RE: Impact of the 3.5% cuts on the Small to Medium performing art sector.

Transcription

1 14 th September, 2012 The Hon Ted Baillieu MLA Premier of Victoria & Minister for the Arts Office of the Premier 1 Treasury Place Melbourne, VIC 3002 RE: Impact of the 3.5% cuts on the Small to Medium performing art sector. Dear Premier, I m writing to you to support your work in advocating for the arts in Victoria, and in particular to offer some case studies on the effect of the 3.5% cuts to small arts organisations for their work in We hope that the case studies will give you some real- life stories of how small performing arts organisations will cope with the cuts, to assist you when you are advocating for future funding for this sector. Since the funding cuts were announced in June, Theatre Network Victoria s members have been contacting us to tell us how the cuts will affect them, so we felt that it was useful to pass some of these stories along to you. We understand that the current economic climate means that many industries have fared badly, but the impact is certainly very hard on a sector that is already extremely vulnerable financially, as Arts Victoria s own report in 2007 attested 1. Added to the omission of CPI indexing, the impact is significant. In most of the cases below, the initial small investment in a creative development, or a commission, or a workshop, or an artist development program, leverages significant other income down the track it is how the small to medium sector has been so successful at leveraging increased income from the Arts Victoria funding, as Arts Victoria s Discussion Paper 2 on the Organisations Funding Program showed. The graph on page 16. of the Discussion Paper shows that the leveraged income of the sector has continued to increase faster than the Arts Victoria funding, and when the Arts Victoria funding increased slightly in 2008 (as a result of an injection of funding in 2007), so too did the leveraged income. It is clear that the Arts Victoria Program funding allows organisations to develop capacity, and to pursue other income streams. 1 Small Arts Organisations Research And Evaluation, by Deloitte for Arts Victoria, September Theatre Network Victoria, 228 Bank St, South Melbourne Nicole@tnv.net.au. Phone: Website:

2 To maintain the same trajectory, and continue to leverage more than 140% on investment each year, Arts Victoria funding will need to reach $40 million over the next three years, an increase of around $14 million. We hope that the cuts for 2013 are a one- off, and that next year we can get back on track to achieve the continued leverage and growth of the past several years. Please feel free to contact us if you would like further information or background on the companies listed below in the case studies, or on other work of TNV. Yours sincerely, Nicole Beyer Director, Theatre Network Victoria CC: Penny Hutchinson, Director Arts Victoria; Heidi Victoria, Parliamentary Secretary Assisting the Premier with the Arts; Zoe McKenzie, Senior Adviser. 2

3 Case Studies: Impact of the 3.5% cuts on the Victorian Small to Medium performing art sector. CASE 1. Arena Theatre Company one less writer's commission for a new work Arena creates inspiring live performances that have a genuine engagement with young audiences aged 5 to 25 years. Over recent years Arena has built a formidable reputation as one of Australia's leading generators of new work, particularly in commissioning and developing new writers such as Lally Katz and Declan Greene, both nominated for Victorian Premier's Literary Awards for their work with the company. Like all small- to- medium organisations, Arena punches well above its weight. Arts Victoria's investment is crucial to the company's ability to generate new opportunities for artists and audiences alike. The 3.5% cut in 2013 ($5,824), when added to the CPI that will also be lost, is equivalent to the first stage of a writer's commission to develop a new work as the Company commissions only 1 or 2 new works per year, this has a serious impact on the company's output of new Australian theatre for young people. The role of a commission, within the full process of the creative development of a work, is crucial. The commission gets a project off the ground so that Arena can then pitch the project to presenters/supporters/investors - it's critical in being able to source the rest of the income needed to make the show, then tour the show, and that's where the company can generate income. The company sees this as an R&D- like investment, the small kick- start has a big impact on the company s sustainability. CASE 2. La Mama reducing non- core programs such as La Mama Community La Mama Theatre is one of Victoria s oldest and most famous theatre companies, producing, presenting and supporting contemporary theatre for over 40 years, from its tiny home in Carlton. La Mama is nationally and internationally acknowledged as a crucible for cutting edge, contemporary theatre in Australia. Valued by artists and audiences alike, La Mama is treasured for its continued advocacy of those seeking to explore beyond mainstream theatre; producing work by theatre makers of all backgrounds and encouraging works that explore, deconstruct and critique form, content and social issues. La Mama will be absorbing the 3.5% cut ($7,766) by reducing the amount of support for non- core programs, including La Mama Learning and La Mama for Kids, as well as La Mama Community and La Mama Mobile. While La Mama has previously supported these programs by covering a portion of program producers wages out of operational income, the programs are now expected to be entirely self- funding, which means that producers are required to raise their own wage as well as covering program expenses. 3

4 CASE 3. Next Wave Festival one less Festival staff member Since establishment in 1984, Next Wave Festival has been supported by the state government as Victoria s Youth Arts Festival, and in 2012 the Festival is proud to have grown into a much loved national presenter of young and emerging practice that challenges our understanding of what art can be. In 2012, Next Wave attracted 250,000 audience members from around the state and beyond, for 9 days over 43 projects. For Next Wave, the 3.5% cut ($13,591) is equivalent to employing one less festival staff member, such as a ticketing or volunteer coordinator essential part- time roles leading up to and during the Festival. This will increase the expectation on the Next Wave team to fundraise for what is usually considered a core festival position. CASE 4. Snuff Puppets an 80% cut to the artist training budget Snuff Puppets are a puppet company based in Melbourne. They combine the elements of puppetry, live music, visual and physical theatre to create performances that have hijacked spaces from theatres to city squares to country lanes. One of Victoria s most prolific touring companies, Snuff Puppets has represented Victoria s innovative arts in Indonesia, Japan, Korea, China, Singapore, Thailand, Brazil, New Zealand, UK and many countries in Europe. Snuff Puppets performed to 120,000 people in The 3.5% cut in 2013 ($3,883) will reduce the company s artist training budget by 80% - a budget used to pay wages for emerging artists to develop their puppet building and creative development skills. CASE 5. Western Edge Arts - a reduction in professional development of CALD artists. Western Edge Youth Arts (WEYA) is an organisation that works with culturally and linguistically diverse and economically disadvantaged communities to create unique arts and arts education experiences for young people under twenty- six. Last year, over 440 young people participated in WEYA s programs. If the company is successful in attaining continued annual funding from Arts Victoria, which it has done over the last three years, the 3.5% cut ($1,750) would mean reductions in support and mentorship of the professional development of CALD artists. For example, two major initiatives, Flemington Theatre Group and Playback West are groups of young CALD artists the company is supporting towards independence. A reduction in funding to cover staff hours will seriously impact on the capacity to continue this work. 4

5 CASE 6. Melbourne Fringe reduction in Artist Development Program Melbourne Fringe is the leading organisation for the independent arts in Victoria. The organisation facilitates the presentation of contemporary work across all artforms. The artistic program gives both emerging and established artists opportunities to gain diverse professional skills and present new work. For Melbourne Fringe, a 3.5% cut ($12,037) to Arts Victoria funds will reduce the amount of forums, mentorships and support that the organisation can give its Festival artists. This cut will reduce the hours that it can employ an Artist Development Coordinator to run the development programs and impact the budgets for these programs significantly. Each year Melbourne Fringe responds to over 7000 requests for support from artists, as well as producing a series of events and resources for the independent arts sector. The organisation is an important resource for artists and the Victorian arts community, and sees artist development as an essential part of the service it delivers. CASE 7. Polyglot Theatre no workshop materials for students Polyglot is Australia s leading interactive theatre company for children aged up to 12 years. Inspired by the artistry of children, Polyglot makes experiential works where audiences take an active part in the creation of imagined worlds. Polyglot s artists see children as collaborators, facilitating an artistic process to create interactive and installation performance for children where audiences actively participate in performance through touch, play and encounter. At Polyglot, theatre is child s play. In 2011, Polyglot performed to over 80,000 people, in six countries. For Polyglot the 3.5% cut ($4,784) increases the already larger core operational costs for 2013 of paying extra mandatory superannuation costs for our core staff and artists. The combined total of this decrease in funding and increase in core costs means no money left over for the creation of new work, extra staffing required for an already stretched team, and especially the management and provision of workshop materials for our kids in control projects in schools which will affect hundreds of primary school students per annum. CASE 8. Castlemaine State Festival stress on a regional festival to find additional funds The biennial Castlemaine State Festival celebrates the artistic heritage of the region by presenting classical and contemporary arts experiences in historic theatres and halls as well as unique venues including mines, churches, parklands and public sites. Audiences in excess of 40,000 add to the vibrant spirit of the festival, getting involved in the productions and exhibitions across the visual arts, dance, circus, music, theatre, hot- rod culture, literature and a dedicated program for young people. 5

6 For the Festival, the 3.5% cut amounts to $3,957. While the figure may not seem large, the Castlemaine State Festival runs the business on a very modest operating budget. The reduction will mean staff need to find additional funding from elsewhere which is already a time consuming and difficult task in a regional context. CASE 9. St Martins Youth Arts Centre reduced residencies for emerging artists An integral part of the Melbourne theatre community, St Martins has spent 32 years providing and resourcing hands- on performing arts experiences to Victorians aged between 5-25 years. For thousands of Victorians St Martins is where they have their earliest theatre memories; seeing their first show, treading the boards on stage or operating a lighting desk for the first time. Some well known performers who have come through St Martins include Jane Turner (Kath) and Gina Riley (Kim), (Colin) Lano and (Frank) Woodley, and Noah Taylor amongst others. The substantial value of the centre as an incubator for emerging artists is at risk. The 3.5% cut ($7,766) means that next year the organisation will be unable to provide 520 hours of free space for companies making their first shows. This is equivalent to 30 shows and 90 emerging artists. CASE 10. Chamber Made Opera a reduction in core staff hours Chamber Made Opera, founded in 1988, is singularly dedicated to creating contemporary opera and music theatre of our time and place in living rooms and theatrical spaces across Australia and throughout the world. Since David Young took over as Artistic Director in 2010, Chamber Made Opera has focused upon the innovative commissioning format of the Living Room Opera Series that takes chamber opera to new audiences, engages new artistic teams and creates a clear and engaging profile for the company in Australia and internationally. The work is acclaimed across Australia, premiering in Festivals such as Ten Days on the Island and Melbourne Festival. The 3.5% cut in 2013 ($7,383) will be very difficult for this already super efficient company to absorb (with the lack of indexation, it will realistically mean a 9-10% cut). It is likely that the company will have to cut core staff hours, as they are already using donations and other non- grant income for the artistic program, as the innovative Keyholders program attests - a high quality subscriber donor program. Chamber Made Opera, like all small to medium performing arts organisations, uses its Arts Victoria funding to build organisational capacity, so that it can leverage donations, sponsorships, earned fees, commissions and other grants to build an artistic program worth significantly more than the initial Arts Victoria investment. This cut reduces that capacity, and the impact on the company will be significant. 6