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Metro Arts

Cultural Diversity Action Plan 2014 - 2020

1. Introduction - Our Vision

Metro Arts is developing the future of Australian contemporary arts practice, now.

OUR PURPOSE

> Create and champion quality contemporary arts

> Professionally and artistically develop, challenge and support artists

> Nurture existing audiences and develop new audiences

> Unite artists and their work with these audiences

OUR VALUES

We believe that contemporary art forms are the cultural expression of the future, and that quality contemporary arts practice should challenge

audiences and participants both emotionally and intellectually.

We build our organisation and programs around the following ideas:

> A commitment to creative development generates sustainable arts practice and quality work.

> Rigorous curatorial and critical frames create the best learning structure for the professional development of artists.

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> Creative, curatorial and critical rigour is central to the vibrancy of great Australian contemporary arts practice.

> Quality contemporary arts practice generates significant ‘currency’ by challenging audiences and participants both emotionally and intellectually.

> Equality of gender, diversity with regards to access to resources and opportunities.

We are committed to:

> The Arts – specifically Contemporary Arts – which has the political, social and cultural power to transform people, both personally and collectively.

> Lifelong learning – to be open to new learning at any stage in life is central to our purpose.

> Currency – what we do must matter and have the capacity to change us, our stakeholders and our audiences.

> Agency – we empower our stakeholders to enact personal and collective change.

> Collaboration – we empower each other through mutually beneficial partnerships.

> Rigour – everything we do is the most informed ‘best practice’.

> Diversity – we seek to include everyone who wishes to be included and celebrate their difference.

> Accountability and Transparency – what we do is clearly answerable to stakeholders.

> Sustainability – that ‘we do, what we do, so we can do it again’ in a financially, emotionally healthy and environmentally conscious fashion.

2. What is cultural diversity?

In the 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions, UNESCO defines cultural diversity as such:

the manifold ways in which the cultures of groups and societies find expression. These expressions are passed on within

and among groups and societies. Cultural diversity is made manifest not only through the varied ways in which the

cultural heritage of humanity is expressed, augmented and transmitted through the variety of cultural expressions, but

also through diverse modes of artistic creation, production, dissemination, distribution and enjoyment, whatever the

means and technologies used.

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The term “Culturally and Linguistically Diverse” or “CALD” has been in common use in Australian policy since 1996, when it was introduced by the

Ministerial Council of Immigration and Multicultural Affairs to replace the earlier acronym “NESB”, for “non-English speaking background”. It is

broadly seen as an improvement on the previous expression, which defined people by what they are not. The term is used in Australian policy

discourse to refer to all non-Indigenous ethnic groups other than the English-speaking Anglo-Saxon majority. Indigenous Australians are generally

excluded because they are seen to have significantly different experiences and needs by nature of their first nation status.

CALD is a problematic definition, however. One commonly observed problem is that the term reinforces a sense of “other”, in which the Anglo-Saxon

majority is considered not to be a cultural and linguistic group, but the norm against which other ethnicities are compared. In this criticism, it is

argued that all “others” are posited in one homogenous group, rather than understood as a range of distinct cultures. Despite these limitations, the

term continues to be used in policy as it addresses the fact that people of non-Anglo-Saxon or non-Indigenous status encounter a shared range of

issues in relation to access, opportunity and substantive equality.

In Australia, an individual is understood to have a CALD background if they:

…identify as having a specific cultural or linguistic affiliation by virtue of their place of birth, ancestry, ethnic origin,

religion, preferred language, language(s) spoken at home, or because of their parent’s identification on a similar basis.

Only one parent need identify with a specific non-Anglo-Saxon culture or language for the offspring to also identify as CALD.

3. Why a Cultural Diversity Action Plan?

UNESCO’s World Report on Cultural Diversity (2009) asserts the value and importance of investing in cultural diversity as an essential element of

intercultural dialogue, social cohesion and global sustainable development. The report describes cultural diversity as:

a dynamic process whereby cultures change while remaining themselves, in a state of permanent openness to one

another (UNESCO 2009: iii)

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In Australia, cultural diversity has been embraced as multiculturalism as our nation’s social reality, a concept for social organisation and as public

policy. Australia’s multicultural policy, “The People of Australia” (2014), articulates the government’s approach as one that:

embraces our shared values and cultural traditions and recognises that Australia’s multicultural character gives us a

competitive edge in an increasingly globalised world. The approach articulates the rights and responsibilities that are

fundamental to living in Australia and supports the rights of all to celebrate, practice and maintain their cultural

traditions within the law and free from discrimination. The policy aims to strengthen social cohesion through promoting

belonging, respecting diversity and fostering engagement with Australian values, identity and citizenship, within the

framework of Australian law.

In 2009, the Australian Government ratified the United Nations Convention on the Protection and Promotion of the Diversity of Cultural Expressions.

This Convention “recognize[s] that cultural good and service convey identity, values and meaning” and affirms the “need for States to take all

appropriate measures to protect and promote the diversity of cultural expressions while ensuring the free flow of ideas and works” (2005: 4).

Further, “the Convention addresses the many forms of cultural expression that result from the creativity of individuals, groups and societies and that

convey cultural content with symbolic meaning, as well as artistic and cultural values that originate from or express cultural identities” (2005: 4).

In Queensland, the 2011 Queensland Multicultural Policy: A multicultural future for all of us outlines the state’s commitment to cultural and linguistic

diversity:

…cultural diversity is fundamental to and beneficial for our evolving Queensland identity and the lifestyle we

enjoy…fosters economic development…and enhances Queenslanders’ social experiences, insights, choices and

connections to international markets and communities.

The Arts for all Queenslanders Strategy (2014-18) places a special emphasis on cultural diversity, as one of four driving principles, emphasizing the

competitive advantages that can be attained by embracing diversity:

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Embracing diversity gives us an edge — diverse cultures, ethnicities, heritage, age groups, abilities, forms, locales and

scales of arts practice give us a competitive edge culturally and economically. Connecting with and within this plurality

will strengthen our cultural offers.

While cultural diversity is celebrated on many levels, widespread concerns persist from the Australian theatre sector as to why artists and audiences

from culturally and linguistically diverse backgrounds are under-represented in most aspects of creation and reception. And with Queensland being

home to people who speak more than 2002 languages and come from more than 2002 countries, “why isn’t Australia’s cultural diversity reflected on

our stages and screens?” (Ribeiro 2002: 1). Australian CALD artists, from the newly arrived to the acculturated and assimilated, attempting to forge

successful careers in the arts often find themselves at a disadvantage to their Anglo counterparts. These barriers to entry and access include racial

discrimination, lack of networks and connections, lack of audience, and lack of opportunities (Jogulu and Rentschler 2014).

Metro Arts Cultural Diversity Action Plan aims to address the issues of under-representation and reflection of cultural diversity on Queensland

stages, whilst breaking down the barriers to entry and access by increasing the company’s engagement with artists from culturally and linguistically

diverse backgrounds.

3. Metro Arts’ Cultural Diversity Action Plan

Metro Arts’ commitment to Cultural and Linguistic Diversity is reflected in its current Strategic Plan, in which there are several references to this

priority area…

Goal 2: Provide curatorial advice, space, time and subsidy for artists to experiment in a diverse creative context to develop sustainable

practice.

Goal 3: Create a flexible curatorial structure through artist-led open calls balanced with ethical Strategic Projects that actively promote

diversity, including Indigenous and Torres Strait Islander artists, inter-generational initiatives, CALD artists, disabled and queer artists.

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Additionally, Metro has expressed a commitment to embedding CALD perspectives into its programming processes, with a goal to “ensure at least

one position on the MAAAG and Curatorium is CALD”.

Metro understands that cultural products and audiences are inextricably bound together. In terms of cultural and linguistic diversity, this finds

expression in the goal to “grow and diversify Metro Arts’ audience” by ensuring that “the selection [of supported work] is diverse in form, culture

and demographic”.

Objectives (based upon 2012 – 2015 Strategic Goals)i

Metro Arts’ Cultural Diversity Action Plan has seven objectives linked directly to the organisation’s strategic plan:

Strategic Plan Goal 1: To provide an effective and cohesive suite of programs with high quality work which engages with artists of culturally and

linguistically diverse backgrounds.

Objective 1. High quality, contemporary work by artists from CALD background supported in Metro Arts’ programming.

Strategic Plan Goal 2: Operate as a hub where artists practice, engage with peers, are supported, challenged and networked with the wider market in

a dynamic, culturally diverse and inclusive community network.

Objective 2. Ensure that the operational environment is responsive and open to specific needs of CALD artists.

Objective 3. Create opportunities for intercultural networking and critique.

Strategic Plan Goal 3: continue to grow a national reputation for best practice models for the development of artists and their work, including CALD

artists.

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Objective 4. Build industry and public understanding of Metro Arts as an investor in CALD artists and work

Strategic Plan Goal 4: Maintain a stable and adaptive business structure, including entrepreneurial approaches to increasing the organisation’s

financial sustainability.

Objective 5. Grow philanthropic income to support CALD work.

Strategic Plan Goal 5: Create a solid foundation of good management and governance.

Objective 6. Maintain appropriate leadership for the organization.

Objective 7. Promote the principle of substantive equality in HR policies.

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Strategic Plan Goal 1: To provide an effective and cohesive suite of programs with high quality work which engages with artists of culturally and linguistically diverse backgrounds Outcome Action Measurable target Timeframe Responsibility Comment

1. High quality, contemporary work by artists from CALD backgrounds supported in Metro Arts’ programming

1. Ensure that Calls for Proposals for programs are distributed through Culturally Diverse artistic networks.

Number of applications

2014

PM, TDA, ADM

Calls for applications are being distributed through the CALD artist database and through MDA and BEMAC’s networks.

2. Partner with key cultural organisations to help promote the value of the services that Metro Arts provides to specific cultural groups.

Partner Activities

2014

CEO, TDA

Through this project and The Real Neighbours, Vis and Ramin, Metro Arts has formed a strong relationship with BEMAC. The organisation continues to work towards this target.

3. Cultural Diversity expertise represented on Metro Arts MAAAG.

1 representative

Ongoing

CEO

In 2015, the TDA assessed proposals submitted by CALD artists or had CALD creatives in their collectives/groups.

4. Support artists from diverse backgrounds to identify and apply for appropriate funding and support.

Number of submitted applications

Ongoing

2014 - TDA

In 2014-15, Metro Arts supported the following artists with their funding applications:

New Iranian-Australian theatre company, Baran’s applications to the Australia Council and Creative Sparks program for Vis and Ramin.

Fran Barb’s Exquisite, which featured artists of Chinese and Korean heritage, and her application to Arts Queensland.

5. Scope opportunities for the support of new intercultural projects.

Funding support applied for one new project with Metro Arts as partner/producer.

2014

TDA, CEO, PM

Between 2013 to mid-2015 Metro Arts developed, facilitated, exhibited, hosted, presented and or co-presented and toured twenty CALD artists and or artists with a CALD background. In 2014, these works included:

Work in Residence , by Iranian-Australian artists

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Nasim Khosravi.

Presentation of The 떡볶이 Box (The Dokboki Box),

as a Korean pop-up musical-dining-theatre stall, touring to Brisbane Festival, the World Theatre Festival and HiSeoul Festival 2014.

Presentation of Tukre’, by CALD artist Raghav Handa, fusing traditional Indian and contemporary dance styles.

Development of Saltwater by CALD artist Jamie Lewis as an intimate participatory work.

Residency by collective Oddbody, including CALD artist Yuhui Ng.

Development of Las Pozas, by CALD-background artist Lucy Ann Langkilde..

Development of Exquisite (then titled The Grieving Project) with CALD-background performer Julian Renlon-Wong.

Mini-festival Awkward Conversation featured presentation of YokastaS Redux, with CALD artist Natalie Lazaroo; The C Word, with CALD artist Merlynn Tong; Salome with CALD-background artist Kristian Santic; Fewer Emergencies with CALD-background artist Bianca Zouppas.

2 small experimental works by CALD-background artist Eleanor Jackson as part of our Friday Night series.

And in 2015, these works included:

Work in Residence Vis and Ramin, by Iranian-Australian artists Nasim Khosravi .

Presentation of Assemblies for One Body, a dance work made in collaboration with CALD-background artist Kynan Tan.

Development of Victoria Carless’ What Was Left with Merlynn Tong.

A small experimental work by Eleanor Jackson as part of our Friday Night series.

Presentation of Walking by CALD artists Gregory Stauffer & Bastien Gregory.

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Development of In This Room I Imagine The Earth by CALD-background Marisa Georgiou.

Development of a new work by Flatline, including CALD-background artist Carl Sciberras.

Presentation of Jamie Lewis’ Saltwater, by Brisbane Festival in association with Metro Arts.

Development of a new work by Sammie Williams.

Further development of Exquisite by Fran Barbe, with CALD artist Min Zhu.

A number of these works were supported by Metro Arts with their remaining year of Australia Council Presenters Funds. Metro Arts continues to work towards this target with a number of works currently undergoing the programming process for 2016.

Strategic Plan Goal 2: Operate as a hub where artists practice, engage with peers, are supported, challenged and networked with the wider market in a dynamic, culturally diverse and inclusive community network. Outcome Action Measurable target Timeframe Responsibility Comment 1. Ensure that the operational environment is responsive and open to specific needs of CALD artists

6. Twice annual cross-company conversation, reflecting on cultural awareness and practice.

2 company-wide conversations per year

2014

TDA, CEO

Intra-company conversations about cultural diversity commenced in 2015, with the first conversation about the results of the Cultural Diversity Self-reflection Survey.

7. Gather and interpret data about CALD applications to programs, to feed into communications strategies.

Survey as part of application processes

Ongoing

AA, ADM

Optional questions about CALD heritage and communications were included in the application process. In the April 2015 call out, this data was collected and will inform future communication strategies.

8. An annual CALD program audit conducted and published in Annual

Published in Annual Reports, levels of CALD representation

Annual

CEO, TDA, ADM

Metro Arts reported their engagement with cultural diversity in their Annual Report 2014 and at the Theatre

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Report included as a benchmark in artistic vibrancy evaluation.

Diversity Forum in June 2015. Metro Arts intends to include a cultural diversity benchmark as part of their artistic vibrancy evaluation.

2. Create opportunities for intercultural networking and critique.

9. Create and maintain a database of CALD theatre artists, in partnership with BEMAC

Database in place and revised annually

Early 2014

TDA

The database has been moved to Google Docs and login and password provided to all collaborating organisations for their use and maintenance.

10. Increase the capacity for critical analysis of, and public engagement with, works from a wide range of cultural backgrounds

Events promoting intercultural critique and collaboration through Friday Nights program and/or other targeted events

2014 – Two special events - contemporary Persian culture and politics with Vis and Ramin showing. Korean/Australian exchange model with Good Person showing

TDA, CEO

The target was met in 2014. Two special events were presented:

Contemporary Persian culture and politics forum complemented the creative development showing of Vis and Ramin

Korean/Australian exchange model presentation complemented the creative development showing of Good Person

In addition, Ye-Jin Park, Motherboard’s Associate Producer in residence at Metro Arts for four months in 2015, initiated a Korean Audience Development pilot, delivering twenty-eight Korean audience members to an intimate engagement in Metro Arts programming (See Vimeo https://vimeo.com/130945603 Password is 1111). For the future, Metro Arts intends to activate a critical CALD friend’s network to write and publish online to increase engagement with work.

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Strategic Plan Goal 3: Continue to grow a national reputation for best practice models for the development of artists and their work, including CALD artists Outcome Action Measurable target Timeframe Responsibility Comment

1. Build industry and public understanding of Metro Arts as an investor in CALD artists and work.

11. Communicate CALD work and TDA project outcomes to broader artistic community.

TDA and/or CEO Participation in 2 industry forums

2014

CEO, TDA

In June 2015, the TDA organised a forum to share the learnings and findings from the Theatre Diversity Associate pilot project. Metro Arts participated on a panel sharing their experience of engaging with cultural diversity across Queensland stages. Both TDA’s enquired with the curator of the 2015 Australian Theatre Forum about a session on cultural diversity. Neither conversation resulted in the TDA participating in the forum, other than as delegates.

12. Profile the diversity initiative through mainstream media or online industry media.

Story published in mainstream media, Australia Council website or Artshub.

Early 2014

TDA

In February 2015, Arts Queensland featured a case study of Baran’s Vis and Ramin on their blog - http://www.arts.qld.gov.au/blog/index.php/vis-and-ramin-2/

Strategic Plan Goal 4: Maintain a stable and adaptive business structure, including entrepreneurial approaches to increasing the organisation’s financial sustainability. Outcome Action Measurable target Timeframe Responsibility Comment

1. Grow philanthropic income to support CALD work.

13. Identify opportunities for attracting targeted philanthropic support for CALD work

Number of philanthropic grants over three year period?

Long term

CEO

Two applications submitted to the John T. Reid Foundation and The Bennelong Foundation to fund Metro Arts’ CALD Innovation Strategy (2016-18). The funding will assist Metro Arts to continue their work supporting CALD artists but also the development of their audiences.

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Strategic Plan Goal 5: Create a solid foundation of good management and governance

Outcome Action Measurable target Timeframe Responsibility Comment

1. Maintain appropriate leadership for the organization.

14. Include CALD expertise in annual board skills and experience review.

Review undertaken and research into CALD expertise in governance.

2014

CEO

A review was undertaken in 2015 and former TDA, Joon-Yee Kwok was appointed to the Board of Directors in July 2015.

2. Promote the principle of substantive equality in HR policies.

15. Compliance to Equal Opportunity legislation.

EO policy in place and reviewed annually.

Ongoing

CEO

This target was met with a new Discrimination and Equal Employment Opportunity Policy developed and adopted in May 2015.

16. Employment opportunities, training and professional development opportunities made known to widest possible range of potential candidates of diverse backgrounds.

New positions advertised through wide range of cultural networks.

Ongoing

TDA, CEO

No new positions were available in 2013-14. Future recruitment for new positions will follow the Equal Employment Opportunity policy.

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4. Implementation and Review Process

This Cultural Diversity Action Plan is to be circulated to all management and reviewed and updated in April 2015 for the following twelve month

period.

5. Development and Consultation

This Cultural Diversity Action Plan was developed by Metro Arts’ Theatre Diversity Associate, in consultation with staff and guidance from CEO Liz

Burcham and David Fenton.

6. Adoption of Cultural Diversity Action Plan 2013-14

This Cultural Diversity Action Plan was formally ratified by the Metro Arts Board of Directors on the 7 April 2015.

i This Diversity Action Plan spans 2014 – 2020. However during that time Metro arts have redrafted their 2012 – 2015 Strategic Plan to a new plan spanning 2015 – 2020. As such both sets of strategies are taken into account. It is envisioned that this CALD Action Plan will be redrafted to frame only the 2015-2020 Strategic Goals before the end of 2015