Western SydneyIn 2015 the Federal Government announced Australia’s humanitarian intake would increase to 18,750 (2018/19). Plus Australia would accept a one-off increase of 12,000 Syrian refugees. It is expected that up to 40% of these people will settle in Western Sydney in the suburbs where ICE works (e.g. Auburn, Granville and Fairfield). ICE continues to expand project specific partnerships and operations/programs in this area.

Increased Disability Sector Needs in Western SydneyThe majority of people living with Disability in Sydney live in Western Sydney. As sector demand increases ICE remains the only organisation in the region offering accessible digital infrastructure, tailored digital media training and cross-artform creative development programs. (ABS reference)

TechnologyICE systems face redundancy due to rapid changes in technology. ICE has completed a capital replacement resource plan to update current technologies but will require increased capital resources to undertake the plan.

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Strengths • Experience and reputation• Connection to communities, partners, festivals• Staff expertise • Western Sydney location

Opportunities• Increasing community need and demand for cultural

services• Online platforms to increase community/audience

engagement• New digital technology increasing community participation

and cultural production• Increased demand from Governments for NGOs to deliver

culturally focused community services

Weaknesses • Overdependence on public sector Arts funding• Big ambitions, limited resources• Limited marketing capacity• Limited resources to employ specialist staff

Threats • Decreased public sector social engagement funding• Pace and cost of technological change and obsolescence • Rising infrastructure costs• Uncertainty of Federal Government arts funding

SWOT

124Projects

training projects 63 22,058

Community members and artists used our facility

10% increase in Philanthropic income

people enjoyed our live events 19,780

106% increase in Print, Online, TV & Radio media coverage

89% increase in

Box Office income ($23,073 - $43,660)288artists/

facilitators employed

1,975 project

participants

SNAPSHOTOver the lasts three years ICE has delivered

NB: * ICE measures the values, impact and audience reach of all media results

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Where We Want To Be

Community EngagementBy 2020 ICE will have:

• Tripled our engagement with Aboriginal communities (i.e. from one major project per annum to three)• Increased our asylum seeker, refugee and migrant programs from part-time to full-time • Increased the number of project participants by 46%• Increased the number of projects produced by 46%

Community CapacityBy 2020 ICE will have achieved:

• 45% increase in community participants engaged in CACD training programs• 45% increase in artists/cultural producers engaged in ICE training programs

ResourcesBy 2020 ICE will have:

• Decreased reliance on public sector arts funding from 75% to 70% of annual turnover • Achieved a liquidity ratio of 2:1 and reserves of 10% of annual turnover • Achieved an efficiency gain of 5% on operational costs • Upgraded all digital infrastructure

StaffBy 2020 ICE will have employed:

• A Fundraising Officer (P/T) to be appointed early 2016 (NB: Co-funded with Thyne Reid Foundation)• An Aboriginal Cultural Producer (F/T) to be appointed 1/01/2017 (NB: 2016 training funded by Arts NSW)• A Producer, Artist Training and Development (F/T) to be appointed 1/01/2017• A full-time Producer-Mum’s Creative Hub as of 1/01/2017 (NB: currently P/T funded by Scanlon Foundation)• A full-time Digital Marketing & Communications Officer as of 1/01/2017 (NB: currently P/T)• A full-time Screen Producer as of 1/01/2017 (NB: currently P/T)

GLOBAL… CHAMPIONS WITH OUR PEOPLEOver the next five years ICE will have:

• Deepened our engagement with Western Sydney communities, artists and cultural producers• Delivered expanded cultural and training programs• Expanded our local, national and international presentation platforms for Western Sydney communities, artists and CACD

practice• Secured a more sustainable organisation

Specifically…

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GOAL KPI CURRENT 2016 2017 2018 2019 2020

IncreasedCommunityEngagement

# Participants per year 721 757 908 953 1,001 1,051# Participants with disability 47 51 57 62 65 76

Expanded Programs # Projects per year 39 41 49 51 54 57

StrengthenedCommunityCapacity

# Community participants in CACD training per year

207 217 260 273 287 301

# Artists/cultural producers employed 105 110 132 139 146 153

NewAudiences

# New local audiences to ICE events 1,743 1,830 2,196 2,306 2,421 2,542

# New national audiences for AFFA 565 1,083* 1,191 1,310 1,441 1,585

# New Facebook Friends 513 673 926 1071 1274 1401

ExpandedPartnerships

# Corporate partners 6 7 10 11 12 13# Community partners 89 93 112 118 124 130# Education partners 11 13 17 18 19 20

IncreasedSustainability

$ Philanthropic income 203,929 205,200 229,620 234,620 240,486 246,498$ Venue/IT hire income 74,800 82,280 90,508 99,559 109,515 120,466

$ AFFA Box Office income 35,350 37,118** 38,973** 40,922** 42,968** 46,250**

$ Energy costs*** 10,000 10,250 10,506 10,770 11,850 12,150

OUR GOALS

* AFFA commences Perth. ** Does not include AFFA Perth fee. *** Maintain at < 10% of operational costs. 2.5% increase for CPI. 1% efficiency gain p.a.

16Auburn Girls with Marina Abramović, Links 2 Learning, Kaldor Art Projects, 2015. Photo: Marian Abboud

ICE...CONNECTION

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Our Art ARTISTIC VISION

Create community driven art of excellence and resonance.

AIMS AND OBJECTIVES Facilitate Access, Equity and Engagement

• Encourage collaborations, building creative bridges with and between communities and artists • Provide access to digital media/creative technologies for communities and artists• Present quality artistic projects that respond to (and anticipate) community need

Deliver Development and Production• Create cultural programs that encourage and empower self-determined narratives• Produce works that feature unique voices and perspectives• Connect audiences and communities

Ensure Opportunity and Illumination• Develop strategic connections between communities, artists and cultural institutions• Deliver training/professional development opportunities and showcase events• Facilitate private and public sector partnerships • Build capacity for sustainable community engagement and creative leadership• Produce project showcase events and collateral e.g. film festivals, TV and film, performances and recordings

MEASURING IMPACT ICE measures impact via quarterly evaluation reports, which include:

• Community and participant analysis and feedback• Internal evaluation and KPIs• Critical and stakeholder response• Media engagement and analytics• Bi-monthly board reports

Some of the artists and cultural producers ICE has developed over recent years include: • Saber Baluch ( Journalist/Producer – SBS)• Ali Kadhim (Movement Artist, Filmmaker, Choreographer and Performer)• Jerry Kahale (Musician, Performer, Composer, Cultural Facilitator)• Zehrish Naera (Musician, Hip Hop Artist, DJ, Cultural Facilitator)• Jerome Pearce (Digital Producer and Artist)• Vanna Seang (Cinematographer, Cultural Producer)• Maria Tran (Filmmaker, Cultural Producer, Martial Artist, Actor) • MC Trey (ARIA nominated Hip Hop Artist, Cultural Worker) • Andy Minh Trieu (TV Host – Asia Pop SBS TV)

OUR PROCESSResponding to changing audiences and community demands (including people not currently engaged) ICE ‘has its ear to the ground’, e.g. our project producers and facilitators are consistently made aware of emerging needs and community demands and program accordingly. Similarly, ICE keeps abreast of cultural and public policy trends in order to map ‘the lay of the land’ and anticipate and prepare for the future. Our work is embedded in and determined by community, and flows from our commitment to: Access, Collaboration, Connection, Equity, Ethics, Respect and Trust.

• Aboriginal • African• Arabic-speaking

• Asylum seekers and refugees • Central and South Asian• Muslim communities

• Newly arrived migrants• Pacific Islander• People with Disability

PRIORITY COMMUNITIES

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This is great because not all kids love the classroom and this is an important way

for them to learn about cameras and stuff like that, but most importantly they are

learning about their culture.Aunty Mary Ridgeway

Kasey is Missing Co-ProducerCommunity worker, Nepean Community

Neighbourhood Services

To have that bestowed upon you made me want to do the best I could for the

film guys because they took so much time and put so much effort into us that I just

wanted to do the same for them.William ParateneProject Participant

1. COMMUNITY DEVELOPMENT ICE develops and delivers a range of community-determined creative projects that target disadvantaged, disengaged and vulnerable communities across Western Sydney. The purpose of this work is to build social cohesion, community confidence, and facilitate cultural expression and opportunity. The program works with a number of priority communities, particularly Aboriginal families, asylum seekers and refugees, Culturally and Linguistically Diverse (CALD) and migrants.

Case Study: Kasey is Missing Kasey is Missing is a long-term screen arts engagement program for film and television industries with Aboriginal children and families living in Penrith. A narrative-based web series, Kasey is Missing was devised, produced and recorded by Aboriginal young people and community members collaborating with screen arts industry professionals including Fadia Abboud, Colin Kinchela, Nico Lathouris, Mary Munro, Sam Phibbs, Nadia Townsend and Piotr Wasilewski.

Case Study: Resident Voices In 2014 and 2015 ICE ran participatory film and photography programs for residents of the Urana Street Villawood East Social Housing Estate (most of whom were CALD and/or living with Disability). The project saw residents working with Western Sydney based screen artists (including cinematographer/director Vanna Seang and dramaturge Nico Lathouris) in storytelling, script development, performance workshops, photography and film production.

Leonie & Debbie with Sam Phibbs and Piotr Wasilewski, Kasey is Missing, Penrith. Photo: Julia Mendel, 2015

William Paratene, Jimmy X and Darren McEvoy, Resident Voices, Villawood. Photo: Vanna Seang, 2014

Our Programs

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The music scene in Mt.Druitt has been thriving with young talent for many

years, I believe the ‘Heat from the Street’ program provides the perfect platform

for those artists to express themselves and take their careers to the next level.

Zehrish NaeraProject Facilitator/MT Druitt musician

ICE is an amazing place, full of passionate, beautiful and amazing people

that believe in the power of youth, art and hope to make the community a better

place. There should be an ICE in every community!

Brittany Searle, 2013 ParraNormal participant/Parramatta resident

2. YOUTH ENGAGEMENT ICE produces and presents projects that engage with young people across Western Sydney (particularly those at-risk, disadvantaged, disengaged, unemployed and vulnerable). The program uses a multiplicity of engagement platforms, artistic practices and presentation methodologies, including digital and screen-based art, music, digital-based literacy and numeracy learning, employment and skills development programs.

Case Study: Heat from the StreetHeat from the Street was a collaboration between young Mt Druitt filmmakers and musicians to create and produce music/music videos with experienced producers and video-makers including Del Ray Fruen, Vanna Seang and Zehrish Naera. For two years this engagement program worked primarily with Pacific Islander youth, and has resulted in the production of new music recordings and music video works. Importantly, it also resulted in noticeable increases in paid work (and commission fees) for five out of the twenty core participants.

Case Study: ParraNormal ParraNormal was a youth engagement and training initiative that involved 15 young emerging Parramatta writers, artists and musicians in the creation of a six-part online digital graphic novel (with soundtrack and spoken word poetry). ParraNormal was presented online and performed live. In 2014 the project received the Asia Pacific Award from the J.P Morgan Foundation’s International Best Practice in Youth Engagement Program.

Soul Benefits - Aakell Naera, Storme Edwards and Zehrish Naera, Heat From The Street, Mt Druitt. Photo: Del Ray Fruen, 2015

St Patrick’s Cathedral On Fire. Harrison Earl, 2013

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Working with ICE to engage with a group of talented, motivated young

designers was one of the most rewarding experiences we’ve had working in design. Being able to share skills and nurture the

next generation is a great honor.Sonny Day

We Buy Your KidsBranded! Project mentor, 2014

Working with ICE was a very good opportunity for me as it allowed me

to make my first documentary in Australia… Also, because of ICE, I now have Tom Zubrycki as Producer for my

next documentary. Ali Mousawi

ParraDocs project participant

3. EMERGING ARTIST & CULTURAL PRODUCER DEVELOPMENT

ICE develops and delivers creative and professional development activities and projects that engage and train emerging artists and community engaged cultural practitioners from Western Sydney. Working within culturally sensitive frameworks and delivery models, the program responds directly to community and sector needs.

Case Study: Branded!In 2014, 16 young unemployed graphic designers from Western Sydney worked with four cutting-edge Sydney graphic designers (Boccalatte, Garbett, Kindred and We Buy Your Kids) and four local retailers (Afran Lebanese Bakery, Anawin OP Shop, Auto Shack and Granville Fruit Market) to ‘re-brand’ Good Street in Granville. A skills development, mentoring and employment program, Branded! saw the young designers create fresh, bespoke brand designs for participating businesses. The project was featured on the ABC TV The Mix, and was awarded the 2015 (Silver) Sydney Design Award. Four of the participants gained employment from the project.

Case Study: Ali Mousawi Ali Mousawi is a recently arrived refugee from Iran (where he was an accomplished/award winning photojournalist). Since coming to ICE Ali has participated in a number of training/professional development programs to assist in his ambition to become a documentary filmmaker. A participant in our ParraDocs documentary project, Ali was resourced and mentored to create Man in the Mirror, a short-documentary about Abbas Sharhani, a fellow Iranian/Ahwaz refugee and local Michael Jackson impersonator. Completed in 2015, Man in the Mirror premiered at and was screened nationally by the Arab Film Festival Australia, and was featured on the SBS TV program The Feed. As a result Ali Mousawi is now being mentored by acclaimed Australian documentary filmmaker Tom Zubrycki.

Branded! flyer. Luke Beeton, 2014 Abbas Sharhani as MJ, Man in the Mirror filming at ICE Photo: Ali Mousawi, 2015

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I don’t think I’ve had a real mentor… I’m glad these kids see me as one because I’ve

always wished I had one…Listic (aka Lima Peni)

My Life/My Art participant/ICE facilitator/Campbelltown resident

The Club Weld music project has proven to be both innovative and enterprising in

its approach to breaking down barriers for people with Autism to participate in music at all levels. It’s been a truly

transformational project... David Cretney

Community Projects Officer, ASPECT, 2015

4. DISABILITYICE facilitates and produces creative development and training programs for People With Disability (PWD) that place experimentation, technology and innovation at their core. Working with artists, stakeholders and service providers the program responds directly to enunciated need and aspiration.

Case Study: My Life/My Art My Life/My Art was an integrated training/screen-content development project that teamed five Western Sydney artists with Disability with four emerging Western Sydney filmmakers (Tresa Ponor, Ludwig El Haddad, Jerome Pearce and Vanna Seang) to create a suite of broadcast ready short-documentaries. Together they explored personal stories of artists creating with/despite Disability, e.g. Lima Peni (a.k.a. Listic) a Samoan born, Campbelltown based musician, MC and freestyler who was teamed with Vanna Seang. The project was funded by Screen NSW, NSW Department of Family and Community Services and Arts NSW.

Case Study: Club Weld / MAXIMUM HEADROOM Since 2014 ICE has worked with Autism Spectrum Australia (ASPECT) to present Club Weld, a weekly program for musical collaboration and creative expression bringing emerging musicians with Autism together with non-disabled musicians to work in the areas of digital and live music production and recording. In 2015 ICE collaborated with Club Weld to produce MAXIMUM HEADROOM, a music production/recording and video making project engaging mostly non-verbal participants. Working with music producers (and video artists) the participants created an experimental music EP featuring them singing.

Listic (AKA Lima Peni), Listic and Rachel. My Life/My Art still, 2015. Image: Vanna Seang

Anthony B, MAXIMUM HEADROOM ParticipantPhoto: David Cretney, 2015

31Anthony B, Club Weld. Photo: David Cretney, 2015

Where We Are Now - Current Financial Position2014 ICE turnover was $1.56 million i.e.

• $1,166,428 from public sector funding (75% of income)• $178,641 private sector donations/grants (11% of income)• $218,683 self-generated revenue (14% of income)

2015 is projected to be $1.45 million i.e. • $1,044,530 from public sector funding (72% of income)• $216,429 private sector donations/grants (15% of income)• $194,087 self-generated revenue (13% of income)

NB: There is currently (as of 30 Sep 2015) $649,000 in employee and building provisions and a reserve of $60,700.

ICE turnover in 2016 is estimated to be $1.52 million i.e. • $1,146,330 from public sector funding (75% of income)• $180,200 private sector donations/grants (12% of income)• $193,480 self-generated revenue (13% of income)

ICE’s funding primarily comes from the public sector (the largest core contributors being the NSW and Commonwealth Governments). We received triennium funding from Arts NSW in 2012 and multi-year funding from the NSW Department of Community Services – Human Services for Programs in 2011. ICE also secured $364,000 in 2012 via the Australia Council’s Creative Communities Partnership Initiative for a 3-year hub artist residency program.

In 2014, ICE secured two year funding from Vincent Fairfax Family Foundation and Crown Resorts / Packer Family Foundation. ICE was able to increase its private sector donations/grants from 5% in 2013 to 15% in 2015. In 2015, ICE secured triennium organisational funding from Arts NSW (2016-18) and multi-year program funding from Multicultural NSW (2016-18).

ICE also generates income from a range of funding and self-generated revenue streams e.g. project management fees, professional development funding, training initiatives and technical and venue hire, as well as a small number of donations from individuals, philanthropic trusts and foundations.

In addition to cash funding ICE also receives significant in-kind support in terms of rental subsidy (currently estimated at $2.4 million over the term of a ten year facility lease) as well as venue and administration support and marketing and promotion from project partners, which represents around 20% (approximately an additional $85,000 per annum) of our program and production costs.

Where Do We Want To Be?ICE will incrementally grow annual turnover over the life of the Strategic Plan with income increasing from $1.52 million in 2016 to approx. $2 million in 2020 (growth at 8% p.a.). ICE will extend partnerships while increasing non-government forms of revenue. Annual efficiency audits will identify savings on running costs, and ICE will aim to increase reserves to 10% of annual turnover by 202

Our Financial Plan

Our Financial Priorities

• Funding DiversityIn 2015, 72% of ICE funding was from the public sector. ICE is committed to diversifying our income streams to reduce dependence on public sector funding. Our aim is to increase income from non-government funding streams so that public sector funding is limited to 70% by 2020.

• Increase Revenue StreamsICE anticipates additional income from increased venue/facility/equipment hire and increased project management fees for our creative enterprise programs. Importantly, the introduction of fee-for-service training programs and a targeted marketing approach will assist in achieving an anticipated 60% increase in overall revenue by 2020.

• Develop Philanthropy and Fundraising Income StreamsThe implementation of a fundraising and resource development strategy will see an anticipated 3% p.a. increase in funding received from philanthropic foundations and private donations by 2020.

• Build ReservesICE aims to build its reserve to 10% of its annual turnover by 2020. In addition to the increased revenue streams identified above, ICE will achieve this by introducing operational audits to ensure efficiency gains.

• Business RisksPublic sector funding remains a core source of ICE’s income (75% in 2014). This possesses a huge financial risk for ICE in terms of sustainability. ICE is committed to securing alternative sources of funding from the philanthropic sector and from our commercial revenue (i.e. venue/technical hire and box office collection). Other traditional business risks are legal, operational and professional for which ICE will ensure that adequate insurance covers are in place.

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APPENDICES

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Western Sydney is Australia’s fastest growing region, and is now the nation’s fourth largest economy. Despite growing economic investment and community affluence there remain pockets of severe economic disadvantage, voids in infrastructure and major barriers to social and cultural participation and community engagement.

We work across a range of Western Sydney local government areas (Auburn, Blacktown, Bankstown, Fairfield, Holroyd, Liverpool, Parramatta and Penrith). Communities engaged include Aboriginal, African (Sudanese, Sierra Leonean, Eritrean), Middle Eastern (Lebanese, Iraqi, Persian, Assyrian), North Asian (Chinese, Korean), South Asian (Indian, Pakistani, Sri Lankan, Nepali), South-East Asian (Vietnamese, Laotian, Cambodian), Pacific Islander (Fijian, Samoan, Tongan) and Maori.

Western Sydney remains the destination of choice for migrants and refugees arriving in Australia, e.g. in 2006 the Fairfield LGA was home for 22% of all humanitarian program arrivals to Australia. In Parramatta, Auburn and Blacktown 28%, 27% and 25% of residents respectively have arrived since 2006, compared to 4.3% for Greater Sydney. NB: It is anticipated that the region will become home to increased levels of refugee placement flowing from increased refugee intake levels (particularly from Lebanon, Syria and Turkey).

On average, over half of Western Sydney residents were born overseas (twice the average for NSW). The proportion of residents whose parents were both born overseas is also markedly higher in Western Sydney than NSW (e.g. Auburn and Liverpool at 82% and Parramatta 68%). This settlement trend is forecast to accelerate, with estimates for population growth in areas like Parramatta and Liverpool reaching 201,000 (+70%) and 325,000 (+75%) respectively by 2036. The region’s cultural richness is reflected in the diversity of languages spoken. The percentage of Western Sydney residents who speak another language is significantly higher than the 5.8% Greater Sydney average (e.g. Cabramatta at 38% and Fairfield at 20%).

Specifically…

Aboriginal Western Sydney is home to the largest urban Aboriginal population in Australia. According to the 2011 Census, 21,181 people living in Western Sydney identified as ATSI. ICE works with members of Aboriginal kinship groups and communities residing in the Blacktown (Mt Druitt), Penrith, Parramatta and Holroyd local government areas (i.e. the Darug, Wiradjuri, Kamilaroi and Dungudee peoples). Issues facing these communities include high unemployment, low literacy and numeracy, limited access to cultural, technological and artistic resources.

ICE has been working with Aboriginal communities for over twenty years. This work has been based on respectful partnerships and collaboration in response to community enunciated need. For example, ICE has undertaken an intensive five-year engagement with Aboriginal children and families in the Cranebrook neighbourhood of Penrith.

Arabic-speaking According to the 2011 Census, an estimated 176,849 people of Arabic-speaking heritage live in Sydney, with the vast majority living in the Western Sydney LGAs of Parramatta, Fairfield, Bankstown and Canterbury. Arabic remains the second most-spoken language in NSW after English (e.g. 44% of Old Guildford, 36% of South Granville and 29% of Greenacre residents come from Arabic-speaking backgrounds).

ICE works closely with Arabic-speaking communities to nurture and amplify the Arab voice, e.g. Links 2 Learning (for Arabic speaking youth) and the annual Arab Film Festival Australia. Western Sydney’s Arabic-speaking communities, particularly young people, are heavily impacted by cultural dislocation and disengagement, disenfranchisement and stigmatisation. Young Muslim members of the Arabic-speaking community in particular face increasing scrutiny and hostility from a broad section of the Australian community. Asylum Seeker and Refugee From 2008-2013, NSW took 32% of Australia’s total humanitarian entrant intake, with 78% of asylum seeker and refugee arrivals to NSW settling in Western Sydney (18,858 from a total intake of 24,069). In this period, 27% of Western Sydney humanitarian entrants settled in Fairfield, 16% in Liverpool, 11% in Blacktown, 10% in Auburn, 7% in Parramatta and 5% in Holroyd. The dominant source regions of asylum seekers and refugees in 2008-2013 have been: the Middle East and West Asia (Iraq, Iran, Afghanistan), East Asia (China), South Asia (Sri Lanka, Pakistan, Burma, Bhutan, Nepal) and Africa (Democratic Republic of Congo, Sierra Leone, Sudan).

Since 2014, ICE has supported around 40 asylum seeker/refugee families to build wellbeing, skills and pathways to community and workforce participation via our three-day-week Mum’s Creative Hub program. Factors impacting these families include first-hand experience of conflict and persecution, the trauma of harrowing passages to this country, social isolation, mental health issues and low levels of English literacy.

Afghan and Iranian Approximately 12,000 Afghan-born people live in Western Sydney. Ethnically diverse (Hazaras, Tajiks, Pashtuns, Uzbeks), this community cohort is negatively impacted by poor literacy, mental and physical health problems and unemployment (e.g. 54% of Afghans aged 15+ are unemployed). ICE is currently partnering with Granville TAFE to train young Afghan men and women from Hazara backgrounds in how to design, develop and deliver capacity building projects in their community. An estimated 6,300 Iranian-born people reside in Western Sydney. This community is religiously diverse (Muslim, Baha’i, Christian and Jewish), and has been polarised by conflicting political allegiances. ICE engages young Iranian men and women in our weekly Street2Studio music production and mentorship program.

Our Communities

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African From 2001-2011, approximately 19,000 people from Sub-Saharan Africa (e.g. Sudan, Ethiopia, Congo, Somalia, Sierra Leone, Burundi, Ghana) settled in NSW. The vast majority of these people settled in Western Sydney, e.g. between 2003 and 2008 half of Blacktown’s ‘emerging community’ settlers were Sudanese. This influx is the result of Australia’s humanitarian settlement program having a particular focus on Sudan and Sub-Saharan Africa in the 2000s due to the conflict in Darfur (e.g. 47% of refugee entrants to Australia in 2003-2004 came from Sudan and Sub-Saharan Africa, and almost 95% in 2004-2005). According to the 2011 Census, 3,272 people of African ancestry lived in the Blacktown LGA and 924 lived in the Parramatta LGA.

ICE has a long history of engagement with Western Sydney’s African communities (e.g. the African Parenting Stories radio play project in 2011), and has more recently engaged young African men and women through our projects I Have a Dream! – Fairfield and Street2Studio. Significant numbers of these young people are struggling with cultural dislocation, racism, inter-generational conflict, early school leaving, youth unemployment and at-risk behaviour.

Pacific Islander Approximately 60,000 people of Pacific Islander background live in Western Sydney. From Samoa, Fiji, Tonga and the Cook Islands, these communities are primarily based in Blacktown, Campbelltown, Liverpool, Fairfield and Penrith. Pacific Islander communities enjoy high rates of workforce participation and employment. However, they also face a range of issues relating to English proficiency, lack of traditional support mechanisms, racism, conflicting needs for cultural preservation and cultural adaptation, financial insecurity, and intergenerational tension.

ICE engages large numbers of young Pacific Islander men and women through our music and music video production programs (e.g. Street2Studio, Heat from the Street). A major issue currently impacting these young people is the growing over-representation of Pacific Islander young men in the juvenile justice system (Pacific Islanders constitute 7% of juvenile offenders and are the highest represented ethnic group in the list of violent offenders on remand).

South AsianAccording to the 2011 Census, just under 47,000 people from South Asian backgrounds live in Western Sydney, including 64% of Sydney’s Tamil-speaking population and 72% of Sydney’s Hindi speakers. From 2001-2011, South Asian settlement in Western Sydney grew exponentially, with Indian migration tripling and Sri Lankan settlement growing by one-third. Parramatta City and bordering suburbs form the epicentre of Sydney’s South Asian community. In 2011, 43% of Harris Park residents, 32% of Holroyd residents and 24% of Parramatta residents were Indian-born, and 9.4% of Pendle Hill residents and 8.5% of Homebush residents were Sri Lankan-born.

Western Sydney Artists and Cultural ProducersAccording to the 2011 Census, 87,292 Western Sydney residents were working in a cultural/creative industry or occupation. Western Sydney is also home to a growing population of community-based CACD workers, CALD artists and emergent contemporary artists. Over the last two decades the government sector has invested heavily in cultural infrastructure development. However, investment in tertiary Arts training has diminished.Since 2012 ICE has employed 431 Western Sydney artists/cultural workers (including 78 in 2015).

YouthIn 2011 there were 312,296 young people (aged 12-25yrs) living in Western Sydney. Western Sydney is home to the majority of the state’s young people (25%), and more young people live in the Blacktown and Penrith LGAs combined than in the ACT. Youth population figures include: 29,335 in Parramatta, 14,545 in Auburn, 56,330 in Blacktown, 34,102 in Liverpool, 38,176 in Fairfield and 37,715 in Penrith.

ICE continues to develop and deliver projects that address identified issues of concern, including: disengagement, isolation, poor digital literacy, declining school retention rates, the lack of quality education and employment opportunities (particularly for emerging/community based and digital artists), media stigma and cultural ‘brain drain’.

Western Sydney ArtsThe 2011 Census identified that 87,292 people living in Western Sydney worked in a cultural or creative industry or occupation. The region is home to a diverse range of self-initiated youth movements, grass roots community cultural groups and arts and crafts associations and societies. Most are self-managed, unfunded and dependent on generating income through workshops, artwork sales, events, family or their social security income. A small number receive occasional small grants or commissions, often one-off and not consistent. Others receive the occasional support of local government community grants or culturally relevant private sponsorship to survive.

Over the last two decades the government sector has laudably invested in infrastructure development. However, this has not been matched by investment in programming and training. Employment opportunities and career pathways for artists working and living in Western Sydney remain limited. Importantly, there are a number of training gaps that must be met to ensure community-based artist/cultural capacity building continues, including:

• Entry level grant writing, Curriculum Vitae and project development workshops

• Entry level administration, e.g. contracts, copyright, budget workshops

• Entry level creative enterprise set up and management• Community artist/facilitator training

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2016-2020 ICE communication and marketing will respond to the challenge of increasing digital marketing and social media communication platforms/delivery, whilst at the same time servicing traditional marketing methodologies. Proactive marketing will be key to ICE meeting its income targets and sustainability ambitions. ICE growth will be dependent on increased community engagement, audience relevance and operational sustainability.

We will continue to implement a whole of organisation marketing plan with the intention of improving marketing reach, efficacy and efficiency. Importantly, priority will be given to digital marketing and communications activities, driving audience development and income generation. This will be supported via limited paid advertising through social media including Facebook and Twitter, to be integrated into program specific marketing campaigns. Similarly, focus will be given to the reduction and reliance on paid advertising through traditional marketing channels, with cost efficiencies and related saving being redirected back into cultural program development.

Incorporated into this redirection of resources will be the production of a variety of project specific digital marketing collateral including video, gifs and photos. This content will be tailored specifically for ICE’s website and eNewsletter as well as ICE’s various social media platforms including Facebook, Twitter, Instagram, Youtube, Soundcloud and the ICE Blog, which is administered through the Tumblr blogging platform. Distributed digitally, this content can then be promoted through social media advertising, cross-promotional partnerships as well as through strong relationships with media outlets.

Current Situation AnalysisPrimary Markets

• Past project participants• Emerging CACD artists • Project specific communities • Emerging Western Sydney filmmakers, screen/digital

artists and producers• Event audiences, e.g. Arab Film Festival Australia• Western Sydney LGA, State and Federal government

agencies working in health, arts, community, welfare, human rights and Indigenous portfolios

• Peak Arts/cultural festivals, e.g. Sydney Festival, Sydney Writer’s Festival

• Not-for-Profits/NGOs commissioning community engagement and development

Marketing Channels and Tactics• Digital, including websites, e-Newsletters, social media

and transmedia marketing• Word of mouth and third party relationships• Engagement with community specific digital media

including blogs/social media • Local, regional and metropolitan mainstream print, radio

and TV media (editorial)• Community-specific print media and community radio• Database Marketing (CRM)

Marketing & CommunicationMission

Promote ICE locally, nationally and globally

BrandCommunity, Creative, Digital

MessagesCreative, Contemporary, Community, Local & Global

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COMPETITORS

Strengths• Community connection• Unique cultural product• Increased focus on digital media

Opportunities• Growing digital demand • Growing demand for regional stories• Cross-sectoral partnerships

Weaknesses• Fluid digital presence of target markets• Part-time marketing staff• Limited marketing resources

Threats• Pace of technological change• Part-time spend/part-time result• Loss of funding

SWOT

Product Competitors ICE Competitive Advantage

Cultural andCACD Programs

Regional CACD organisations. Individual practitioners. Peak CBD organisations.

Access/connection to cultural groups and communities. Innovation and ideas.Niche focus (screen and digital).

Training Fee-for-service training providers. Online/self-learning. TAFE.

Tailored/community specific services. Experience. Value. Affordability.

Professional Development Regional CACD organisations. Targeted programs. Staff expertise.Diverse networking opportunities.

Venue and equipment Personally owned technology.Community spaces. Libraries.

Value for money. Quality facilities and equipment. Staff expertise.

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EvaluationICE embeds monitoring and feedback protocols into all projects to optimise the quality of our participant/community impacts, audience experiences and artistic outcomes.

Key ICE stakeholders (i.e. participants, artists, facilitators, partners, audiences, funding representatives) provide feedback via a range of channels including participant, community and audience surveys, focus group sessions, website and social media analytics, online surveys and video testimonials. This information is then used to adapt ICE programs to better cater to our markets.

Targets

Digital Targets

*NB AFFA - Arab Film Festival Australia

Audience 2016 2017 2018 2019 2020 TV & Radio Broadcast 3,709,473 4,364,085 4,848,984 5,387,760 5,986,400Editorial Value $6.1million $7.1million $7.9million $8.5million $9.8million

Platform 2016 2017 2018 2019 2020 Annual ICE Website Sessions 21,761 26,113 30,029 33,031 36,334Annual ICE Web Page Views 51,870 62,244 71,580 78,738 86,611Total Facebook Likes 3,301 3,961 4,555 5,010 5,511Total Twitter Followers 2,671 3,205 3,685 4,053 4,458Total Instagram Followers 378 453 520 572 630Total YouTube Views 19,497 23,396 26,905 29,595 32,554Annual AFFA* Website Sessions 22,208 26,649 30,646 33,710 37,081Annual AFFA* Web Page Views 52,806 63,367 72,872 80,159 88,174

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Marketing Goals, Strategies and Outcome TargetsGoals Strategy TargetExpand brand awareness Go local, national and global via digital

delivery. Deliver unique community stories/media access via print and electronic media editorial

Increase editorial coverage by 15% p.a.2 international-based media articles p.a.ICE present to 2 conferences/forums p.a.

Build participant growth Social media partnerships with local organisations, businesses and groups. Targeted marketing campaigns using Twitter and Facebook advertising

10% community participation increase p.a.6 full fee-based courses p.a.

Increase audience growth Seek new cross-promotional marketing partnerships. Project-specific Google Adwords ad campaigns. Targeted demographic marketing campaigns using Twitter and Facebook advertising

Online Broadcast views (YouTube etc.) to grow 10% p.aShowcase ICE work in 2 Australian festivals p.a.

Increase online participation Increase social media engagement through high quality, project-specific marketing collateral. Website functionality optimised for mobile devices

Increase website visits/page views by 15% p.a. Increase social media followers by 20% p.a. Increase social media engagement by 15% p.a.

Increased venue and technical hires Develop digital/social media promotional strategy for social media and ICE eNewsletter. Social media advertising for venue and technical hires

Increase venue/equipment income by 15% p.a.

Improve evaluation Bi-monthly review of website and social media analytics

Bi-monthly marketing evaluation reports including analytics

Improve efficiency and efficacy Re-direct print cost savings into digital marketing, specifically the production of content and social media advertising

50% decrease on print marketing. 2 viral/guerilla-media/broadcast campaigns p.a. Increase blogging/online editorial in target communities by 20% p.a.

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Key Markets and MessagesTarget Market Product/Service Key Brand Message Key ChannelsCommunity Participants Training. Artistic projects.

Venue/equipmentQuality. Value. Excellence. Career paths

Social media. Website.Word of mouth

Audiences Online media. Live events.Festivals

ICE is unique, imaginative. Community focused/driven

Social Media. Website.Transmedia. Direct Marketing

Artists Training. Projects. Venue. Equipment. Networks

ICE supports creativity. Provides network access

Personal contact. Reputation. Word of mouth. Website. Social media

Business and Corporate ICE brokers CACD engagment

ICE is the leader in CACD. ICE is trusted and connected

Reputation. Word of mouth. Website. Social media

Community Groups and Organisations

Creative connection Venue/facilities/equipmentEducation/training

Access, information, and resources

Word of mouth. Website. Social media

Arts Organisations and Festivals

Ideas. Audience engagement ICE is innovative.Connected to Western Sydney artists/audiences

Personal contact. Reputation. Word of mouth. Website. Social media

Government Agencies CACD brokerageVenue/equipment

ICE delivers and is a leader in CACD practice

Personal contact. Reputation. Word of mouth. Website. Social media

Education sector Provides specialist education/training

ICE is a leader, fills a training gap and delivers

Personal contact. Reputation. Word of mouth. Website. Social media

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TARGETS Location Projects Delivered

2012 2013 2014 2015 2016 2017 2018 2019 2020Auburn 0 1 1 2 3 4 5 5 6Bankstown 0 0 1 1 2 1 1 2 2Blacktown 3 3 3 3 4 4 4 4 3Fairfield 2 3 3 3 3 4 4 5 5Holroyd 2 1 1 1 1 1 2 2 1Liverpool 1 1 0 0 2 3 3 3 3Parramatta 29 30 30 25 26 30 31 31 32Penrith 2 2 2 2 2 2 2 2 3Other 1 1 2 2 1 0 0 0 2TOTAL 40 42 43 39 44 49 52 54 57

Location Projects Delivered2012 2013 2014 2015 2016 2017 2018 2019 2020

Auburn 27 74 85 86 90 95 100 105 110Bankstown 23 37 49 57 50 40 62 76 80Blacktown 20 43 74 45 66 85 90 95 100Fairfield 40 65 97 51 60 95 100 105 110Holroyd 26 33 73 84 72 65 50 55 66Liverpool 24 28 49 24 30 75 85 90 95Parramatta 98 164 220 321 330 400 415 420 425Penrith 27 50 75 34 39 38 35 40 45Other 15 18 20 19 21 15 16 15 20TOTAL 300 512 742 721 758 908 953 1,001 1,051

Artists/Facilitators Employed + Facility Use2012 2013 2014 2015 2016 2017 2018 2019 2020

Artists Employed 45 87 96 105 110 132 139 146 153Facility Use 4,378 6,239 7,928 5,800 6,090 7,613 7,994 8,394 8,814

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ICE Access and Equity PlansICE seeks to amplify community voices that are often not heard or valued by mainstream cultural institutions. To ensure that our planning, procedures and strategic vision are properly inclusive we are in the process of implementing a Disability Action Plan (DAP), and are in the process of implementing the following:

• Reconciliation Action Plan• Cultural Diversity Access Plan• Equal Employment Opportunity Plan• Disability Action Plan

Reconciliation Action PlanBackgroundICE recognises Aboriginal and Torres Strait Islander people as the oldest continuous living culture and traditional custodians of the land now constituting Australia. We acknowledge the history of dispossession, colonisation and violence that has contributed to disparities and inequalities today, as well as the lack of respect and understanding of the vibrancy and diversity of Aboriginal and Torres Strait Islander culture and its central importance to contemporary Australian identity. We also recognise the specific regional importance of Western Sydney as home to Australia’s largest urban Aboriginal population, and the particular challenges this community faces in gaining recognition for their voices and cultures.

ICE provides regular cultural awareness training for staff, and employs artists and practitioners from Indigenous backgrounds to work on projects. We have also undertaken a range of programs – both Aboriginal-specific and cross-cultural– facilitating conversation between Aboriginal and other communities and artists. While ICE currently follows protocols as an organisation working with Aboriginal and Torres Strait Islander people from many different clan groups and countries across NSW and Australia, we recognise the need to develop and adopt our own Reconciliation Action Plan.

AimTo maintain our respect for Indigenous arts and culture, to continue to work appropriately in our creative collaborations with Aboriginal and Torres Strait Islander people and artists, and to develop a new Reconciliation Action Plan.

Cultural Diversity Action PlanBackgroundICE’s core mission is to engage and amplify the voices of Western Sydney’s culturally diverse communities. We recognise that the places where concentrations of these communities are greatest often coincide with some of our country’s most severe urban disadvantage and adversity. Our work is informed by the reality that certain voices and creative expressions are ignored, disparaged and marginalised. It is also informed by the belief that conditions of adversity/diversity often produce a powerful mix of artistic and cultural expression.

AimTo generate cultural and artistic participation/production that is genuinely inclusive of Australia’s diversity. With input from our research partnership, to formalise our cultural diversity processes and procedures in a Cultural Diversity Access Plan by 2018.

Equal Employment Opportunity (EEO) PlanBackgroundICE’s mission is specifically to support and enable artists and practitioners from all backgrounds to participate more equitably in Australia’s cultural and creative industries, and to ensure that the creative expression supported by our governments, audiences and patrons genuinely reflect Australia’s diverse voices. We have a number of policies relating to employment equity, including an equity and diversity policy, parental leave, policies and practices around work and family, and protocols for vetting and engaging artists and practitioners on our projects. ICE complies with legislative and regulatory requirements governing equality in our recruitment and employment policies and practices. We also recognise that certain activities we undertake (working cross-culturally, or with specific communities) often require particular cultural and linguistic expertise. Many of our programs are targeted at providing specific mentoring and skills development for artists and practitioners who are unable to access mainstream support. We are proud that our team – both our employees and participating artists and practitioners – reflect the diversity of the region in which we work.

AimTo review and consolidate ICE’s policies governing employment and the engagement of artists, practitioners and contractors, and to develop a new EEO Plan that consolidates and formalises these practices across the organisation.

POLICY DEVELOPMENTICE has completed the development of the following policies and planning frameworks:

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Disability Action Plan (DAP)BackgroundICE has a history of working with people with disability on specific projects (including in partnership with disability organisations) and employing people with disability. Our work also involves communities facing health challenges at comparatively higher rates than the general population, including conditions that may fall under the legal definition of ‘disability’. In particular, we recognise digital technology’s empowerment of people with disability to share their stories and creative expression with wider communities and audiences, thereby changing perceptions about the abilities of individuals and communities whose voices are under-represented in the mainstream.

Purpose of the ICE Disability Action Plan The ICE DAP is part of the ICE commitment to maintaining a program that is open and accessible, and which ensures that specific programs and partnerships contribute to greater cultural participation amongst members of the community who face barriers to such participation.

Regulatory ComplianceThe ICE DAP ensures compliance with relevant legislation and regulation, including the Disability Discrimination Act 1992 (DDA), and the NSW Anti-Discrimination Act 1997. This legislation is in place to ensure that people with disability are not subject to discrimination in a range of areas, including in employment, education, access to premises, and access to the provision of goods and services. Additionally, ICE recognises that public sector agencies (including funding bodies) are now required to develop their own DAPs, which are likely to place new requirements on recipients of public funding (including ensuring that funded agencies have their own DAPs in place).

The five main types of disability as defined under the DDA, and which are inclusive but not limited to the kinds of disabilities that the ICE DAP seeks to address, are:

• Physical disability• Mental illness• Intellectual disability• Sensory (sight and hearing)• The presence in the body of disease (including people

living with HIV/AIDS)

AimThe ICE DAP will enable people, regardless of their needs, to access ICE’s facilities, programs, activities, training, products and other services. The implementation of these access principles will be the responsibility of all ICE staff. There must be organisation-wide support of the ICE DAP. A key outcome of the ICE DAP will be a more welcoming and accessible facility and workplace for all. ICE DAP access principles:

• Make our venue and services accessible to people with disability

• Provide an accessible website, information, access services and programs

• Provide equal opportunities for employment and an accessible workplace

• Promote its access features to people with disability• Recognise the cultural dimension of disability and provide

leadership by• Ensure that disability access is culturally inclusive