Please note: Some of the content on this page was published prior to the launch of Creative Australia and references the Australia Council. Read more.

Arts and Disability Initiative

This program is for d/Deaf artists or arts workers, or artists or arts workers with disability, seeking to undertake a project or activity to advance their practice, skills or career.

About this initiative

Creative Australia is offering ten grants of $30,000.

If you are a d/Deaf artist or arts worker, or an artist or arts worker with disability, these grants can provide support for significant projects to extend your arts practice, networks, skills, and ambition.

Your project should be ambitious, bold, and innovative.  It should enhance your career and work, and strengthen your networks.  It must include a clear plan with the steps you will take to achieve your goals. It must also outline the structure and support you will put in place for your development to take your career or practice to the next level.

Supported activities must last no longer than two years from the proposed start date.

This initiative has been developed in response to Creative Australia research involving artists and arts workers with disability, our Towards Equity: A research overview of diversity in Australia’s arts and cultural sector  report and a review of the Council’s arts and disability initiatives 2019-2021.

Need help with your application?

Click here to contact Artists Services:

  • with any questions about this initiative
  • to submit an application in a different format, or in a language other than English
  • to arrange a conference call, or to use an Auslan interpreter service
  • if you have any other access or support needs.


Additional resources

  • Only individuals may apply to this initiative. If you are part of a group, you may apply on behalf of the group.
  • You must identify as a d/Deaf artist or artsworker, or as an artist or arts worker with disability.
  • You must be an Australian citizen or an Australian permanent resident.
  • You may only apply once to this initiative at the 9 July 2024 closing date.

You can’t apply for a grant if:

    • you received a grant from Creative Australia in the past and that grant has not been satisfactorily acquitted
    • you owe money to Creative Australia
    • you are an organisation.

You can apply for:

  • skills development
  • mentoring
  • residencies
  • creation of new work
  • creative development
  • experimentation
  • practice-based research
  • presentation and promotion
  • collaboration

Access costs are legitimate expenses and may be included in your application. We encourage applicants to ensure that their work is accessible to everyone. Therefore, budgets may also include costs associated with making activities accessible to a wide range of people (e.g. performances using Auslan, translation to other languages, captioning, audio description, temporary building adjustments, and materials in other formats).

You may apply for access costs associated with the use of an interpreter, translation services, specific technical equipment, carer, or support worker assistance. Please contact Artists Services to discuss your needs.

You can’t apply for projects or activities that:

  • do not involve or benefit practicing artists or arts workers
  • do not have a clearly defined arts component
  • have already taken place.

Applications to this initiative will be assessed by peers from the arts sector.  Most of the assessors will identify as d/Deaf or disabled.

For more information see: How we assess applications.

All applicants will be advised of the outcome of their application within 12 weeks of the closing date.

You must address three assessment criteria in this initiative.

Under each criterion are bullet points indicating what the peer assessors may consider when reviewing your application. You do not need to respond to every bullet point.

Peers will assess the quality of your proposal. They may consider:

  • the quality of the proposed activity
  • the quality of your previous work
  • public or peer responses to your work
  • the quality of your collaborators or partners
  • how your proposed activity is ambitious, bold, innovative and career-enhancing.

Peers will assess the viability of your proposal. They may consider:

  • realistic and achievable planning and resource use, with a clear plan and steps to achieve your goals
  • evidence of structure and support in place for your development
  • the relevance and timeliness of the proposed activity
  • the skills and roles of partners or collaborators, including confirmation of involvement
  • where relevant to your proposal, evidence that the Protocols for using First Nations Cultural and Intellectual Property in the Arts have been adhered to
  • appropriate payments to participating artists, arts workers, collaborators, participants, or cultural consultants
  • evidence of appropriate consultation with participants, audiences, or communities
  • the safety and wellbeing of people involved in the project, and public safety in relation to presentations or travel
  • how you have addressed access in the proposed activity
  • where relevant, evidence that you have addressed the environmental impact of your project.

Peers will assess the impact that your proposal will have on your practice and career. They may consider:

  • how your activity will extend your arts practice, networks, skills, and ambition
  • how your activity will extend the arts practice, networks, skills, and ambition of other artists and arts workers involved.

Instructions and a link to the online application form are available here.

The application form will ask you to provide:

  • a title for your activity
  • a summary of your activity
  • a brief bio of the artist or arts worker applying
  • a detailed description of your activity
  • a timetable or itinerary for your activity
  • an outline of how your activity will extend arts practice, networks, skills, and ambition
  • details of the expenses, income and in-kind support for your activity, including any access and support costs
  • supporting material relevant to your activity. This may include examples of your previous work, bios of additional people involved, and letters of support from participants or communities.

All Creative Australia grants information including guidelines and application forms are available in accessible formats upon request.

These formats include word documents, audio CD, Braille, Easy English, Auslan and large print. Please note that requests for translated materials will need to allow for a six-week turnaround.

We accept applications for all our programs in accessible formats.

Formats include Auslan, audio, video, printed, dictated, electronic and handwritten formats. Contact Artists Services to discuss your requirements.

You should submit support material with your application. The peer assessors may review this support material to help them gain a better sense of your project.

What you should provide

We do not accept application-related support material submitted via post unless you have contacted us in advance to discuss your access needs. If you think you will have difficulty submitting your support material online, or need advice on what type of material to submit, please contact Artists Services.

There are three types of support material you may submit:

1. Artistic support material

This should include relevant, recent examples of your artistic or cultural work.

2. Biographies and CVs

You can include a brief bio or curriculum vitae (CV) for key artists, personnel or other collaborators involved in your project.

Brief bios or CV information should be presented as a single document no longer than two A4 pages in total.

3. Letters of support

Individuals, groups, or organisations can write letters in support of your project. A support letter should explain how the project or activity will benefit you, other artists or arts professionals, participants, or the broader community. It can also detail the support or involvement of key project partners, or evidence of consultation.

If relevant to your activity, letters of support must provide evidence of appropriate permissions and support from First Nations organisations, communities, and Elders. Please refer to the First Nations Protocols for more information.

You can include up to five letters of support, with each letter not exceeding one A4 page.

Types of support material we accept

Our preferred method of receiving support material is via URLs (weblinks).

You can provide up to three URLs (weblinks) that link to content that is relevant to your proposal. This may include video, audio, images, or written material.

These URLs can include a total of:

  • 10 minutes of video and/or audio recording
  • 10 images
  • 10 pages of written material (for example, excerpts of literary writing).

Please note: Our peer assessors will not access any URLs that require them to log in or sign up to a platform. Please do not provide links to Spotify or other applications that require users to log in or pay for access.

If you are linking to media files that are private or password protected like Vimeo, please provide the password in the password field on the application form.

Other accepted file formats

If you cannot supply support material via URLs, you may upload support material to your application in the following formats:

  • video (MP4, Windows Media)
  • audio (MP3 and Windows Media)
  • images (JPEG and PowerPoint)
  • written material (Word and PDF).

Details of the grant recipients will be published on the Creative Australia website. These details will include the name of each recipient, their resident state or territory, the amount awarded, the panel which assessed the application (Arts & Disability panel) and the name of the round (the Arts and Disability Initiative).

Please contact Artists Services if you do not wish to have your name published.

Frequently Asked Questions

The initiative is designed to support a wide variety of arts project or career development activities, including the creation of new work, career development, mentoring, residencies, research and development presentation and promotion.

Supported activities must last no longer than two years from the proposed start date.

The Australia Council expects that all artists and arts workers employed or engaged on Australia Council-funded activities will be remunerated for their work. Peers assessing applications for the Arts and Disability Initiative will consider remuneration when they look at the viability of your activity. You should make provision in your budget for appropriate payment of artists and arts workers. For more information, refer to our policy on the payment of artists.

Artists and arts workers with disability face barriers in formal arts education and training. They have very diverse professional and career development pathways which need to be tailored to individual requirements and circumstances. Show how your project will have a positive effect on your practice and career, externing your arts practice, networks, skills and ambition of you and your collaborators. You can consider mentoring as an option (see below), or any of the following activities:

  • formal or informal training
  • feedback, critical reflection or peer review from your collaborators
  • work placements, internships or learning and development activities with an industry or organisational partner
  • structured learning and development activities with your collaborators, including peer-to-peer learning
  • workshops or time spent with Elders, senior artists or community leaders
  • documentation of your learning and development.

Mentoring is any supportive relationship that encourages the sharing of knowledge, skills and experience. Mentoring can be structured or informal and can include peer-to-peer mentoring.  Peer-to-peer mentoring assumes an even playing field and exchange of knowledge in the relationship, where everyone involved contributes and learns from different perspectives and experience. For the purposes of this initiative, mentoring is interpreted very broadly and is informed by the needs and priorities of the applicant. Our Guide to Mentoring is a useful reference.

Our staff are available to assist you in understanding the purpose of the grant, application requirements, and submitting your application. Staff can assist over email, phone, Teams, Zoom, and, where possible, in person.

We do not review draft applications. However, we can discuss any specific questions or issues you have about your application.

If you need help writing your application, we encourage you to contact one of the arts and disability peak bodies. A list of those peak bodies, along with further accessibility resources, is here.

Yes. We encourage you to submit your application using our online system. You can submit your application in any way that is accessible to you. Other formats include Auslan, audio, video, printed, dictated, electronic and handwritten format.

Contact the Artists Services team to discuss your needs well in advance of the closing date.

Applications to the Arts and Disability Initiative will be assessed by artists and arts worker across art forms and across states and territories. Most of the assessors will identify as d/Deaf or disabled.

No. You will be asked whether or not you identify as d/Deaf or a person with disability.

The information you choose to share about yourself in your application is entirely up to you. When outlining your project and your professional development activity, some applicants may choose to share information about their lived experience and how this informs their practice, access requirements, or needs and plans for professional development. There is no obligation to disclose anything other than information you feel comfortable sharing to enable the panel to assess your application.

If you are successful in receiving this funding, you will have the option of not publishing your name as a recipient of the Arts and Disability Initiative. Please advise Artists Services if you do not want to be publicly identified.

The initiative is not designed to provide indirect funding to organisations. Applications are only open to individuals and groups. Contact Artists Services if you are unsure.

Yes, but note that the initiative is not designed to provide indirect funding to organisations. Your proposal must demonstrate that the artist or arts worker with disability will have creative control of the project. Contact Artists Services to discuss your application if you are unsure.

If you are unable to complete the application form, a support worker or other person helping you with the application can sign on your behalf.

Meet the 2023 recipients

Cara-Ann Simpson is an artist, curator, cultural heritage expert and consultant, with a background as an executive director, property manager, conservation manager, and educator. She is a multidisciplinary artist with a focus on sensory engagement, digital technologies, space and the participant. Cara-Ann is engaged with cultural heritage, landscape, sensoria and how people interact with their environment.

In 2017, Cara-Ann became extremely ill, spending close to a year in hospital with an extreme brain infection, eventually being diagnosed with Multiple Sclerosis and Neurosarcoidosis. She spent a number of months in rehabilitation learning how to walk again and become stronger. During this period picking flowers and going for short walks outside became a lifeline to regaining optimism for the future and finding her way back to creating art. She currently lives with her partner Michael, and their two dogs – Sebastian and Eddie – on the lands of the Jarowair people of the Wakka Wakka nation on a farm in Queensland.

My multi-disciplinary art practice explores Critical Disability Aesthetics. As a woman with dwarfism, I work collaboratively to experiment with the representation of my embodied difference. The focus of my art to date, has been upon features and dynamics of interactions and relations within physical and social environments that define the dwarf person as an Other. By experimenting with the power of the gaze and changing point of view, I emphasise the politics of visible difference. Employing the mediums of performance, video, VR, photography, and sculpture, my oeuvre has evolved to culminate in cross art-form works. I explore the capacities of each medium to communicate a different and dynamic perspective of lived experience.

My approach to Critical Disability Aesthetics experiments with shifting point of view to engage with and immerse participants and audiences into my world. I constantly challenge traditional stereotypes about those who look different, and to date, the subject of my work in this endeavour is my lived experience. As my art practice evolves, I aim to move beyond the perspective of the individual. My current works explore the experiences of those who share my body type from the four corners of the world, different gender identities, ages, strata of society and those at intersections of disadvantage. Experimenting further with cross art-forms – visual and auditory – I aim to produce work that invites audiences to engage with these different perspectives and points of view to gain new insight and understanding of what it is like to be “a different kind of different”.

As an artist and academic my experimental approach to Critical Disability Aesthetics has been exhibited in both National and State galleries and festivals, published in chapters, discussed in interviews, presented at conferences and workshops.

I am a lecturer at Western Sydney University in Humanitarian and Development Studies, and my first PhD was in Psychology on the subject of Dehumanization. Currently studying for my second PhD in Visual Arts at Art & Design UNSW, my research focuses upon developing a Critical Disability Aesthetic through the representation of the female dwarf.

My practice is primarily focused on projects that involve story-telling at their core and reveal unique perspectives. First beginning in the screen industry, I am quite organically moving into theatre and performance-making. In 2020 Back to Back Theatre invited me to work as an associate producer for five months in the lead up to their first feature film Shadow. The film was created in collaboration with an ensemble of actors with perceived intellectual disabilities. Intertwined with the making of the film was an ambitious internship program, which I helped set up and run. The program supported 30 artists identifying as having a disability to work as paid interns across all departments. Back to Back have since employed me as a Guest Artist and Research Consultant, and have asked me to represent the company and film in Athens, New York City and Norway.

This project will develop a new work, INFLUENCE, exploring the effects of social media and publicity on our daily life and interactions with others. I will develop the new work alongside my professional skills in three phases:
1: Month-long Professional Development Residency with Back to Back Theatre;
2: Artistic Research Residency with Mammalian Diving Reflex;
3: Final writing phase, with mentorship by Rhian Hinkley.

Emma Holland is a 35-year-old comedian, writer and aspiring screenwriter living with cerebral palsy. She made her comedy debut in 2020 and from there has seen her career go from strength to strength taking out joint first place in the National Final of the Raw Comedy Competition at the Melbourne International Comedy Festival in 2022. Later that year she was invited to take part in a writers’ room for Wil Anderson’s ABC panel show Question Everything (produced by CJZ). She had an incredible 2023 so far being invited to give a TEDX talk (2022) as part of their TEDX Byron Bay Women programme where she shared her experience of owning her sexuality as a woman living with disability.

This funding will support a live show & creative screenwriting development, promotion and accessibility project.

Dr Bon Mott is a transdisciplinary artist, curator, and educator based in Naarm (Melbourne). Their artistic practice revolves around site-specific process-driven sculpture installations incorporating performance art, drawing inspiration from Indigenous and Western European science of lightning.

The project supports R&D into the science of lightning to create and document process-driven installations and activations. This is a one-year transdisciplinary research-based project with an outcome of mixed-media ceiling installations and activations. Through the intersection of art and personal experience, the project focus is the science of lightning informed by my nonbinary identity and neurological disability. The project involves research and development in the studio, on the ancient lands of Australia and building upon existing relationships of trust and collaboration with artists and arts workers, fostering a fast response and creating a diverse network of collaborators through mentorship from First Nations creatives and lightning and cosmic ray scientists in and Turtle Island (USA) to expand my networks while creating innovative artworks that explore themes of identity, science, and social change.

A killer music director, MC, composer, sound designer, DJ, music dramaturg and performance maker, Kim ‘Busty Beatz’ Bowers has been making fearless art to activate, pollinate and liberate for over 30 years. Of Xhosa heritage and living on Yuggera country, she creates sonic experiences intersecting disciplines, politics and soundlines with a focus on giving voice to stories which are unseen and unheard.

This project supports Bowers to research and develop ‘Confessions of the Brutally Blessed – A Survival Handbook’ giving voice to the untold story of Legacy, Medicine, and Revolution. By developing a series of electrifying performances, theatrical captures and sonic collaborations, this new work is a journey of love, loss, death and joy as Busty Beatz confronts her past, present, and future after being diagnosed with Breast Cancer, undertaking chemotherapy and a left breast mastectomy. With themes of body sovereignty, historical pathologising of Black Female Body throughout medical history and finding joy, ‘Confessions of the Brutally Blessed’ is an honest and unflinching exploration of what it means to be an artist living in the space known as the in-between.

Luke is a director, movement, and multi-disciplinary artist. Luke is also an artist living with Down Syndrome and he is not happy about it. He longs to be seen and critiqued as an artist – not as an artist living with a disability. In III he is putting his art to the test through anonymity, abstraction and distance.

III is a trilogy of cross art form investigations directed by Luke John Campbell. In the winter of 2025 The CHAIN [2021], The BRIDGE [2022] and the BOND [2023-24] will be presented in a fully immersive experience at Plimsoll Gallery at the University of Tasmania School of the Arts Hobart Campus. Through the use of performance, installation, motion capture, audio and video manipulations, III confronts reality, space, time and the ties between place and people. The work explores the conceptual space between who we think we see and our expectations of them; Where we think we are and where we belong. Viewers are invited to question what and who they are seeing and consider whether they judge a book by its cover.

Destefano is a Deaf multi-disciplinary artist living and working in Victoria. She works with performance art, dance performance, sculpture, textile, poetry and Auslan poetry, drawing and painting. She recently completed a Masters of Contemporary Art at VCA at Melbourne Uni. She moved towards multi-disciplinary practices in 2019, delving into her Deaf history and experiences to realise there was a lot of unresolved issues with the Deaf community around oppression, audism, and displacement and her personal experiences as a Deaf person.

This project involves developing a large scale works on paper through a printmaking residency informing her perspectives. Her project will focus on informing her personal perspectives and experiences using drawing, painting and printmaking practice, including textile elements on a large-scale watercolour paper around 3-4 m long and 1 m high. She will be exploring and unpacking her identity and issues with housing using houses and buildings as stories on paper. She will be in residency using the printmaking facilities at Baldessin Press in St Andrews, Melbourne to develop further her printmaking skills under the mentor support of Silvi Glattauer and to create the new work at Baldessin in July 2024.

Coddington is a disabled artist practicing opera in Sydney. As a part of her performance practice, she recently finished a Bachelor’s Degree on full scholarship and with first class honours at the Sydney Conservatorium. She has also recently completed a Diploma of Language Studies at the University of Sydney. She has several performances lined up, including Mrs Grose in Britten’s ‘The Turn of the Screw’, and Donna Elvira in Mozart’s ‘Don Giovanni’. She is also undertaking private study with teachers from the Sydney Conservatorium of Music in the interim between her bachelor’s and master’s degree.

She is planning to undertake a Masters of Arts (Vocal Performance) commencing in September this year at the Royal Academy of Music, London, with a partial scholarship. She will be working with some of the most esteemed pedagogues and professionals from the international opera community in order to continue to further foster her development as a young opera singer. She will be working closely with international mezzo-soprano Catherine Wyn-Rogers as her teacher, as well as a number of other professionals including Yvonne Kenny AM for the study of Mozart and Handel arias and Kate Paterson as the head of vocal studies. The program will run for two years, and will lead her to further opera study or work.

Major’s artistic journey spans over a decade and includes significant international recognition in contemporary dance. He’s had the privilege of working with renowned dance creators including Akram Khan, Sidi Larbi Cherkaoui, Russell Maliphant, Hans van den Broeck, Damien Jalet, and Hofesh Shechter. His drive is to create and present surprisingly real dance works to diverse audiences, with a “local focus, global outlook” ethos. He runs a project-based dance company – the only disability and First Nations-led arts organisation in the country, from his home base in regional SA.

This project is a 12-month mentorship with acclaimed artistic director and choreographer, Russell Maliphant OBE. It involves a comprehensive development of artistic skills, leadership capabilities, and capacity building for international arts leaders. Activities include structured professional development sessions, individual project creation, and guidance in operating a 21st-century dance company. The mentorship includes a blend of physical and virtual interaction, with periods spent in the UK and Australia. The outcome is a new choreographed work, international repertoire of a global standard performed by Australian artists with a disability with performance outcomes, and refined operational strategies for his dance company, contributing to the global dance arts landscape.

Knowledge Series: LinkedIn for Fundraisers with Michelle Stein

Our master course in arts fundraising. Presented by leading Australian and international experts, these webinars cover essential fundraising topics contextualised and relevant to the Australian cultural landscape.

Creative Australia’s Knowledge Series: The 11 Questions Every Donor Asks & The Answers All Donors Crave

Our master course in arts fundraising. Presented by leading Australian and international experts, these webinars cover essential fundraising topics contextualised and relevant to the Australian cultural landscape.

Introduction to the Creative Futures Fund

Us And All Of This by Liesel Zink. Photo by Mark Gambino

The Creative Futures Fund will invest in the telling of Australian stories. The Fund is open to all art forms. In selecting the recipients, Creative Australia will curate a portfolio of creative works across art form, geography, level of investment, outcome type and risk.

About the Fund

The Creative Futures Fund is an initiative of the National Cultural Policy – Revive: a place for every story, a story for every place referenced in the Policy as “Works of Scale”.

The Fund will support the creation and sharing of Australian stories, and new ways for people to engage with them.

The Fund is not a traditional grant program. It is a new way for Creative Australia to invest to support artistic works that build partnerships, drive engagement, and attract other sources of revenue and investment.

We are seeking great ideas that are genuinely innovative and unexpected. This includes new works and projects that may leverage existing intellectual property. The investment available is significant, but scalable depending on your ambition and context. We want to know what that investment will help you do, that might not otherwise be possible.

The fund will only support stories that are uniquely Australian, for example the intellectual property must be majority owned by Australian creatives, be an Australian concept, with subject matter relevant to contemporary Australia.

We will ask you to articulate what engagement means to you, your context and your artform – who you are planning to reach and connect with through this new work and how you plan to do this.

The Fund will be adaptive, responsive, and flexible to meet the needs of the sector. This investment will support all art forms and may change its emphasis over time.

In the first year of the Fund (2024/25) we will prioritise applications:

  • from organisations that demonstrate genuine and robust partnerships with artists and creative workers of calibre
  • that demonstrate how Creative Australia’s investment will leverage other sources of income
  • that leverage existing Australian work and intellectual property, capitalising on previous investments
  • that create new connections and partnerships in and outside the creative industries, and the public, commercial and private sectors
  • that support genuine innovation for artists, audiences, and communities.

For updates on the Creative Futures Fund, sign up here.

In this first cycle of the investment in 2024/25, two streams of investment will be offered to Australian organisations only. Organisations must be legally constituted and registered or created by law. Sole traders, unincorporated groups, and partnerships cannot apply.

Applications will be prioritised for those organisations who are genuinely working in partnership with a range of collaborators and artistic individuals.

  • Development Investment: This stream will support the development of new ideas, the adaptation of existing works, and/or allow you to test the market. Individual investments of between $50,000 – $250,000 will be negotiated
  • Delivery investment: This stream will support the delivery of new works, including adaptation, building partnerships, securing co-investment, realising and sharing the work, and achieving impact. Individual investments of between $250,000 – $1,500,000 will be negotiated.

Please note that this is not a pipeline fund. Support for the Development Phase does not necessarily indicate ongoing support for the Delivery Phase in later rounds.

Applications to both investment streams will be accepted and assessed in two stages – an initial Expression of Interest, with a small number of organisations invited to submit a full application.

In selecting the final cohort of recipients, Creative Australia will curate a portfolio of creative works that may be varied in art form, geography, level of investment, outcome type and risk.

Creative Australia will negotiate bespoke investment agreements with successful applicants, reflecting the context of each application. This will include the level and scheduling of investment, special conditions, and financial / non-financial deliverables.



Activity Dates
Stage 1: Expressions of Interest open June 2024
Stage 1: Expressions of Interest close 6 August 2024
Stage 1: Notifications of outcomes and invitations to Stage 2 October 2024
Stage 2: Full Application round opens (invitation only) October 2024
Stage 2: Full Application round closes 3 December 2024
Stage 2: Notification of outcomes February 2025


Become a Peer Assessor

We are now accepting applications for people to join our Pool of Peers for a three-year term.

WAO 2022, Koolbardi Wer Wardong, Kalgoorlie. Copyright: Mellen Burns

What is a peer assessor?

A peer is anyone who has sufficient knowledge or experience of the arts sector to make a fair and informed assessment of applications for funding. You may have developed this knowledge and experience as a practising artist, creative worker or industry expert in one or more art forms.

Each year, Creative Australia invests in arts organisations and individual artists across the country. Peers bring expertise, knowledge of the arts, and independence from the Australian Government to grant decision making. Peer assessment and arm’s length funding are guiding principles of Creative Australia. They ensure that funding is offered to artists and arts organisations whose proposals, in competition with those of other applicants and within budget constraints, demonstrate the highest degree of merit against the published assessment criteria.

Peers will serve for a three year period – from the start of 2025 until the end of 2027.

This opportunity is open to:

  • Australian citizens or Australian permanent residents
  • people who are practising artists, creative workers, or advisors to the arts industry
  • people with an in-depth understanding of the arts sector and current art form practice, including international trends and markets, or with specialist knowledge of an area of arts development or capability building.


Creative Australia is committed to increasing the diversity of the Pool of Peers.
Applications from First Nations people, d/Deaf people or people with disability and people based in regional and remote Australia are greatly needed on all our panels. We also strongly encourage applications from younger people, older people, as well as people who identify as culturally and linguistically diverse.

Creative Australia receives many more highly suitable applications to the Pool of Peers than there are opportunities.

Some art form areas and locations attract a particularly high volume of applications to the Pool of Peers.

Creative Australia staff review applications and shortlist a Pool of Peers with the skills and knowledge to assess applications to our grant programs.

We consider the balance of representation across all areas, including location and art form, when shortlisting peers.

Creative Australia staff will:

  • review applications
  • shortlist a Pool of Peers with skills and knowledge best suited to assess our investment programs
  • recommend that the Creative Australia Nominations and Appointments Committee and Board appoint the shortlist.

The Pool of Peers is formally approved by Creative Australia’s Board (now known as the Australia Council), and the names of the peers are published on our website.

You will need an account to use our Application Management System. It can take up to two business days for a new account to be approved. If you have an account already you can log in. You will need to create and submit your application from a desktop or laptop computer.

  1. Click on the ‘Apply Now’ button at the top of this page to go to our Application Management System.
  2. Login (or register as a new user if this is your first time)
  3. Select ‘Apply for a grant’ from the left panel menu. From the list of opportunities select ‘Apply to be a Creative Australia peer’.

In the application form, you will be asked:

  1. which art form/s you are best qualified to assess
  2. to include a brief biography and work history
  3. what groups of people you have experience working with
  4. to provide contact details for at least one referee who can speak to your experience on the selected panel. A second referee is optional
  5. whether you require any additional support or have access requirements
  6. to confirm that you have read the Peer Handbook.
  1. to confirm that you are aware that applying does not guarantee you will be selected to be a peer.

Creative Australia has ten peer assessment panels:

  • First Nations
  • Arts and Disability
  • Community Arts and Cultural Development
  • Dance
  • Experimental and Emerging Arts
  • Literature
  • Multi-Art Form
  • Music
  • Theatre
  • Visual Arts

You may nominate up to three panels in your application that most match your expertise. You can only submit one application.

Government Touring Initiatives

Creative Australia also administers government initiatives that support touring to regional and remote areas, including the Contemporary Music Touring Program and Playing Australia.

If you believe your experience is suitable you can nominate to assess for these panels in the application.

Please contact the Assessment team via if:

  • you would like these guidelines in another format
  • you want to submit your application in a different format including video, audio, Auslan or other form.

You can also read more about accessible application formats on our Accessibility page.

We are available to assist you in understanding the role of a peer, the application requirements and how to submit your application. We do not review application drafts.

Please contact us if you would like to discuss the support available. Email the team at or book a time to chat with us booking form link

If you need help to speak or listen use the National Relay Service.


Emma Bennison – facilitator

Emma is the past CEO of Arts Access Australia and Accessible Arts. Emma is an artist and passionate advocate for the arts.

Sofya Gollan – panellist

Multi-disciplinary artist, writer & director, Sofya Gollan, is an award-winning filmmaker and a graduate from both NIDA and AFTRS. As an actor she has worked with the Sydney Theatre Company, the National Theatre of the Deaf USA, but is best loved for being on Play School for over 30 years.

Georgia Mokak – Creative Australia panellist

Georgia is a proud Djugun woman from Rubibi (Broome), raised as a visitor on Ngunnawal and Ngambri Country, and has continued to grow as a guest on Larrakia, Wangal and Gadigal Country.

Her practice in producing, advocacy, policy and education is rooted in First Nations futurisms, cultural safety, and intergenerational/intercultural collectivity.

Georgia is a past peer assessor and now works for Creative Australia as Manager First Nations Development Programs, Industry Development.

Christopher Bryant – Creative Australia panellist

Christopher is an Artists Services Officer and works with artists from the application stage through to acquittal. He has a particular focus on theatre and disability arts.


Picture this. You apply to be a peer assessor, and your application is accepted. Then you are invited to assess your first funding round. Perhaps you have mixed emotions. You feel honoured to be able to elevate artists doing groundbreaking work; you are anxious to make the best decisions possible; depending on how confident you’re feeling, maybe you question whether you have enough experience or credibility to be at the table.

Now, imagine you are a First Nations artist, an artist with disability, an artist from the LGBTQI+ community, an artist from a culturally or linguistically diverse background. You might even identify with several of these experiences. Not only are you likely to be experiencing all of the uncertainties associated with being a peer for the first time, perhaps these feelings are magnified because you’ve experienced your share of discrimination and microaggressions. On top of that, you know that you will likely be the only person in the room representing your lived experience, so you’re feeling the pressure mounting. Then it dawns on you that you need to share your access requirements with Creative Australia so you can participate fully in the assessment process.

If all that sounds like a lot to contend with, it certainly can be. But fortunately, Creative Australia actively works to diversify its peer assessment panels and is committed to creating a safe and supportive process which encourages peers to explore with Creative Australia what support they need to bring their whole selves to the assessment process, even if they’re unsure what assistance they require. Creative Australia recently produced a webinar on accessible peer assessment, where peers explained how they navigated the assessment process and how their access requirements were met. Creative Australia staff also shared observations about how diversity on assessment panels enhances the process across the board.

While no organisation is perfect when it comes to accessibility, the webinar highlights Creative Australia’s progress to date and its commitment to continuous improvement. So if you’re considering applying to become a peer, or if you’ve assessed before but need guidance about how to ask for what you need, this webinar could be for you. Our hope is that hearing directly from your peers and from Creative Australia staff about how to navigate the process reassures you that the support you need is available and that your perspectives are valued and sought after.

Emma Bennison, past CEO of Arts Access Australia and Accessible Arts

In this session you will learn what is a peer, and hear from three peers about their experience and what they gained.
  • Host: Pip Wittenoom, Director Project Investment.
  • Panellists: Kevin Ng and Ali Cobby Eckermann (current peers) and Dane Hunnerup (past peer and Artist Services Officer).

This webinar was held on Thursday 21 January 2021 at 12:30pm.

The session provides an overview of the peer’s role in the assessment process and how best to approach it.
  • Panellists: Nardi Simpson, Lucy Mendelssohn, Wenona Byrne and Patricia Adjei.

This webinar was held on Tuesday 24 August 2021 at 12:00pm.

Frequently asked questions

The term for a peer assessor is three years. The new term begins at the start of 2025 until the end of 2027. It’s up to you to decide whether you’re available to take part each time you’re called upon.

During that time, peers can expect to be invited to participate in one to six assessment meetings.

Depending on the panel, peers will assess between 20–120 applications.

We aim to allow peers four to five weeks to read and score the applications.

One application can take 15–30 minutes to read and score.  Please note this will vary depending on your reading pace and working style. Peers become more adept the more meetings they participate in, as you grow more familiar with the criteria, guidelines and process.

Previous peers describe the time commitment required in these interviews.

All meetings are held online using Microsoft Teams or Zoom.

For more information on workload, please refer to the Peer Handbook.

Peer fees are determined based on the number of applications assessed plus the length of the meeting.

We pay superannuation in accordance with the Superannuation Guarantee (Administration) Act 1992.

We don’t provide formal training; however, peers are offered a technical induction to help navigate the online Application Management System and the Microsoft Teams program, which is where the online assessment meeting will take place. Peers also attend a pre-meeting group induction with their fellow peers and Creative Australia staff. You will be paid to attend this meeting.

We will provide a scoring guide for the category you are assessing, a step-by-step guide for using the Application Management System, as well as guidance around protocols and other supporting information as required.

Your Assessment Officer can assist you with any enquiries.

If you’re based overseas, you need to be an Australian citizen or resident and have a current understanding of the Australian creative sector. You need to be able to attend meetings in AEDT/AEST time. We encourage you to chat with us before applying.

Absolutely. We welcome applications from younger people with an in-depth understanding of an art form. Your perspective is vital to a balanced panel.

Once you submit your application, we will send you an email confirming we have received your application.

We will notify you of the outcome of your application by email in December 2024.

We work closely with our peers to understand access needs and create plans as required.

Please refer to our website for things we have helped with in the past and refer to our webinar on access.

We are always open to new ways of working with our peers and encourage you to tell us how we can best support you through the assessment process.

This can include things like:

  • Auslan interpretation
  • captioning
  • having a support person and/or carer attend the assessment meeting with you
  • support finding a suitable space to assess and attend the assessment meeting for you and/or your support person or carer.

We can also provide support for childcare, cultural practices and internet access.

Please contact us if you would like to discuss the support available. Email the team via or book in a time with us to have a chat.

If you need help to speak or listen use the National Relay Service.


No, however you will not be able to sit on the panel you have submitted an application to.

Assessment meetings are held online using Microsoft Teams or Zoom.

Creative Australia receives many more highly suitable applications to the Pool of Peers than there are opportunities.

Some art form areas and locations attract a particularly high volume of applications to the Pool of Peers.

We consider the balance of representation across all areas, including location and art form, when shortlisting peers.

If you are not selected as a peer in the next pool, there may be an opportunity for you to assess as an industry advisor.

Industry advice is another assessment model we use at Creative Australia. Industry advisors assess targeted opportunities and awards, advising Creative Australia staff on the most competitive applications based on a deep, practical understanding of their field. Creative Australia staff, and in some cases Creative Australia’s Board (now known as the Australia Council) or a co-investment partner, determine which applications will be supported based on this advice.

Fundamentals of Arts Fundraising (Yugambeh/Gold Coast)

Understand the foundations of arts fundraising to build greater sustainability for arts organisations and artists.

Philanthropy Australia: National Conference Attendance Subsidy

We’re offering 20 mid-to-senior career arts fundraisers and/or CEOs the opportunity to attend and participate in Philanthropy Australia’s National Conference.

Creative Australia is offering 20 mid-to-senior career arts fundraisers and/or CEOs the opportunity to attend and participate in Philanthropy Australia’s National Conference.

The conference will be held between 5-7 August 2024 at the Adelaide Convention Centre. Sessions will include masterclasses, breakout workshops and plenaries delivered by high-profile speakers from across Australia and around the world.

More than 700 delegates are expected to attend the event in person including philanthropists, senior philanthropy and not-for-profit professionals, and leaders from the business, academic, media and government sectors.

This opportunity is for mid-to-senior career arts fundraisers and/or CEOs with a fundraising role representing an arts organisation with an established fundraising program.

This opportunity includes:

  • A pass to the three-day conference (valued at $2,000)
  • A travel subsidy of $1,200, paid to successful applicants outside of Adelaide to contribute to travel and accommodation expenses. Any additional transport and accommodation costs will be the responsibility of the participant.

Applicants must be employed in a role that includes fundraising or development and have at least 3 years of experience as a fundraiser or CEO with a fundraising role.

Applicant organisations must:

  • Be based in Australia and carrying out most of their arts activity or practice within Australia
  • Be a legally constituted entity (with an ABN)
  • Be registered as a not-for-profit organisation, as defined by the Australian Taxation Office (ATO)1, and;
  • Be operating with the primary purpose of providing arts and cultural opportunities for Australian artists and audiences.

[1] Definitions of not-for-profit entities may be found on the ATO and ASIC websites.

Creative Australia is committed to increasing the diversity of leadership in our sector. We strongly encourage applications from First Nations peoples, people with disability and people who are d/Deaf, culturally and linguistically diverse people, LGBTQIA+ people, young people and older people, and those based in regional and remote Australia. We also acknowledge that identity is intersectional and encourage people at intersections of these identities to apply.

All expressions of interest (EOI) must outline:

  • Your organisation’s primary purpose
  • How attending the conference would support your fundraising goals
  • What are your top three reasons for wanting to attend
  • How do you imagine implementing your attendance into your future work
  • Your history of fundraising training.

Assessment of EOIs will be conducted by Creative Australia’s Development & Partnerships Division.

Before you submit your EOI, read these guidelines thoroughly and contact our programs staff with any questions, or if you require assistance with access. To start your EOI, click here.

Your EOI can be saved and edited at any time until the deadline. Once submitted, you cannot make further edits or amendments.

Fundamentals of Arts Fundraising (Mparntwe/Alice Springs)

Understand the foundations of arts fundraising to build greater sustainability for arts organisations and artists.

Fundamentals of Arts Fundraising (Melbourne)

Understand the foundations of arts fundraising to build greater sustainability for arts organisations and artists.

Australian Cultural Fund

A fundraising platform for Australian artists. Upload your project, start your fundraising campaign and invite art lovers and supporters to donate with 100% of donations going directly towards your creative project.

Prime Minister’s Literary Awards 2024

Entries have now closed for the richest literary prize in the nation, in six categories: fiction, non-fiction, young adult literature, children’s literature, poetry and Australian history.

About the Prime Minister’s Literary Awards

Entries have now closed. Subscribe here for updates on the richest literary prize in the nation, with awards in six categories: fiction, non-fiction, young adult literature, children’s literature, poetry and Australian history.

The Prime Minister’s Literary Awards were established in 2008. They recognise individual excellence, and the contribution Australian authors make to the nation’s cultural and intellectual life. Initially with two categories of non-fiction and fiction, in 2010 the young adult and children’s literature categories were introduced, with the addition of the Poetry category in 2012 and the incorporation of the pre-existing Prime Minister’s Prize for Australian History.

This is the second year that the awards have been delivered by Creative Australia, following the release of the Australian Government’s 2023 National Cultural Policy, Revive: a place for every story, a story for every place.

This is an annual Award which accepts books published in the previous calendar year. Entries are sought for books of high literary merit, and in the case of the Prime Minister’s Prize for Australian History, outstanding works of scholarly accomplishment that contribute significantly to an understanding of Australian history.

The Prime Minister’s Literary Awards are the richest literary prize in the nation, with a tax-free prize pool of $600,000 in recognition of the outstanding literary talents of established and emerging Australian writers, illustrators, poets, and historians.

Awards are presented in six categories: fiction, non-fiction, young adult literature, children’s literature, poetry and Australian history. Up to $100,000 will be awarded in each category—$80,000 for the winning entry and $5,000 each for a maximum of four shortlisted entries. All prizes are tax-free.

Works may be entered by publishers, literary agents, authors or, in the case of the Australian History category only, producers or broadcasters. The person submitting the entry must ensure that the author or producer’s consent is obtained before entering the work.

There is no entry fee for the Prime Minister’s Literary Awards.

A list of previous recipients is available here under Previous shortlist and winners.

  • Australian citizens or permanent residents of Australia.

Eligible entries must be:

  • by a living Australian author (at the time of the closing date)
  • the work of the named author/s and creator/s (not ghost written or produced primarily by AI)
  • created by no more than two authors or one author with one illustrator or photographer, however books that are the collective work of a community group or a community group and named authors, illustrators and/or photographers may be eligible
  • in the case of children’s books, created by no more than two authors and one illustrator or one author and two illustrators, however books that are the collective work of a community group or a community group and named authors, illustrators and/or photographers may be eligible
  • first published or released between 1 January 2023 and 31 December 2023
  • made available for general sale, broadcast or distribution in Australia between 1 January 2023 and 31 December 2023
  • available to the public via more than one distribution outlet
  • published or produced in the English language
  • deposited to the National Library of Australia (and relevant state library/libraries) as is required for legal deposit under the Copyright Act 1968. For more information on this criterion please refer here.
  • edited by a professional editor.

For Australian History, eligible works include:

  • print media, including a published book, website, journal or magazine; an interactive or online project; a film or documentary for any form of distribution (including television, cinema, online, or radio); other forms of multimedia; or a series of these
  • themes of historical events, historical figures (including biographies) and significant concepts or issues
  • a series or group of works published within the allowed timeframe.

For Literary non-fiction, eligible works include biographies, autobiographies, histories, philosophy, literary criticism and works dealing with contemporary issues.

For Children’s Literature, books with up to three creators are eligible. This must be either two authors and one illustrator or one author and two illustrators. Works consisting of images or pictures only, with no text, are eligible.

Please note:

  • books must have an International Standard Book Number (ISBN)
  • books primarily published electronically must be available in hard copy format to provide to judges
  • books that are the collective work of a community group or a community group and named authors, illustrators and/or photographers may be eligible. All contributors must be individually identified as a co-author of the book in the application form, and the work must meet all other eligibility criteria
  • authors and producers must consider any legal risks associated with their work, particularly in relation to copyright and defamation law
  • for works of joint authorship, or for works created collectively by a community group, each key creator must be identified on the application form and will receive an equal share of any prize money awarded
  • if a shortlisted or winning entry is entered by a registered organisation, the prize money will be awarded to the registered organisation. Each identified (key member) should receive an equal share of the prize money
  • works should consist of primarily new material, or work that has been collected for the nominated book for the first time
  • where a public sector organisation (such as an arm of the Australian Defence Force or a state or territory government department) wins or is shortlisted, no prize money will be paid.

Committees or corporations (unless the work is a non-book entry for the Australian history category).

The following are not eligible:

  • second edition books
  • published or electronic versions of books originally released in a previous calendar year
  • works consisting primarily of photographs or illustrations that include only limited descriptive text or captions
  • biographies of, or works by, current (at the time of entry) members of an Australian or foreign parliament or executive
  • books that are collections of essays or stories by multiple contributors, compiled by an editor, that acknowledge the work of the authors in their own right
  • collected works of more than two poets
  • single poems, unless they are a novel length work of verse
  • books generated wholly by AI.
  • Eligible applications to the six award categories will be assessed by up to 4 judges per category, including authors, and academics.
  • This means that award decisions are made at arm’s-length from the government.
  • Applicants with entries that are deemed ineligible will be advised by email.
  • Judges are appointed by Creative Australia on an individual basis and not representative of any organisation or entity.
  • Judges will recommend one winning title and an additional four shortlisted titles (five titles in total) in each category.
  • Judges reserve the right to transfer a work into another category if they deem it to be more suited to another category.
  • The judges may at their discretion call for eligible works which have not been entered in the Awards.
  • The judges reserve the right not to recommend a particular Award in any year if they consider that the entered works are not of sufficient merit.
  • The judging panels will make recommendations to Creative Australia, with decisions to be endorsed by the Creative Australia Board.
  • No feedback will be given on individual entries.
  • The Prime Minister’s Literary Awards categories of fiction, non-fiction, poetry, children’s literature and young adult literature will be awarded to the applications deemed to possess the highest literary merit.
  • In illustrated works for children, the literary and artistic merit of the work as a whole will be considered by the judges.
  • The Australian history category will be awarded for the most outstanding contribution to an understanding of Australian history.

Application forms can be found and are submitted through our online system. If you are using the system for the first time, you will need to register your details before filling out an application form.

The type of questions we ask you in the application form include:

  • your name and contact details
  • confirmation that the applicant is an Australian citizen
  • which Award category you are entering the work in
  • the date the work was first offered for sale
  • the ISBN of the work
  • the date the work was first offered for sale
  • a brief summary of the work
  • publisher/agent details
  • details for any cocreators.

You must send five (5) published copies of the relevant work to Creative Australia by the closing date for your application to be eligible for consideration. We may ask for an additional two (2) copies if your entry is shortlisted. If you are entering a recording or documentary for the Prize for Australian History you must send us five (5) copies of your entry in a format that can be provided to the judges. We may ask for an additional two (2) copies if your application is shortlisted. Please send the copies to:

Prime Minister’s Literary Awards
Creative Australia
Level 5, 60 Union Street
Pyrmont NSW 2009
Phone: (02) 9215 9000

Please note: the submitted copies of works become the property of Creative Australia and will not be returned to the entrant.

Additional material must be submitted by the closing date to support your application.

The judges will review support material against the assessment criteria.

You must submit the following support material with your application:

  • a summary of the relevant work, which will be used for promotional purposes if the work is shortlisted (up to 100 words)
  • an image of the book cover artwork (300dpi)
  • a biography or biographies of relevant creative members on a single document with no more than 100 words per person listed
  • an image of relevant creative members.

All images provided with the application must be at least 7.5cm by 11.5cm and 300dpi resolution.

We accept support material for the Award in the following formats:

  • images (JPEG)
  • written material (word or PDF).

Applications submitted after the closing date will not be accepted.

Frequently asked questions

Shortlisted entries will be announced in mid-July 2024.

Category winners will be announced in September 2024.

Unsuccessful applicants will be notified via email.

Sign up here for updates on the Prime Minister’s Literary Awards.

On subsequent printings of shortlisted or winning works, publishers may print (as relevant):

  • 2024 Prime Minister’s Literary Awards Shortlist
  • Winner of the 2024 Prime Minister’s Literary Awards
  • 2024 Prime Minister’s Prize for Australian History Shortlist
  • Winner of the 2024 Prime Minister’s Prize for Australian History.

Artwork is available on request.

The prize money is deposited into the winning and shortlisted recipient accounts shortly after the winners are announced and following receipt of bank account details.

The cash prizes awarded as part of the Prime Minister’s Literary Awards are not assessable as income under either section 6.5 or section 10.5 of the Income Tax Assessment Act 1997, or under paragraph 26(e) of the Income Tax Assessment Act 1936. In accordance with section 9-5 of the A New Tax System (Goods and Services Tax) Act 1999, no supply is made in connection with the receipt of the prize so the prize is not subject to GST.


International Market and Audience Development

Up to $10,000 matched funding to support international promotional and content creation activities.

About the program

The Music Australia Export Development Fund forms a bold partnership between the Australian Government and the Australian music industry – a matched funding initiative, designed to provide financial support to a diverse range of Australian artists at distinct phases of their international careers. 

The program has been developed to support emerging, breakthrough and established acts and is made available to Australian citizens or permanent residents who are current practicing music professionals. This includes solo artists, instrumentalists, bands, ensembles, DJ/producers and electronic artists, producers, songwriters and composers.

The International Market and Audience Development fund (Category 3) is designed to support activity that includes international promotional and content creation activities with matched funding of $2000 to $10,000. Find out more in What you can apply for  

Information session

Watch our webinar information session (here or below) with Music Australia Director Millie Millgate and Council member Danielle Caruana (aka Mama Kin) to learn more about the scheme and how to apply.

To guide initial investments, the Music Australia Council endorsed the following definition of ‘contemporary music’, which you must meet to be eligible. 

“Australian contemporary music is any genre or subgenre of music currently composed, written, produced by Australians and licensed, recorded, presented, and distributed through commercial and non-commercial activity. For the purposes of Music Australia’s initial investments, the focus will be on musical works that are new, original and relevant to contemporary Australia”.  

If you don’t meet the definition above for contemporary music, you may be eligible to apply for our Arts Projects for Individuals and Groups, Arts Projects for Organisations, or International programs.

  • Activity must start between 2 October 2024 and 1 January 2025, and be completed within 12 months. 
  • An applicant can submit a maximum of one application to each category of the Music Australia Export Development Fund.
  • The budget in your application needs to demonstrate matched funding (see ‘What we mean by matched funding’ for more information).
  • Your activity must meet the following definition of contemporary music: “Australian contemporary music is any genre or subgenre of music currently composed, written, produced by Australians and licensed, recorded, presented, and distributed through commercial and non-commercial activity. For the purposes of Music Australia’s initial investments, the focus will be on musical works that are new, original and relevant to contemporary Australia.”
  • Open to Australian artists, composers, creators individually or in groups.
  • Organisations and music businesses may apply on behalf of their artists.
  • First Nations applicants are encouraged to apply as additional investment will be made available to support First Nations artists across all three categories.

You cannot apply for this grant if:

  • You have already submitted an application to this category
  • You have an overdue grant report
  • You owe money to Creative Australia
  • You have applied to our Arts Project grant rounds for the same activity.  

You must complete a budget using this template. Submit the completed form as support material with the title ‘[Applicant Name] – Budget Detail Form’. Your application will be ineligible if you do not upload a completed budget form. 

Using the template, calculate your income and expenses then carefully transfer the green shaded total amount from the template to the Music Australia request field in the application form. 

Your budget does not need to have a net zero balance, but we ask that you explain your budget surplus or deficit in the spreadsheet if applicable.   

The budget in your application needs to demonstrate matched funding. Every application (individual, group, organisation or company) must demonstrate that they are contributing an amount equal to, or more than, the total funding request, ensuring that the co-investment by industry is, at a minimum, matching the Government’s investment.

What we mean by ‘matched funding’:

  1. You are required to match the Music Australia Export funding for your project on at least a 50:50 basis.
  2. Your share of project costs is 50% of eligible expenditure up to the maximum grant limit and all remaining costs not met by the grant.
  3. You cannot use in-kind (non-financial) contributions for matched funding.
  4. You cannot use other government grant sources to match the Music Australia Export grant.
  5. You will need to provide documentary evidence of your ability to fund your share of project costs in your support material.

Evidence might include:

  • Advanced ticket sales for upcoming tour
  • Festival guarantees
  • Previous tour reconciliations.
  • Advance from a label or publisher
  • Merchandise sales
  • Upcoming or past royalty payment
  • Commitment to a future sync placement
  • Available bank balance.
  • Crowd funding (including Australian Cultural Fund (ACF) generated income).

A minimum of $2,000, up to a maximum of $10,000, whereby the recipient must demonstrate an investment of an equal or greater amount to the funding request.

The International Market and Audience Development fund (Category 3) is designed to support activity that includes:

  • International PR and promotional campaigns
  • Implementing an international radio campaign
  • Content Creation: music video clips, multiple reels, lyrics translations targeted towards international audiences
  • Performance on an international TV talk show
  • Attendance by a composer at the premiere of a commissioned composition
  • Presenting lecture at an overseas academy, institute or university

As well as costs directly associated with the activity listed above, you may apply for all costs associated with completing your export activity. Eligible costs include but are not limited to:

  • artist and creative worker fees
  • flights, accommodation, per diems, ground transport costs
  • travel insurance
  • visas
  • freight or baggage costs
  • childcare, carer and access costs
  • tickets and/or registration costs to attend events
  • costs associated with reducing the environmental impact of your activity.

Access costs are legitimate expenses and may be included in your application. We encourage applicants to ensure that their work is accessible to everyone. Budgets may include costs associated with making activities accessible to a wide range of people (e.g. performances using Auslan, translation to other languages, captioning, audio description, temporary building adjustments, and materials in other formats).

If you are a d/Deaf applicant, an applicant with disability, or are working with d/Deaf artists or artists with disability, you may apply for access costs associated with the use of an interpreter, translation services, specific technical equipment, carer or support worker assistance. Please contact Artists Services to discuss your specific needs.

Your application must comply with the following Protocols. We may contact you to request further information during the assessment process, or if successful, as a condition of your funding. 

  • Protocols for using First Nations Cultural and Intellectual Property in the Arts 

All applications involving First Nations artists, communities or subject matter must adhere to these Protocols, and provide evidence of this in their application and support material. More information on the First Nations Protocols is available here. 

  • Commonwealth Child Safe Framework 

All successful applicants are required to comply with all Australian law relating to employing or engaging people who work or volunteer with children, including working with children checks and mandatory reporting. Successful organisations who provide services directly to children, or whose funded activities involve contact with children, will additionally be required to implement the National Principles for Child Safe Organisations. 

Applications will be assessed by industry advisors.  

Learn more about how we assess your application. 

As well as meeting the eligibility requirements listed above, industry advisors will review your application using the criteria below.


Assessors will consider whether your activity is feasible. Some ways to consider viability are listed below.

  • The activity is confirmed
  • Evidence of matched funding at a minimum of 50% of the total budget
  • Realistic budgeting and touring logistics
  • The relevance and timeliness of the proposed activity
  • The skills and abilities of those involved, and their relevance to the activity
  • Well-researched and rationalised activity, particularly if this is your first engagement with an international market
  • Measures being applied to ensure the safety and wellbeing of people involved in the project
  • Measures being applied to ensure the proposed activity is accessible
  • Where relevant to the project, evidence that the protocols for using First Nations Cultural and Intellectual Property in the Arts have been adhered to, or the relevant cultural protocols for the international jurisdiction in which you are working.


Assessors will consider the impact of your activity. Some ways to consider impact are listed below.

  • The extent to which this activity develops an international market or relationship, or enhances international networks, audiences, and profile.


Assessors will consider how your activity meets one or more of the principles and actions of the five pillars identified in the National Cultural Policy – Revive, and the goals of Music Australia.

This may include:

  • First Nations arts and culture are First Nations-led
  • Artists and arts workers have career structures that are long-term and sustainable, supported by vocational pathways
  • Creative industries and practice are future focused, technology enabled, networked and globally recognised, including through reciprocal exchange, export and cultural diplomacy
  • Arts and culture are generative (creating new works and supporting emerging artists) and preservative (protecting heritage and conserving cultural memory)
  • Development of original music
  • Growing the market for contemporary Australian music
  • Training and skills development for artists, and industry professionals

You must submit support material with your application. The industry advisors will review your support material including your budget, evidence of your matched funding and whether the activity is confirmed. It can also be used to gain a better understanding of your activity, and arts practice.  

Your application will be ineligible if it does not include support material providing evidence of your matched funding, and your budget spreadsheet.  

We strongly advise you to include evidence of confirmed activity (such as letters and invitations).  

The following support material may also be included with your application:  

  • how cultural protocols have been or will be observed and permissions obtained (if relevant to your activity) 
  • evidence of your practice relevant to the activity for which you are seeking funding, such as a website link, audio and/or video link (maximum duration 10 minutes in total), images and/or written material.  
  • biographies and CVs for key artists, personnel or other collaborators involved in the activity (no longer than 2 A4 pages in total).  
  • risk management – for international travel, you may submit a one-page risk management plan (in any format). If you require a template, you can download a template here 

We prefer to receive information via web links (URLs). 

You may submit up to three URLs per application. For example, you could include a link to your website, a link to a video or audio file, and a link to scanned documents demonstrating your matched funding and letters of confirmation.  

If you are not able to provide URLs, you may upload support material as attachments (up to two PDF or Word documents). You may collate documents to include multiple pages.

We do not accept support material submitted by post.  If you need help submitting material online, or you are not sure what support material to submit, please contact us.

Frequently asked questions

Activity must start between 2 October 2024 and 1 January 2025 and be completed within 12 months.  

If the activity in your application starts before 2 October 2024, your application will not be eligible.  

For activity that starts after 1 January 2025 please see the dates listed below and apply in the appropriate round. 

Yes – there will be additional rounds of this fund in 2024 and 2025. Please note that opening and closing dates are provisional and may change. There will be eligibility restrictions for applicants who are successful in previous rounds.

Opening Date: 5 August 2024
Closing Date: 1 October 2024
Activity to commence from 2 January 2025 – 1 April 2025

Opening Date: 7 October 2024
Closing Date: 3 December 2024
Activity to commence from 2 April 2025 – 1 July 2025

Opening Date: 3 February 2025
Closing Date: 1 April 2025
Activity to commence from 2 July to -1 October 2025

Matched funding is Music Australia’s way of partnering with creatives who are engaging in activity that has income streams embedded, partners who are co-investing, or previous income/cash contributing to it. Matched funding is not limited to a cash injection upfront, but may include projected income from this or other activity.

No, this grant round is for export activity only. There are other grant opportunities that support domestic touring activity such as the Contemporary Music Touring Program, and Arts Projects for Individuals and Groups or Organisations. We also recommend you sign up for Music Australia updates to be alerted to other Music Australia opportunities.

There is no mandated proportion of confirmed activity required to be eligible, however applications with support material confirming most or all of their activity will be more competitive.

Yes, we encourage applications from all genres for activity that meets the definition of contemporary music outlined above.

Yes. Please contact our Artists Services team to discuss your accessibility requirements. More information on accessibility is available on our website at Accessibility. 

Yes, we do. More information is available on our website at Languages other than English.

No, the music activity must be in support of music you produce.

Yes. Please note that references to an organisation throughout the application form also includes commercial companies such as a record label, management firm or publisher.  

As you can only make one application per category using your account in the Application Management System, we suggest your artist(s) set up an account in their name to apply.


No. The activity must be in a country other than Australia.

You should include the full cost of flights and accommodation in each application in case you are only successful in one. If successful, your granted amount may be revised to avoid duplication of expenses.

Please indicate whether expenses have been duplicated across multiple applications by answering yes or no to the question: ‘Expenses included in other Music Australia applications’.