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

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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.

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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 john.oster@regionalarts.com.au

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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

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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.

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Againstabackgroundofruralandregionaldecline,populationdrifttothecitiesandtheclosingofmajorfacilities,developmentthroughtheartsisameansofstimulatingregions.Artsactivitiesandeventshaveflourishedanddiversifiedfromtraditionalcountryfairstofestivalsandblockbusterartexhibitions.

ThisthemesummarisesthekeyfindingsfromtheStatsandStories:ArtsImpactinRegionalAustraliaproject,whichdocumentstheextentandsignificanceoftheartstoruralandregionalAustralia.

Regionaldevelopmentactivitiesusesthecreativeeconomy to converge culture and commerce throughthecultivationofacreativeclassthatinnovates,thusbringingknowledgeintoregionaleconomies.Thisenablesthecreationofjobsthroughsmalltomediumenterprises(SME’s),possessingthecapabilityofgeneratingandexploitingintellectualproperty.

BACKGROUND

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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.

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• 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/abs@.nsf/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.

WARRNAMBOOL CAMPUSPrinces Highway Warrnambool Victoria

GEELONG WAURN PONDS CAMPUSPigdons Road Waurn Ponds Victoria

GEELONG WATERFRONT CAMPUS1 Gheringhap Street Geelong Victoria

MELBOURNE BURWOOD CAMPUS221 Burwood Highway Burwood Victoria

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