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1、BUILDING AUDIENCES: ABORIGINAL AND TORRES STRAIT ISLANDER ARTSAUGUST 2015Building Audiences: Aboriginal and Torres Strait Islander ArtAugust 2015Research conducted and report authored by: Kerrie Bridson, Maree Clarke, Jody Evans, Brian Martin, Ruth Rentschler and Tabitha White*.*Authors are listed i
2、n alphabetical order in recognition of their equal contribution to the research project.Published under Creative CommonsAttribution-Noncommercial-NonDerivative Works 2.5 LicenseAny distribution must include the following attribution: K Bridson, M Clarke, J Evans, B Martin, R Rentschler and T White (
3、2015) Building Audiences: Aboriginal and Torres Strait Islander Art, Sydney, Australia Council for the Arts. Commissioning editors from the Australia Council for the Arts: Lydia Miller, Rachel Smithies and Amanda Coombe. The project was commissioned by the Australia Council for the Arts and funding
4、partners include Australia Council for the Arts; Faculty of Business and Law and Institute of Koorie Education, Deakin University; Melbourne Business School, The University of Melbourne. The Australia Council for the Arts, Deakin University and the Melbourne Business School respects Aboriginal and T
5、orres Strait Islander communities and culture. Readers should be aware that this report may contain references to members of the Aboriginal and Torres Strait Islander community who have passed away.We would like to acknowledge the Country where this research took place. We acknowledge the ancestral
6、lands and traditional owners of the Wurundjeri, Wathaurung, Euroa, Turrbul, Larrakia, Kaurna, and Noongar peoples. We pay respect to the elders of these communities both past, present and future for the privilege to produce this research on their lands. EXECUTIVE SUMMARYThe primary purpose of this r
7、eport is to scope existing knowledge on audience development for Aboriginal and Torres Strait Islander arts and the key issues and opportunities present in the arts ecology.Key questions addressed include:- What factors are present in the Aboriginal and Torres Strait Islander arts ecology that facil
8、itate and impede audience development?- What currently motivates audiences to engage with Aboriginal and Torres Strait Islander arts? - What are the barriers (perceived or real) to audiences engaging with Aboriginal and Torres Strait Islander arts?- What is currently being done to address audience d
9、evelopment in the Aboriginal and Torres Strait Islander arts ecology?- What opportunities exist to develop audiences for Aboriginal and Torres Strait Islander arts?This project examines Aboriginal and Torres Strait Islander arts audiences from multiple perspectives. A mixed method approach is adopte
10、d and utilises multiple data sources: existing secondary information, interviews and consultation forums with key stakeholders, profiles of successful Aboriginal and Torres Strait Islander arts institutions and artists, and focus groups with engaged and potential audiences for visual art, music, dan
11、ce, theatre and literature.The findings reveal that stakeholders, potential audiences and engaged audiences have a positive image of Aboriginal and Torres Strait Islander art. The most dominant characteristics for stakeholders relate to the diverse contemporary nature of Aboriginal and Torres Strait
12、 Islander art. For audiences, they have formed a positive image of Aboriginal and Torres Strait Islander art, however, it is important to note that this image is still quite stereotypical.In general, audiences express a strong interest in attending and participating in Aboriginal and Torres Strait I
13、slander art experiences. There are six key motivators for audiences to engage with Aboriginal and Torres Strait Islander art experiences: an attraction to stories, contemporary experiences, unique experiences, personal connections, and a desire for cultural insight and for deeper understanding. Ther
14、e are a number of challenges that currently inhibit the development of audiences for Aboriginal and Torres Strait Islander art. These challenges relate to perceived barriers for audiences to engage with Aboriginal and Torres Strait Islander art: uncertainty, awareness and image. They also include as
15、pects of the Aboriginal and Torres Strait arts ecology that limit organisations and artists ability to develop audiences: capacity, representation and support. The research identifies a range of approaches to developing audiences for Aboriginal and Torres Strait Islander art in Australia. The strate
16、gies can be categorized under six key areas: capacity and career development, representation and authenticity, presentation, awareness, image and uncertainty. The Aboriginal and Torres Strait islander arts ecology is on a positive pathway to leveraging audience motivations and addressing the barrier
17、s to their engagement. BACKGROUNDAustralians live in a unique country with over 70,000 years of Indigenous story-telling. This presents a diverse cultural and creative mix that is dynamic and highly valuable to Australian social and economic life. The diversity of Aboriginal and Torres Strait Island
18、er Australia is seen in its many countries and language groups. This diversity of language and country is articulated clearly in the various art and cultural forms seen throughout Australia. The extensive heritage of cultural production has been traditionally manifest in many forms such as painting,
19、 wood carving, rock etching, weaving, body adorning and performative practices. This tradition has been retained and at the same time, transformed into an exciting contemporary artistic paradigm. Contemporary Aboriginal and Torres Strait Islander art and culture is seen in new media, contemporary da
20、nce, literature, acrylic paint on canvas and glass work, for example. The importance of Aboriginal and Torres Strait Islander cultural production within Australia is evident in its ability to inform and contribute to a collective cultural identity for all Australians.As expressions of the worlds lon
21、gest continuing living culture, Aboriginal and Torres Strait Islander arts are globally unique. They contribute significant social, cultural and economic benefits to Aboriginal and Torres Strait Islander peoples and communities and are seen as an important part of the broader Australian culture. R M
22、yer, Report of the Visual Arts and Crafts Inquiry, (2002). Commonwealth of Australia http:/arts.gov.au/sites/default/files/pdfs/Report_of_the_Contemporary_Visual_Arts_and_Craft_Inquiry.pdf (accessed 16/07/2014). 52. Estimates of the Aboriginal and Torres Strait Islander arts ecology suggest it contr
23、ibutes a disproportionately large component to the Australian economy_ENREF_1 J Altman and S Ward, Competition and Consumer Issues for Indigenous Australians (2002). Australian National University, Canberra http:/www.anu.edu.au/caepr-dev/sites/default/files/StaffProfiles/stafffiles/jon-altman/2002_C
24、ompetitionAndConsumer.pdf (accessed 29/03/2015).67. with Indigenous visual artists producing some of Australias most valuable works of art J Furphy, Australian Art Sales Digest: Australian Art Auction Sales By Artist Source, (2014). John Furphy Pty. Ltd http:/.au/index.cfm/artist-nationality-totals/
25、 (accessed 23/06/2015).Arts in daily life: Australian participation in the arts reveals that 92 percent of Australians believe that “Indigenous arts are an important part of Australias culture” Arts in Daily Life: Australian Participation in the Arts, (2014). Australia Council for the Arts http:/www
26、.australiacouncil.gov.au/_data/assets/pdf_file/0020/200927/Arts-in-Daily-Life-Australian-Participation-in-the-Arts.pdf (accessed 12/07/2014).17. Two-thirds (64%) of Australians have a strong or growing interest in art created or performed by Aboriginal or Torres Strait Islander peoples Ibid., 38. Ho
27、wever, this interest currently translates into only a quarter (24%) having attended an arts program in the last year that was created or performed by Aboriginal or Torres Strait Islander peoples Ibid., 17. There is a significant gap, therefore, between audience attitudes and behaviour. This presents
28、 an important opportunity to explore the current issues affecting audience development for Aboriginal and Torres Strait Islander arts. DEFINITIONSAboriginal and Torres Strait Islander: Refers to the original inhabitants of Australia and the Torres Strait Islands. In the literature referred to in thi
29、s report, Indigenous and Aboriginal and Torres Strait Islander are often used interchangeably. When using a direct quotation from another authors work, the usage reflects that of the original author. Art: Refers to creative activities, outputs, products and events. Within this report the focus is on
30、 art for broader public consumption. The term art is used to refer to a range of art forms including theatre, dance, literature, music and visual art. Visual art refers inclusively to arts and crafts. It is important to recognize that the status of art in Aboriginal culture deviates from Western und
31、erstandings. Art is a Western word and among the various languages in Aboriginal and Torres Strait Islander Australia, the word art is not at all common. The most vital aspect of Indigenous ideology, in an Indigenous framework, is that all aspects of culture, including art, do not stand alone. For e
32、xample, art does not exist in isolation from life and culture. Art plays an important role in cultural life. Throughout our research, contributors use the termstraditionalandcontemporaryin relation to Aboriginal and Torres Strait Islander art. Contributors use the term traditional in reference to me
33、thods, images or stories that they understand as historically used within Aboriginal and Torres Strait Islander culture. They use contemporary in reference to art that is produced in contemporary times, that tells contemporary stories and to art that may use a range of methods of art practice and pr
34、oduction. It is also recognised that contemporary stories can be told via traditional mediums and vice versa.Arts ecology: Refers to the interactions, interconnections and interdependencies among the network of members that shape the production, preservation, presentation and demand for the arts in
35、society as a whole. The ecology encompasses practitioners, producers, presenters, sponsors, advocates, policymakers, commercial organisations, non-profit organisations, informal organisations, audiences and participants.Mainstream: Many contributors to the research use the term mainstream. They use
36、mainstream to refer to both a type of presenting organisation and to a type of audience segment. Contributors use the term mainstream to define presenting organisations that present a range of art and stories representing people and communities from various cultural backgrounds. These organisations
37、are not controlled and managed solely by Aboriginal and Torres Strait Islander people and they are not solely presenting Aboriginal and Torres Strait Islander art. In contrast, contributors define an Aboriginal and Torres Strait Islander or Indigenous presenting organisation as an organisation that
38、is controlled and managed by Aboriginal and Torres Strait Islander people and that primarily presents Aboriginal and Torres Strait Islander art. Mainstream audiences are those that seek experiences and engagement with the art presented by mainstream presenting organisations and do not specifically e
39、ngage with Aboriginal and Torres Strait Islander art presenting organisations.Arts participation: Encapsulates the broad variety of ways a person can participate with arts events, programs, artists or organisations including and extending beyond being a receptive audience member K McCarthy and K Jin
40、net, A New Framework for Building Participation in the Arts, (2001). Rand Insitute http:/www.wallacefoundation.org/knowledge-center/audience-development-for-the-arts/key-research/Pages/New-Framework-for-Building-Participation-in-the-Arts.aspx (accessed 06/07/2014). For example, creating works of art
41、 in workshops, co-curating community programs and exhibitions and audience participation in dance eventsAudiences: Refers to people who view, read, listen to, or otherwise attend, engage and participate with art, artists, arts activities and events and arts organisations in ways that do not involve
42、creating the initial art product. Audience development: A part of a marketing strategy referring to the methods that arts organisations employ to attract, maintain or increase audiences for their programs.Audience engagement: Is concerned with creating opportunities for extended engagement with and
43、impact from an arts event, activity, artist or organisation A Brown and R Ratzkin, Making Sense of Audience Engagement, (2011). The San Fransisco Foundation http:/ (accessed 10/07/2014).RESEARCH OBJECTIVESThis project scopes existing knowledge on audience development for Aboriginal and Torres Strait
44、 Islander arts and the key issues and opportunities present in the arts ecology.Key questions addressed include: What factors are present in the Aboriginal and Torres Strait Islander arts ecology that facilitate and impede audience development? What currently motivates audiences to engage with Abori
45、ginal and Torres Strait Islander arts? What are the barriers (perceived or real) to audiences engaging with Aboriginal and Torres Strait Islander arts? What is currently being done to address audience development in the Aboriginal and Torres Strait Islander arts ecology? What opportunities exist to
46、develop audiences for Aboriginal and Torres Strait Islander arts?This project is limited to understanding, where possible, how the issues and challenges related to audience development in Indigenous arts differ along the following dimensions: Art forms including visual art, music, literature, theatr
47、e and dance. Aboriginal and Torres Strait Islander audiences and non-Indigenous audiences. For Aboriginal and Torres Strait Islander artists and organisations, and for mainstream organisations.RESEARCH APPROACHThis project examines Aboriginal and Torres Strait Islander arts audiences from multiple p
48、erspectives. A mixed method approach is adopted and utilises multiple data sources: existing secondary information, key industry informants, engaged and potential audiences (both Indigenous and non-Indigenous) and arts institutions (across art forms and by state), to enable triangulation of evidence in meeting the research objectives (Figure 1).Figure 1. Research ApproachSecondary research, in the form of a literature review, includes academic and grey literature on the Aboriginal and Torres Strait Islander arts ecology. It includes relevant literature on audience attendance