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International Touring and Presentation Fund

$5,000 to $80,000 to support international touring, showcasing and presentation opportunities.

Stephanie Lake Company, Colossus, 2022. Taipei International Festival, Taiwan. Image courtesy of the artist

 

About the program

The International Touring and Presentation Fund supports international touring, showcasing and presentation opportunities for Australian artists and creative workers.

Tours, showcases and presentations can take place in-person, online, or in a combination of in-person and online (hybrid).

International organisations that are presenting Australian artists or creative workers are eligible to apply.

Applicants can propose a single event, presentation or showcase or a program of activity in multiple locations.

The activities you are applying for through this fund must be fully confirmed.

Only one application can be made to this category per closing date.

Funding amounts are available between $5,000 to $80,000.

Applications must meet at least one of Creative Australia’sInternational Engagement Strategy 2021–2025 priorities:

  • rethink and expand the concept of mobility through testing dynamic engagement models that include digital, hybrid and in-person connection
  • leverage technologies and digital platforms for creation, distribution, networking, and increasing discoverability of Australian work
  • activate borderless thinking to build reciprocal and multilateral partnerships across regions and industries, and leverage co-investment
  • strengthen First Nations exchange that is First Nations-led and self-determined
  • amplify Asia Pacific engagement, and the perspectives of the Asia Pacific diaspora in Australia
  • diversify income and revenue streams to foster sustainable careers and business models by increasing access to markets, information and networks and showcase Australian work to global audiences and influencers
  • foster creative risk-taking, experimentation and innovation in creation, distribution, connection and profile-building
  • centre equity and access and reflect Australia’s diversity
  • embed sustainability through research and investment in best-practice models and frameworks to minimise the sector’s carbon footprint.

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

Please read through the grant guidelines below.

If you need advice about applying, contact an Artists Services Officer at enquiries@creative.gov.au

Community arts and cultural development, dance, emerging and experimental arts, First Nations arts and culture, literature, multi-artform, visual arts, theatre, and music.

This excludes contemporary music, defined by the Music Australia Council as:

“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.”

Music Australia has established an Export Music Development Fund for those artists working in contemporary music. Details to those three funding categories can be found here.

  • Eligible applicants include Australian artists, and creative workers who do not work in contemporary music (as defined above).
  • You can only submit one application to each closing date for the International Touring and Presentation Fund.
  • You must have confirmation letters from your international partner(s) for the applicable touring and presentation.
  • Individuals, groups and organisations (including small businesses) may apply to this category.
  • International organisations can apply for projects that benefit practicing Australian artists or creative workers, their work or Australian audiences.

You can’t apply for a grant if:

  • you have already applied to this closing date under this grant category
  • you have already applied to this closing date for the International Travel Fund, or the International Engagement Fund for the same activity
  • you have already applied to the 5 March 2024 closing date for the Arts Projects grant categories for the same activity
  • you have an overdue grant report to Creative Australia
  • you owe money to Creative Australia
  • you receive, or are working with an organisation that receives, a combined total of more than $520,000 annually (per calendar year) through the National Performing Arts Partnership Framework, the Four Year Investment for Organisations, and/or the Visual Arts and Crafts Strategy funding from 2021 to 2024
  • you work in contemporary music (as defined above). You must apply to the Export Development Fund from Music Australia
  • you are an Australian literary agent, rights manager or publisher seeking support to attend international market platforms such as book fairs. You must apply to the International Rights Fund for Literature
  • you are an Australian author and/or illustrator seeking support to attend events and activities associated with publication and promotion of your work in international markets. You must apply to the International Travel Fund for Authors and Illustrators
  • you are an international publisher seeking support to translate Australian works by living authors of creative writing, or an Australian publisher seeking support to translate non-English works into English by Australian translators. You must apply to the Translation Fund for Literature.

You may apply for costs associated with confirmed international tours, showcases or presentation.

Activities may take place in-person, online, or a combination of in-person and online (hybrid activities).

Eligible costs include but are not limited to:

  • artist and creative worker fees for showcasing opportunities, remount or pre-production costs, for tours or presentations. Examples of industry benchmarks from the National Association for the Visual Arts (NAVA) can be found on their website
  • flights, accommodation, per diems, ground transport costs
  • travel insurance
  • visas
  • freight or baggage costs
  • production expenses, including for remounting existing works
  • project management costs
  • childcare, carer and access costs
  • 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.

You can’t apply for:

  • unconfirmed international tours, showcases or presentations
  • costs that duplicate from the same activity across other current applications to Creative Australia
  • touring or presentation activities where there is no reasonable contribution to fees for artists or creative workers from the presenting partner/s
  • contemporary music touring and presentation (apply to the Export Development Fund from Music Australia instead)
  • activities that are not international tours, showcases or presentations (apply to the International Engagement Fund instead)
  • outbound international market development activities (apply to the International Travel Fund instead)
  • international tours, presentations or showcases that do not involve or benefit Australian practicing artists or creative workers
  • international tours, presentations or showcases that do not have a clearly-defined arts component
  • international tours, presentations or showcases that have already taken place
  • activities engaging with First Nations content, artists and communities that do not adhere to the Creative Australia First Nations Cultural & Intellectual Property Protocols 
  • you are an Australian literary agent, rights manager or publisher seeking support to attend international market platforms such as book fairs. You must apply to the International Rights Fund for Literature
  • you are an Australian author and/or illustrator seeking support to attend events and activities associated with publication and promotion of your work in international markets. You must apply to the International Travel Fund for Authors and Illustrators
  • support to translate Australian works by living authors of creative writing, or an Australian publisher seeking support to translate non-English works into English by Australian translators. You must apply to the Translation Fund for Literature.

We received 315 eligible applications to the 9 April 2024 round of International grants26% of applications were successful.  

From 2 July 2024 you can use our online awarded grants database to see the list of funded applications. 

Although we are not able to provide specific feedback to all applicants, the assessors provided the following general feedback which you may find helpful.  

  • The assessors valued applications that articulated an understanding of the region their activity was focused on and the artistic/cultural connectivity they were aiming for. Those that clearly articulated why they needed to undertake this specific activity at this specific time, in this specific place, were most competitive. 
  • The assessors commented that independent artists should budget realistically for what their activity requires. They were concerned that many artists were not remunerating themselves properly for their contribution to the project. They strongly recommended that artists do not cut costs to make a proposal appear more ‘viable’. The opposite is true.  
  • Assessors wanted to see the budget for the whole project, not just the component of the project the applicant is seeking funding towards. 
  •  Applications that used plain language to describe and detail the ‘where, what, why and who’ of their proposed activity, were clearer and more engaging to read and understand.  
  • The assessors noted that applications from experienced or established artists displayed more confidence and precision in their vision and intent, and the impact of their proposed activity. Early career artists are encouraged to develop their skills in talking about their practice, the impact of the proposed activity and the outcomes on their practice, networks and/or market development goals, and presenting their plans more clearly.  
  • Applications focusing on study or academic opportunities (such as attending academic conferences) were generally uncompetitive. 
  • Applications that did not clearly address the ‘Activity Timeline’ section in detail were less competitive – it is important that applicants set out their project plan and key stages here. 
  • Applicants should select and organise their artistic support material carefully. Make sure that all files are labelled and easy to access, do not require passwords or logins, don’t provide excessive amounts of documentation, and have letters of confirmation that speak clearly to the project and what the presenters or collaborators were contributing to the project. 
  • The most competitive applications included strong, high quality artistic support material.  
  • Viability was demonstrated through evidence of strong, confirmed relationships with presenting partners.  
  • The assessors appreciated detailed budgets where all costs were broken down, not just rolled into one bulk amount e.g. ‘travel costs’. 
  • Applicants that articulated an impact beyond this particular touring activity were well regarded. They also demonstrated a commitment to building longer term relationships. 
  • Proposals that considered and responded directly to relevant international strategic priority areas were the most compelling. 
  • Applications were processed by Creative Australia staff and a preliminary eligibility check was conducted. 
  • A panel of industry advisers (people with knowledge and expertise across international travel, touring and engagement) was convened to assess the applications. 
  • The assessors reviewed the applications and support material and scored each of them against the assessment criteria for the grant category. 
  • The assessors met to discuss the applications, with moderation from Heads of Arts Practice and the First Nations Arts and Culture team. 
  • Creative Australia then funded the recommended applications to a level determined by the availability of funds.  

Our next round of Arts Projects grants will close on Tuesday 3  September 2024 at 3pm AEDT, for projects starting after 1 December 2024.  Our next round of International grants will close on Tuesday 17 September (for projects starting after 1 January 2025). 

Although we cannot provide further feedback on your applicationswe encourage all applicants to contact us to make a time to chat about their next proposal well ahead of the next closing date.  

This way, we can provide advice on how to about how to best prepare your application and support materials. 

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, 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.

Industry advisers will assess your application against the published assessment criteria. Creative Australia staff will moderate the assessment.

You must respond to all three selection criteria: viability, impact and strategic focus.

Listed under each criterion are points the assessors may consider when reviewing your application.

Assessors will consider whether your activity is feasible. Some ways to consider viability are listed below. You do not need to respond to every bullet point.

  • The relevance and timeliness of the proposed project.
  • The skills and abilities of those involved, and their relevance to the project.
  • Realistic and achievable planning and resource use, including contingency plans.
  • Well-researched and rationalised activity, particularly if this is your first engagement with an international market.
  • Extent of sustainable practices, multiple engagements and/or slow touring or concept touring, where the idea, process, or work travels but the artist does not.
  • Appropriate payments to participating artists, creative professionals, collaborators, participants, or cultural consultants.
  • 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.
  • Evidence of appropriate consultation with participants, audiences or communities.
  • The role of partners or collaborators, including confirmation of any income and co-funding, including earned income, grants, sponsorship and in-kind contributions.

Assessors will consider the impact of your activity. Some ways to consider impact are listed below. You do not need to respond to every bullet point.

  • The extent to which this activity develops an international market or relationship for, or enhances international networks, audiences, and profile.
  • The contribution of the activity towards re-imagining the future for international engagement in the cultural and creative industries.
  • The extent to which the activity contributes to a sector that is accessible, inclusive and equitable.

Assessors will consider how your activity meets one or more of the strategic priorities identified in our International Engagement Strategy 2021–2025.

You must respond to one or more of the bullet points listed below.

  • Rethink and expand the concept of mobility through testing dynamic engagement models that include digital, hybrid and in-person connection.
  • Leverage technologies and digital platforms for creation, distribution, networking, and increase discoverability of Australian work.
  • Activate borderless thinking to build reciprocal and multilateral partnerships across regions and industries, and leverage co-investment.
  • Strengthen First Nations exchange that is First Nations-led and self-determined.
  • Amplify Asia Pacific engagement, and the perspectives of the Asia Pacific diaspora in Australia.
  • Diversify income and revenue streams to foster sustainable careers and business models by increasing access to markets, information and networks and showcase Australian work to global audiences and influencers.
  • Foster risk-taking, experimentation and innovation in creation, distribution, connection and profile-building.
  • Centre equity and access and reflect Australia’s diversity.
  • Embed sustainability through research and investment in best-practice models and frameworks to minimise the sector’s carbon footprint.

The types of questions we ask in the application form include:

  • a title for your project
  • a summary of your project
  • a brief description of the artist/s or creative worker/s applying
  • an outline of your project and what you want to do
  • a timetable or itinerary for your project
  • a description of the outcome your project delivers
  • a projected budget which details the expenses, income, and in-kind support of the project
  • supporting material as relevant to your project, including examples of your work, bios of additional artists, letters of confirmation from presenting partners, and letters of support or permission from participants, communities, First Nations organisation, and Elders.

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.

We do not accept application-related support material submitted via post. Application-related material received by post will not be assessed and will be returned to the sender. 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.

1. Letters of confirmation

You must provide letters of confirmation from all presenting partners, such as festivals and venues. Each letter must include confirmation of:

  • any invitations, partner fees or contributions to the activity, whether cash or in-kind
  • If relevant to your activity, letters of confirmation 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.

Please provide a single link to all letters or scan the letters into one PDF file.

You may also submit the following as support material:

2. Artistic support material

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

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 industry advisors 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, QuickTime, and Windows Media)
  • audio (MP3 and Windows Media)
  • images (JPEG and PowerPoint)
  • written material (Word and PDF).

3. 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.


More International programs

International Travel Fund

$5,000 to $20,000 to support travel costs associated with attending key market development and cultural exchange platforms and gatherings.

Asia Topa 2020 Showcase The Seen & Unseen by Kamila Andini, Ida Ayu Wayan, Arya Satyani, Adena Jacobs, Eugyeene Teh, Jenny Hector. Image: Ifa Isfansyah

 

About the program

The International Travel Fund supports international travel costs associated with Australian artists and creative workers attending market development and cultural exchange platforms or key gatherings overseas. Some examples are below:

  • North America: CINARS, International Society for the Performing Arts (ISPA) Congress, International Market of Contemporary Circus (MICC), TYA/USA National Festival & Conference, Western Arts Alliance (WAA) Annual Conference, Frieze LA;
  • North Asia: Asia Discovers Asia Meeting (ADAM), Hong Kong Performing Arts Expo (HKPAX), China Shanghai Performing Arts Fair (SPAF), Yokohama Performing Arts Meeting (YPAM), Art Basel Hong Kong;
  • South and Southeast Asia: Art Jogja, Bangkok International Performing Arts Meeting (BIPAM), Serendipity Arts Festival, Indonesian Dance Festival (IDF), Singapore Arts Festival;
  • Europe and the UK: Ars Electronica, London Design Week, WOMEX*, ASSITEJ Artistic Gathering in Marseille; IETM events;
  • The Pacific: Performing Arts Network of New Zealand (PANNZ) Arts Market;
  • Global: ASSITEJ gatherings.

Creative Australia has separate callouts open for delegates who would like to attend the Performing Arts Market Seoul (PAMS) 2024 and Tanzmesse 2024. We will run a callout for the New York Publishers Program later in 2024.

*Eligible applicants include Australian artists, and creative workers who do not work in contemporary music (as defined below). Music Australia has established an Export Music Development Fund for those artists working in contemporary music. Details to those three funding categories can be found here.

Applicants can propose attendance at a single market development or cultural exchange platform or key gathering, or a program of events across multiple locations. Applicants are strongly encouraged to demonstrate reasons for why travel is required.

Only one application can be made to this category per closing date.

Funding amounts are available between $5,000 to $20,000, and multiple travellers may be included within the same application.

Applications must meet at least one of Creative Australia’s International Engagement Strategy 2021–2025 priorities:

  • rethink and expand the concept of mobility through testing dynamic engagement models that include digital, hybrid and in-person connection
  • leverage technologies and digital platforms for creation, distribution, networking, and increasing discoverability of Australian work
  • activate borderless thinking to build reciprocal and multilateral partnerships across regions and industries, and leverage co-investment
  • strengthen First Nations exchange that is First Nations-led and self-determined
  • amplify Asia Pacific engagement, and the perspectives of the Asia Pacific diaspora in Australia
  • diversify income and revenue streams to foster sustainable careers and business models by increasing access to markets, information and networks and showcase Australian work to global audiences and influencers
  • foster creative risk-taking, experimentation and innovation in creation, distribution, connection and profile-building
  • centre equity and access and reflect Australia’s diversity
  • embed sustainability through research and investment in best-practice models and frameworks to minimise the sector’s carbon footprint.

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

Please read through the following grant guidelines.

If you need advice about applying, contact an Artists Services Officer at enquiries@creative.gov.au

Community arts and cultural development, dance, emerging and experimental arts, First Nations arts and culture, literature, multi-artform, visual arts, theatre, and music.

This excludes contemporary music, defined by the Music Australia Council as:

“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.”

Music Australia has established an Export Music Development Fund for those artists working in contemporary music. Details to those three funding categories can be found here.

  • Eligible applicants include Australian artists, and creative workers who do not work in contemporary music (as defined above).
  • You can only submit one application to each closing date for the International Travel Fund.
  • Individuals, groups and organisations (including small businesses) may apply to this category.

You can’t apply for a grant if:

  • you have already applied to this closing date under this grant category
  • you have already applied to this closing date for the International Touring and Presentation Fund, or the International Engagement Fund for the same activity
  • you have already applied to the 5 March 2024 closing date for the Arts Projects grant categories for the same activity
  • you have an overdue grant report to Creative Australia
  • you owe money to Creative Australia
  • you receive, or are working with an organisation that receives, a combined total of more than $520,000 annually (per calendar year) through the National Performing Arts Partnership Framework, the Four Year Investment for Organisations, and/or the Visual Arts and Crafts Strategy funding from 2021 to 2024
  • you are not an Australian artist or creative worker
  • you work in contemporary music. You must apply to the Export Development Fund from Music Australia
  • you are an Australian literary agent, rights manager or publisher seeking support to attend international market platforms such as book fairs. You must apply to the International Rights Fund for Literature
  • you are an Australian author and/or illustrator seeking support to attend events and activities associated with publication and promotion of your work in international markets. You must apply to the International Travel Fund for Authors and Illustrators

You may apply for any and all costs associated with travel and attendance at confirmed international market development and cultural exchange platforms or key gatherings.

Eligible costs include but are not limited to:

  • artist and creative worker fees. You may refer to industry benchmarks set by the National Association for the Visual Arts (NAVA), etc
  • flights, accommodation, per diems, ground transport costs
  • travel insurance
  • visas
  • freight or baggage costs
  • production expenses, including for remounting existing works
  • marketing, promotion and project management 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.

You can’t apply for:

  • travel costs that duplicate from the same activity across other current applications to Creative Australia
  • travel costs for international tours, showcases or presentations (apply to the International Touring and Presentation Fund instead)
  • travel costs to participate in international exchange activities such as residencies, labs, and peer exchange models (apply to the International Engagement Fund instead)
  • travel costs for international market development activities within Australia.
  • travel costs to Tanzmesse 2024 and Performing Arts Market in Seoul (PAMS) 2024 (apply to the separate callouts above)
  • travel that does not involve or benefit Australian practicing artists or creative workers travel to events or activities that do not have a clearly-defined arts component
  • travel for events and activities that have already taken place
  • activities engaging with First Nations content, artists and communities that do not adhere to the Australia Council First Nations Cultural & Intellectual Property Protocols.
  • travel costs to attend international book fairs. You must apply to the International Rights Fund for Literature
  • travel to attend contemporary music activities. You must apply to the Export Development Fund from Music Australia
  • travel costs to attend events and activities associated with publication and promotion of literary works in international markets. You must apply to the International Travel Fund for Authors and Illustrators.

We received 315 eligible applications to the 9 April 2024 round of International grants26% of applications were successful.  

From 2 July 2024 you can use our online awarded grants database to see the list of funded applications. 

Although we are not able to provide specific feedback to all applicants, the assessors provided the following general feedback which you may find helpful.  

  • The assessors valued applications that articulated an understanding of the region their activity was focused on and the artistic/cultural connectivity they were aiming for. Those that clearly articulated why they needed to undertake this specific activity at this specific time, in this specific place, were most competitive. 
  • The assessors commented that independent artists should budget realistically for what their activity requires. They were concerned that many artists were not remunerating themselves properly for their contribution to the project. They strongly recommended that artists do not cut costs to make a proposal appear more ‘viable’. The opposite is true.  
  • Assessors wanted to see the budget for the whole project, not just the component of the project the applicant is seeking funding towards. 
  •  Applications that used plain language to describe and detail the ‘where, what, why and who’ of their proposed activity, were clearer and more engaging to read and understand.  
  • The assessors noted that applications from experienced or established artists displayed more confidence and precision in their vision and intent, and the impact of their proposed activity. Early career artists are encouraged to develop their skills in talking about their practice, the impact of the proposed activity and the outcomes on their practice, networks and/or market development goals, and presenting their plans more clearly.  
  • Applications focusing on study or academic opportunities (such as attending academic conferences) were generally uncompetitive. 
  • Applications that did not clearly address the ‘Activity Timeline’ section in detail were less competitive – it is important that applicants set out their project plan and key stages here. 
  • Applicants should select and organise their artistic support material carefully. Make sure that all files are labelled and easy to access, do not require passwords or logins, don’t provide excessive amounts of documentation, and have letters of confirmation that speak clearly to the project and what the presenters or collaborators were contributing to the project. 
  • Applications that clearly articulated the rationale for where they were going, who they wanted to meet with, why they were going and what they wanted to achieve were most competitive.   
  • Proposals that centred genuine exchange or connection with their intended destination were well regarded. 
  • Applications that addressed the ‘Impact’ criterion clearly were more competitive, explaining the importance of the activity and the impact of this on the applicant’s practice and career.  
  •  Organisations or groups should provide a strong and compelling rationale if they are seeking support for multiple people travelling to one event or activity.  
  • Strong and relevant letters of support provided valuable information about the applicant’s artistic practice, spoke clearly to the activity’s impact, and outlined what the partner or collaborator was contributing to the project. 
  • Applications were processed by Creative Australia staff and a preliminary eligibility check was conducted. 
  • A panel of industry advisers (people with knowledge and expertise across international travel, touring and engagement) was convened to assess the applications. 
  • The assessors reviewed the applications and support material and scored each of them against the assessment criteria for the grant category. 
  • The assessors met to discuss the applications, with moderation from Heads of Arts Practice and the First Nations Arts and Culture team. 
  • Creative Australia then funded the recommended applications to a level determined by the availability of funds.  

Our next round of Arts Projects grants will close on Tuesday 3  September 2024 at 3pm AEDT, for projects starting after 1 December 2024.  Our next round of International grants will close on Tuesday 17 September (for projects starting after 1 January 2025). 

Although we cannot provide further feedback on your applicationswe encourage all applicants to contact us to make a time to chat about their next proposal well ahead of the next closing date.  

This way, we can provide advice on how to about how to best prepare your application and support materials. 

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, 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.

Industry advisors will assess your application against the published assessment criteria. Creative Australia will moderate the assessment.

You must respond to all three selection criteria: viability, impact and strategic focus.

Listed under each criterion are points the assessors may consider when reviewing your application.

Assessors will consider whether your activity is feasible. Some ways to consider viability are listed below. You do not need to respond to every bullet point.

  • The relevance and timeliness of the proposed project.
  • The rationale for the travel and who you will be meeting.
  • The skills and abilities of those involved, and their relevance to the project.
  • Realistic and achievable planning and resource use, including contingency plans.
  • Well-researched and rationalised activity, particularly if this is your first engagement with an international market.
  • Extent of sustainable practices, multiple engagements and/or slow touring or concept touring, where the idea, process, or work travels but the artist does not.
  • Appropriate payments to participating artists, creative professionals, collaborators, participants, or cultural consultants.
  • 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.
  • Evidence of appropriate consultation with participants, audiences or communities.
  • The role of partners or collaborators, including confirmation of any income and co-funding, including earned income, grants, sponsorship and in-kind contributions.

Assessors will consider the impact of your activity. Some ways to consider impact are listed below. You do not need to respond to every bullet point.

  • The extent to which this activity develops an international market or relationship for, or enhances international networks, audiences, and profile.
  • The contribution of the activity towards re-imagining the future for international engagement in the cultural and creative industries.
  • The extent to which the activity contributes to a sector that is accessible, inclusive and equitable.

Assessors will consider how your activity meets one or more of the strategic priorities identified in Creative Australia’s International Engagement Strategy 2021–2025.

You must respond to one or more of the bullet points listed below.

  • Rethink and expand the concept of mobility through testing dynamic engagement models that include digital, hybrid and in-person connection.
  • Leverage technologies and digital platforms for creation, distribution, networking, and increase discoverability of Australian work.
  • Activate borderless thinking to build reciprocal and multilateral partnerships across regions and industries, and leverage co-investment.
  • Strengthen First Nations exchange that is First Nations-led and self-determined.
  • Amplify Asia Pacific engagement, and the perspectives of the Asia Pacific diaspora in Australia.
  • Diversify income and revenue streams to foster sustainable careers and business models by increasing access to markets, information and networks and showcase Australian work to global audiences and influencers.
  • Foster risk-taking, experimentation and innovation in creation, distribution, connection and profile-building.
  • Centre equity and access and reflect Australia’s diversity.
  • Embed sustainability through research and investment in best-practice models and frameworks to minimise the sector’s carbon footprint.

The types of questions we ask in the application form include:

  • a title for your project
  • a summary of your project
  • a brief description of the artist/s or creative worker/s applying
  • an outline of your project and what you want to do, and why you need to travel
  • a timetable or itinerary for your project
  • a description of the outcome your project delivers
  • a projected budget which details the expenses, income, and in-kind support of the project
  • supporting material as relevant to your project, including examples of your work, bios of additional artists, and letters of support or permission from participants, communities, First Nations organisation, and Elders.

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

We do not accept application-related support material submitted via post. Application-related material received by post will not be assessed and will be returned to the sender. 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.

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 industry advisors 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, QuickTime, and Windows Media)
  • audio (MP3 and Windows Media)
  • images (JPEG and PowerPoint)
  • written material (Word and PDF).

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.

Please provide a single link to all letters or scan the letters into one PDF file.


More International programs

International Engagement Fund

$5,000 to $30,000 for creative collaboration and development, cultural exchange and reciprocal activities.

Rainbow Chan, The Bridal Lament, 2022, Image courtesy of the artist.

 

About the program

The International Engagement Fund supports Australian artists and creative workers to undertake reciprocal exchange projects with confirmed international partners. This includes creative collaboration and development; cultural exchange and knowledge sharing; labs and practice-exchange models.

Activities can take place in-person, online, or in a combination of in-person and online (hybrid).

International organisations working with Australian artists or creative workers are eligible to apply.

Only one application can be made to this category per closing date.

Funding amounts are available between $5,000 to $30,000.

Applications must meet at least one of Creative Australia’s International Engagement Strategy 2021–2025 priorities:

  • rethink and expand the concept of mobility through testing dynamic engagement models that include digital, hybrid and in-person connection
  • leverage technologies and digital platforms for creation, distribution, networking, and increasing discoverability of Australian work
  • activate borderless thinking to build reciprocal and multilateral partnerships across regions and industries, and leverage co-investment
  • strengthen First Nations exchange that is First Nations-led and self-determined
  • amplify Asia Pacific engagement, and the perspectives of the Asia Pacific diaspora in Australia
  • diversify income and revenue streams to foster sustainable careers and business models by increasing access to markets, information and networks and showcase Australian work to global audiences and influencers
  • foster creative risk-taking, experimentation and innovation in creation, distribution, connection and profile-building
  • centre equity and access and reflect Australia’s diversity
  • embed sustainability through research and investment in best-practice models and frameworks to minimise the sector’s carbon footprint.

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

Please read through the following grant guidelines.

If you need advice about applying, contact an Artists Services Officer.

Community arts and cultural development, dance, emerging and experimental arts, First Nations arts and culture, literature, multi-artform, visual arts, theatre, and music.

This excludes contemporary music, defined by the Music Australia Council as:

“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.”

Music Australia has established an Export Music Development Fund for those artists working in contemporary music. Details to those three funding categories can be found here.

  • Eligible applicants include Australian artists, and creative workers who do not work in contemporary music (as defined above).
  • You can only submit one application to each closing date for the International Engagement Fund.
  • Individuals, groups and organisations (including small businesses) may apply to this category.
  • International organisations can apply for projects that benefit practicing Australian artists or creative workers, their work or Australian audiences.

You can’t apply for a grant if:

  • you have already applied to this closing date for the International Engagement Fund
  • you have already applied to this closing date for the International Touring and Presentation Fund, or the International Travel Fund for the same activity
  • you have already applied to the 5 March 2024 closing date for the Arts Projects grant categories for the same activity
  • you have an overdue grant report
  • you owe money to Creative Australia
  • you receive, or are working with an organisation that receives, a combined total of more than $520,000 annually (per calendar year) through the National Performing Arts Partnership Framework, the Four Year Investment for Organisations, and/or the Visual Arts and Crafts Strategy funding from 2021 to 2024
  • you work in contemporary music (as defined above). You must apply to the Export Development Fund from Music Australia.
  • you are an Australian literary agent, rights manager or publisher seeking support to attend international market platforms such as book fairs. You must apply to the International Rights Fund for Literature
  • you are an Australian author and/or illustrator seeking support to attend events and activities associated with publication and promotion of your work in international markets. You must apply to the International Travel Fund for Authors and Illustrators.
  • you are an international publisher seeking support to translate Australian works by living authors of creative writing, or an Australian publisher seeking support to translate non-English works into English by Australian translators. You must apply to the Translation Fund for Literature.

You may apply for costs associated with creative collaboration and development; cultural exchange and knowledge sharing; research, experimentation, scoping and prototyping activities; and reciprocal relationship-building activities such as residency exchanges, labs and peer exchange models.

Activities may take place in-person, online, or a combination of in-person and online (hybrid activities).

Eligible costs include but are not limited to:

  • artist and creative worker fees. You may refer to industry benchmarks set by the National Association for the Visual Arts (NAVA), and the Australian Society of Authors (ASA), etc
  • flights, accommodation, per diems, ground transport costs
  • travel insurance
  • visas
  • freight or baggage costs
  • production expenses
  • marketing, promotion and project management costs
  • childcare, carer and access costs
  • 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.

You can’t apply for:

  • costs that duplicate from the same activity across other current applications to Creative Australia
  • international presentations or tours (apply to the International Touring & Presentation Fund instead)
  • outbound international market development activities (apply to the International Travel Fund instead, or specific market delegation callouts Tanzmesse 2024 and Performing Arts Market in Seoul 2024)
  • international activities that do not involve or benefit Australian practicing artists or creative workers
  • international activities without international partners
  • international activities that do not have a clearly-defined arts component
  • international activities that have already taken place
  • activities engaging with First Nations content, artists and communities that do not adhere to Creative Australia First Nations Cultural & Intellectual Property Protocols
  • travel to attend contemporary music activities. You must apply to the Export Development Fund from Music Australia
  • travel costs to attend international book fairs. You must apply to the International Rights Fund for Literature
  • travel costs to attend events and activities associated with publication and promotion of literary works in international markets. You must apply to the International Travel Fund for Authors and Illustrators
  • support to translate Australian works by living authors of creative writing, or an Australian publisher seeking support to translate non-English works into English by Australian translators. You must apply to the Translation Fund for Literature.

We received 315 eligible applications to the 9 April 2024 round of International grants26% of applications were successful.  

From 2 July 2024 you can use our online awarded grants database to see the list of funded applications. 

Although we are not able to provide specific feedback to all applicants, the assessors provided the following general feedback which you may find helpful.  

  • The assessors valued applications that articulated an understanding of the region their activity was focused on and the artistic/cultural connectivity they were aiming for. Those that clearly articulated why they needed to undertake this specific activity at this specific time, in this specific place, were most competitive. 
  • The assessors commented that independent artists should budget realistically for what their activity requires. They were concerned that many artists were not remunerating themselves properly for their contribution to the project. They strongly recommended that artists do not cut costs to make a proposal appear more ‘viable’. The opposite is true.  
  • Assessors wanted to see the budget for the whole project, not just the component of the project the applicant is seeking funding towards. 
  •  Applications that used plain language to describe and detail the ‘where, what, why and who’ of their proposed activity, were clearer and more engaging to read and understand.  
  • The assessors noted that applications from experienced or established artists displayed more confidence and precision in their vision and intent, and the impact of their proposed activity. Early career artists are encouraged to develop their skills in talking about their practice, the impact of the proposed activity and the outcomes on their practice, networks and/or market development goals, and presenting their plans more clearly.  
  • Applications focusing on study or academic opportunities (such as attending academic conferences) were generally uncompetitive. 
  • Applications that did not clearly address the ‘Activity Timeline’ section in detail were less competitive – it is important that applicants set out their project plan and key stages here. 
  • Applicants should select and organise their artistic support material carefully. Make sure that all files are labelled and easy to access, do not require passwords or logins, don’t provide excessive amounts of documentation, and have letters of confirmation that speak clearly to the project and what the presenters or collaborators were contributing to the project.
  • Competitive applications articulated the outcomes, and/or the longevity of a proposed international partnership, exchange or engagement.   
  • Proposals that demonstrated community engagement and deeper connection beyond a one-off activity were more compelling. 
  • The strongest applications demonstrated deeper thinking around international engagement as well as finding new ways of working, including innovative uses of technology. 
  • Residencies where there was no reciprocity (i.e. an international artist coming to Australia as well as an Australian artist travelling overseas) were not as competitive as proposals that centred longer-term intercultural exchange and development. 
  • The strongest proposals provided evidence of confirmed activities and project partnerships. 
  • Applications were processed by Creative Australia staff and a preliminary eligibility check was conducted. 
  • A panel of industry advisers (people with knowledge and expertise across international travel, touring and engagement) was convened to assess the applications. 
  • The assessors reviewed the applications and support material and scored each of them against the assessment criteria for the grant category. 
  • The assessors met to discuss the applications, with moderation from Heads of Arts Practice and the First Nations Arts and Culture team. 
  • Creative Australia then funded the recommended applications to a level determined by the availability of funds.  

Our next round of Arts Projects grants will close on Tuesday 3  September 2024 at 3pm AEDT, for projects starting after 1 December 2024.  Our next round of International grants will close on Tuesday 17 September (for projects starting after 1 January 2025). 

Although we cannot provide further feedback on your applicationswe encourage all applicants to contact us to make a time to chat about their next proposal well ahead of the next closing date.  

This way, we can provide advice on how to about how to best prepare your application and support materials. 

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, 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.

Industry Advisors will assess your application against the published assessment criteria. Creative Australia staff will moderate the assessment.

You must respond to all three selection criteria: viability, impact and strategic focus.

Listed under each criterion are points the assessors may consider when reviewing your application.

Assessors will consider whether your activity is feasible. Some ways to consider viability are listed below. You do not need to respond to every bullet point.

  • The relevance and timeliness of the proposed project.
  • The skills and abilities of those involved, and their relevance to the project.
  • Realistic and achievable planning and resource use, including contingency plans.   
  • Evidence of other sources of income or co-funding, such as earned income, grants, sponsorship and/or in-kind contributions.
  • Well-researched and rationalised activity, particularly if this is your first engagement with an international market.
  • Extent of sustainable practices, multiple engagements and/or slow touring or concept touring, where the idea, process, or work travels but the artist does not.  
  • Appropriate payments to participating artists, creative professionals, collaborators, participants, or cultural consultants.   
  • 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.   
  • Evidence of appropriate consultation with participants, audiences or communities.   
  • Confirmation of the role of partners or collaborators, including any income and co-funding, such as earned income, grants, sponsorship and in-kind contributions.    

Assessors will consider the impact of your activity. Some ways to consider impact are listed below. You do not need to respond to every bullet point.

  • The extent to which this activity develops an international market or relationship for, or enhances international networks, audiences, and profile.
  • The contribution of the activity towards re-imagining the future for international engagement in the cultural and creative industries.
  • The extent to which the activity contributes to a sector that is accessible, inclusive and equitable.

Assessors will consider how your activity meets one or more of the strategic priorities identified in our International Engagement Strategy 2021–2025.

You must respond to one or more of the bullet points listed below.

  • Rethink and expand the concept of mobility through testing dynamic engagement models that include digital, hybrid and in-person connection.
  • Leverage technologies and digital platforms for creation, distribution, networking, and increase discoverability of Australian work.
  • Activate borderless thinking to build reciprocal and multilateral partnerships across regions and industries, and leverage co-investment.
  • Strengthen First Nations exchange that is First Nations-led and self-determined.
  • Amplify Asia Pacific engagement, and the perspectives of the Asia Pacific diaspora in Australia.
  • Diversify income and revenue streams to foster sustainable careers and business models by increasing access to markets, information and networks and showcase Australian work to global audiences and influencers.
  • Foster risk-taking, experimentation and innovation in creation, distribution, connection and profile-building.
  • Centre equity and access and reflect Australia’s diversity.
  • Embed sustainability through research and investment in best-practice models and frameworks to minimise the sector’s carbon footprint.

The types of questions we ask in the application form include:

  • a title for your project
  • a summary of your project
  • a brief description of the organisation applying
  • an outline of your project and what you want to do
  • a timetable or itinerary for your project
  • a description of the outcome your project delivers
  • a projected budget which details the expenses, income, and in-kind support of the project
  • supporting material as relevant to your project, including examples of your work, bios of additional artists, and letters of support or permission from participants, communities, First Nations organisation, and Elders.

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

We do not accept application-related support material submitted via post. Application-related material received by post will not be assessed and will be returned to the sender. 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, or the services you provide.

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 industry advisors 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, QuickTime, and Windows Media)
  • audio (MP3 and Windows Media)
  • images (JPEG and PowerPoint)
  • written material (Word and PDF).

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.

Please provide a single link to all letters or scan the letters into one PDF file. 

More International programs

Festival of Pacific Arts and Culture (FestPAC) – Expressions of Interest

Aboriginal and Torres Strait Islander artists, groups, and organisations are invited to express their interest to join the Australian Delegation in Hawai’i, 2024.

About the program

The Australia Council for the Arts is calling for expressions of interest from Aboriginal and Torres Strait Islander individuals, groups, and organisations are invited to express interest in joining the Australian delegation to the Festival of Pacific Arts and Culture (FestPAC) between 6 and 16 June 2024.

Expressions of interest should relate to the following FestPAC programming categories: Performing Arts; Visual Arts; Heritage Arts; Culinary Arts; Film, New Media, Fashion & Design; sharing of research and scholarly articles; arts & crafts sales and entrepreneurship; Youth Ambassadors Program; and logo design, branding and photography for the Australian delegation.

The Festival of Pacific Arts and Culture (FestPAC) is the Pacific’s largest regional cultural gathering of First Nations Peoples and one of the largest cultural gatherings in the world, bringing together artists, cultural practitioners, scholars, and officials from the 27 member nations of the Pacific Community.

The 13th FestPAC in Hawaiʻi (6-16 June 2024) is guided by foundational values of preservation and revival, exploration, awareness, unity and Indigenous languages, and will feature live performances, cultural workshops, hands-on demonstrations, film, storytelling and more, exemplifying the diversity of traditional and contemporary arts and culture across the Pacific.

The event will also underscore the urgent issues facing the Pacific region – from rising sea levels, climate change, sustainability, and the death of coral reefs to widening social inequality – as a way to illuminate our path toward the future.

The festival theme, Hoʻoulu Lāhui: Regenerating Oceania is an intention and commitment for each of us to engage in thoughtful actions, small and big, to inspire and enrich our homelands and peoples.

Australia’s artistic program will respond to the festival theme of Hoʻoulu Lāhui: Regenerating Oceania, will be representative of the richness and diversity of Australia’s First Nations Arts and Cultural practices and regions, and include both traditional and contemporary presentations.

 

  • Aboriginal and/or Torres Strait Islander individuals, groups and organisations
  • available to travel to Hawai’i, USA between 1 – 17 June 2024
  • a current passport valid until January 2025
  • are eligible to obtain a USA visa for travelling to Hawai’i, (see more information at US visa requirements)
  • have no current or previous criminal convictions (US entry requirements)
  • be 18 years or over at the time of festival

You cannot apply for this opportunity if:

  • you have an overdue grant report
  • you owe money to the Australia Council

 

Australia’s artistic program will respond to the festival theme of Hoʻoulu Lāhui: Regenerating Oceania, be representative of the richness and diversity of Australia’s First Nations Arts and Cultural practices and regions, and include both traditional and contemporary presentations.

Expressions of interest should consider the festival’s foundational values and relate to the following FestPAC programming categories as set by the host nation:

  • Performing Arts – music, dance, drama, storytelling and poetry.
  • Visual Arts – drawing, painting, printmaking, sculpture, ceramics, architecture and photography. Artistic proposals from artists and/or artistic teams are encouraged.
  • Heritage Artsfibre and other weaving, dye preparation and traditional cloth, adornment (feather and shell work)tatau, pottery, carving (wood/stone/bone). Traditional Elders program. 
  • Culinary Arts – showcasing entire culinary process from planting and harvesting to preparation, cooking and consumption. Ceremonial and ritual foods, everyday consumption and food sovereignty.
  • Film, New Media, Fashion and Design – film screening series, moving images, full length features, documentaries, short films and animation. Fashion and adornment.
  • Conferences and Symposia – sharing of research and scholarly presentations, discussion of cultural practise, networking and collaboration opportunities. Inclusive hub of innovating thought and practice, solutions to challenges discussed. Social and emotional wellbeing discussions, traditional medicinal practice, martial arts, talks, ideas, universities and colleges.
  • Expo and Festival Marketplace – Arts & crafts for sale and entrepreneurial exhibits.
  • Youth Ambassadors Program – a program within the festival for youth (18-30 years) representatives to connect, share and collaborate with each other on projects undertaken in their home countries in the year leading into the festival.

Additional Australian delegation requirements:

  • Australian Delegation Branding – Logo and design for the Australian delegation uniforms and merchandise. EOIs should consider the festival theme and be representative of the diversity in Australian First Nations arts and culture. Textile designers are encouraged to apply.
  • Photography – an official First Nations photographer will be included in the delegation. EOIs from photographers should include examples of work and experience in the arts and culture sector and extensive understanding of First Nations Protocols but are not required to respond to the festival theme.

The Artistic Director – Australian FestPAC program, Industry Advisor and Australia Council staff – will be considering expressions of interest against the assessment criteria.

This opportunity is for existing work, new commissions will not be considered.

Under each criterion are bullet points indicating what the Assessment Panel members may consider when assessing your expressions of interest. You do not need to respond to every bullet point listed.

1. The cultural significance of presentation and/or performance

  • adherence to relevant cultural protocols
  • clear articulation of creative process
  • partnerships and/or long-term sustainability

2. The artistic and/or cultural merit

  • vision, ideas and artistic rationale
  • level of innovation, ambition, experimentation and risk-taking
  • significance of work within area of practice

3. Presentation/performance that compliments and connects to the festival theme Hoʻoulu Lāhui: Regenerating Oceania

  • relevance and timeliness of work
  • evidence of considered consultations and engagement with participants and communities where applicable
  • Impact of inclusion in the FestPAC program to community and sector

To apply log in here to our Application Management System (AMS) if you have an account. You can create an account if you do not already have one. Applications close 6 June 2023, 3.00pm (AEST).

  1. Select ‘Apply for a Grant’ from the left panel menu
  2. From the list of opportunities select ‘Apply for the FestPAC’
  3. Complete the fields and select answers with dropdown menus  
  4. Upload any necessary support material  
  5. Select ‘Save’ once complete  
  6. If you are not ready to submit your application you can return to it through ‘Your Draft Applications’ in the left panel menu at a later date  
  7. Otherwise select ‘Submit’  

Download the PDF version of these guidelines.

Download the accessible RTF version of these guidelines.

  • name of Artists/Group/Organisation
  • type of performance/presentation
  • details of performance/presentation
  • how does your performance or presentation align with the Festival of Pacific Arts 2024 theme
  • how many artists/performers included in your presentation or performance
  • duration of performance
  • details of cultural objects, adornments and other materials that will be required as part of your performance/ presentation including, artefacts, head dress, feathers, ochre, plant, animal and marine based materials etc
  • detailed production budget (note: all successful delegates will receive a fee and allowances to attend).
  • brief bio or curriculum vitae (CV) for artists or group and/or additional personnel involved
  • provide a list of all individuals involved in your group
  • upload as an attachment: Technical Requirements and Stage Plan including Lighting, Audio (sound) equipment and stage equipment
  • performance or presentation support material URLs (weblinks), video, audio, images and written material.

We are calling for expressions of interest for an Associate Project Manager, Artistic Director, and Production Manager for the Lead Project Team to manage and deliver the Australian delegation to the Festival of Pacific Arts and Culture 2024.

Position descriptions are posted here.

To discuss your application, please contact Michelle Wong, Projects Officer on firstnationsarts@creative.gov.au or 02 9215 9171.

Createch: Digital Enterprise Program

We’re funding expert coaching in digital disruption for creative enterprises and cultural organisations, in partnership with industry leaders REMIX.

Image by Tim Cheeseman

About the program

We are collaborating with REMIX Summits to fund 20 hours of consultancy support for a cohort of creative enterprises and cultural organisations. The program will help scale an innovation project or creative business. The project must be fully-digital or hybrid.

We are seeking creative businesses and organisations with an existing track record who would benefit from consulting and support from experienced creative entrepreneurs and industry specialists.

The goal of this program is to provide access to REMIX’s consulting to give you the highest likelihood of success. Outcomes will be tailored to your needs, but may include:

  • introductions to potential investors
  • introductions to potential partners and collaborators who can help your idea grow more quickly
  • expert advice and strategic reviews to identify challenges and opportunities
  • planning for investment
  • planning your technical or product roadmap
  • global trend analysis and insights to assist your project development
  • coaching and strategic advice around the development of your project presentation

In addition to 20-hours of bespoke consulting, participants will become part of a unique peer community made up of Australia’s leading creative innovators. You will also attend REMIX Summit Perth on 14-15 September 2023 to network and exchange with peers.

You will receive digital REMIX resources, and your innovation project will be promoted globally in the special REMIX Digital Showcase, where you will be invited to give a 10-15 minute presentation introducing your work. The showcase will be cross-promoted by REMIX to help grow the audience for your innovation project.

REMIX has worked with some of the world’s greatest cultural institutions, technologists, funding bodies and creative businesses to apply its global market intelligence. It helps clients respond to disruptive new trends – redefining services, rethinking business models and creative experiences to find innovative ways to unlock additional revenue streams and engage new audiences. Clients have included Tate, the National Gallery (UK), State Library Victoria, ACMI, Melbourne Arts Precinct, Saatchi Gallery, and the Houses of Parliament (UK).

For further information and case studies please see www.remixsummits.com/agency/.

This opportunity is open to arts-aligned/creative industries organisations, groups and individuals.

We are seeking creative businesses, organisations and individuals based in Australia that have:

  1. A proven track record with further potential for growth and/or impact

Your project or organisation is getting traction: you can point to its positive reception and early growth or your expertise in a particular area. Now you are ready to grow it to the next level, for example through investment, introductions, strategic planning or advanced tech support.

  1. A digital or hybrid innovation that reimagines how the arts are experienced or supported

You are a disrupter with an ability to imagine new opportunities for the arts sector, whether fully digital or hybrid. Innovations may come from the use of technology, for example immersive experiences using projection or free-roam VR; or innovations offering new or improved digital access to culture (e.g., new aggregation models, new creative platforms, gamification, creator economy, hybrid online/offline experiences, new digital content, or new distribution channels). We’re also open to digital innovations that directly support the arts but don’t have a creative end product, for example, new models for creative retail, funding or networks.

Applications will be reviewed by staff and industry advisors. Your application will be based on merit, response to the selection criteria below, and in line with our commitment to diversity and inclusion.

Your application will be assessed on the:

  • viability of the proposed project;
  • timeliness and relevance of the consulting opportunity to scale your project;
  • potential impact your project will have on the creative sector.

Learn more about how we assess your application.

​​To apply, you will need to answer the following questions:

  • ​Project title.
  • ​Project description.
  • How your project is getting traction. Describe how you have had a positive reception and early growth and why this opportunity is timely in terms of supporting the scaling of your project.
  • ​Describe how you have been a disrupter with an ability to imagine new opportunities for the arts sector, whether fully digital or hybrid.
  • ​Describe the potential impact of your project on the creative sector​.

A ‘project’ in this context can be a standalone creative enterprise or a program/business unit within a cultural organisation. It can be either for-profit or non-profit but must be digital or hybrid. It should be innovative in driving new audiences and/or revenues, and already be (or have the longer-term potential to become) financially sustainable. If it operates within a cultural organisation, at least one staff member should be assigned to the project as a component of their job function (so we have a clear lead to work with on the program).

A ‘disrupter’ is free from traditional assumptions about how creative and cultural experiences and content should look. They are the first to ask, ‘Why does it have to be done this way?’ and instead champion innovative new models and approaches. Disrupters forge their own paths, inventing bold new ways of engaging the general public with cultural content and experiences.

Some examples of potential ‘impacts’ are:

  • To set new standards for what digital and hybrid experiences look like in the creative sector
  • To create strategies, tools or platforms that other organisations could also benefit from
  • To redefine how audiences regard or engage with the creative and cultural sectors; rethinking audience demand, consumption and involvement.

CreaTech is where creativity meets technology. It brings together creative skills and emerging technologies to create new ways of engaging audiences and to inspire business growth and investment.” – Creative Industries Council UK

​​The consultancy will be delivered online.

​Participants will:

  • Receive 20-hours of bespoke consulting delivered by REMIX co-founders Peter Tullin & Simon Cronshaw.
  • Attend two online cohort workshops with other participants featuring presentations from digital innovators and disruptors

​1) Orientation Workshop: 14 August 2023

​2) Mid-Point Workshop: 28 September 2023

  • Have access to digital REMIX resources including talks and courses
  • Attend Perth REMIX on 14-15 September 2023 for a series of talks, workshops and opportunities for peer-to-peer networking
  • Receive coaching and support to develop a Digital Showcase for their project
  • Benefit from global promotion of their project via a special REMIX Digital Showcase
  • Become part of a unique peer community made up of Australia’s leading creative innovators​

Please email digital@creative.gov.au if you would like more information.

Cité internationale des arts Residency

Develop your professional practice over three months in Paris. Four residencies are on offer, open to artists working across any art form.

Image credit: View of the main building of the Cité Internationale des Arts – Site du Marais from the rue de l’Hôtel de Ville, 4th arrondissement of Paris / Photo by Maurine Tric, Adagp 2022, for the Cité Internationale des Arts.

About the opportunity

This residency is an opportunity for artists working across any artform area to direct their own program of activity and expand their practice and networks. There are four residencies on offer of three months each (with $12,500 support).

The Cité internationale des arts provides studio space to professional artists wanting to develop their practice in France. Every month, in partnership with 135 French and international organisations, the Cité’s two complementary sites welcome more than 300 artists from a wide range of disciplines for residencies lasting up to one year.

The diverse range of artists in residence at any one time allows for rich artistic conversations and potential for collaborations. The Cité has a vast network of contacts in Paris and wider France and can assist artists in developing their networks.

The complex provides facilities for artists including a print workshop and an exhibition space where artists can display their works, and an auditorium for events. The Cité also organises a program of open studios throughout the year. Please see the information pack for further details.

Resources to help strengthen your application and maximise your residency experience can be found here.

Cité welcome book: Download PDF

Creative Australia information pack: Download PDF

If you need advice about applying, contact an Artists Services Officer.

Who can apply

  • Only individuals may apply to this category.
  • You must be a practicing artist or arts worker and an Australian citizen or an Australian permanent resident.

Who cannot apply

You cannot apply if:

  • you received a grant, or administered a grant, from us in the past and that grant has not been satisfactorily acquitted
  • you owe money to Creative Australia
  • we will not accept applications from legally constituted organisations.

Our staff and industry advisors in consultation with the Cité will consider applications according to the assessment criteria. Successful applicants will be notified of the outcome of their application by mid November 2024.

Applicants must address the following assessment criteria:

  1. Artistic merit
  • suitability of your practice to the residency program and its artistic environment/offer
  • quality of work previously produced, and public and peer response to your work
  1. Viability
  • suitability of your proposal to the residency program
  • the skills and artistic ability of your collaborators (if applicable) and their relevance to the proposed activity
  • realistic and achievable planning, resource use and evaluation.
  1. Impact on career
  • how the proposed activity strengthens your artistic practice
  • the relevance and timeliness of the proposed activity
  • how the proposed activity strengthens your capacity as an arts professional, particularly in relation to international development and collaboration.

You should submit support material with your application. 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. Application-related material received by post will not be assessed and will be returned to the sender. If you think you will have difficulty submitting your support material online, or need advice on what type of material to submit, please contact us.

There are three types of support material you may submit:

  1. Support material

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

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 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, QuickTime, and Windows Media)
  • audio (MP3 and Windows Media)
  • images (JPEG and PowerPoint)
  • written material (Word and PDF).
  1. 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.

  1. 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.

The studio is in the Cité internationale des arts site in the Marais district.

The studio is approximately 30 sqm, comprising of one large room off an entry, with a partitioned sleeping area, and a small kitchen and bathroom. The furniture is basic, with a bed, bookcase, small table, chairs and a dresser. A larger table and easel may also be requested if necessary.

The Cité is centrally located on the rue Hotel de Ville, which runs beside the Seine, approximately four blocks from the Centre Pompidou, the Louvre, and the Picasso Museum. There are four gallery districts in Paris, all within walking distance of the Cité. Close by is Le Marais, an area with many museums, commercial galleries, cheap restaurants, and coffee shops. The Cité is across the Seine from the Ile de Cité, which is the oldest part of Paris. The nearest metro stops are Pont Marie and St Paul.

The Cité’s studios are not wheelchair accessible. Additional access requirements during a residency may be accommodated on request.

The studio is suitable for a single artist or couple. Cité internationale des arts regulations also allow one child under seven years old to be in residence with the parent/s, however space is limited and there is a monthly charge per extra person.

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.

Current residents

Corin Ileto

Rafaella McDonald

Jimmy Nuttall

Brooke Stamp

2022-23

  • Nicole Barakat
  • Grace Ferguson
  • Caroline Rothwell

2020-2021

  • Alisa Blakeney
  • Anita Heiss
  • Rebecca Jensen
  • Lee Serle

2019-2020

  • Yasmin Smith
  • Gabriella Smart
  • James Batchelor
  • Madeleine Flynn and Tim Humphrey

2018-2019

  • Willurai Kirkbright
  • Sarah Rodigari
  • Angela Goh
  • Julia Drouhin

2017-2018

  • Mohini Chandra
  • Melissa Ashley
  • Nicola Gunn
  • Rachel Arianne Ogle

Frequently asked questions (FAQs)

Unless stated otherwise in the program description, all residencies are offered for fixed dates and periods of time.

Yes, but this will be at your own cost and we will not be able to provide additional funds towards the extension.

No. You are not required to provide a budget with your application.

There is no requirement for you to provide a timetable of your activities, unless stated otherwise in the individual residency program guidelines.

Yes. If successful, you are required to take out travel insurance for the duration of your residency. It is recommended you pay for this from your grant.

The studio is suitable for a single artist or couple. Cité internationale des arts regulations also allow one child under seven years old to be in residence with the parent/s, however space is limited and there is a monthly charge per extra person.

Yes, the grant to an individual that accompanies a residency is considered income and taxable. Please visit the Australian Taxation Office website for more information.

The International Residencies Program is dynamic and responsive and the programs on offer may vary from year to year.

Yes. Please refer to the Arts Projects for Individuals and Groups guidelines for details on applying.

Yes, as long as you have satisfactorily acquitted the previous residency grant.

The grant is not intended to cover lost income or rent at home and applicants will need to consider their capacity to undertake the residency prior to applying.

We partner with established and reputable residency providers and each program is unique. Successful applicants will be provided with detailed information about each residency and introductions to the residency providers who will assist artists with making local connections. Our staff are able to provide further advice and contacts, as requested. Artists are also expected to have their own resources, contacts and project plans for the residency.

The grant is a contribution from Creative Australia toward your travel (including airfares and travel insurance) and living costs during the residency period. Applicants are expected to research the cost of living in the residency location they are travelling to. You may need to supplement the grant with your own funds depending on your projected costs for the residency period.

We cannot provide any advice on visa or immigration matters. You must contact the relevant country’s visa service to get current information. We suggest you allow plenty of time to apply for all international visas.

The Cité’s studios are not wheelchair accessible. Additional access requirements during a residency may be accommodated on request.

Creative Climate Leadership Program

A transformative 5-day climate leadership program for artists and arts professionals, delivered in-person at Bundanon, NSW.

Julie’s Bicycle’s Creative Climate Leadership Benelux 2023 programme, photo by Moa Karlberg

Creative Climate Leadership (CCL) empowers artists and cultural professionals to take action on the climate and ecological crisis with impact, creativity, and resilience. It was designed to mobilise and connect a creative climate movement.

CCL offers:

  • An inspiring 5 day program of learning and peer-to-peer exchange for 24 talented and motivated participants living and working in Australia.
  • A powerful opportunity to collaborate and develop creative ideas in a serene environment.
  • A space to develop and/or scale up cultural leadership on climate action and justice.
  • A supportive network of national and international CCL alumni.

Participants will:

  1. Deepen their understanding of the climate and ecological crises as an intersectional issue.
  2. Understand and develop the role of culture and creativity in responding to these challenges.
  3. Emerge with a toolbox of approaches and practical solutions for transformative action, including:
    • approaches to action and collaboration that are equitable and inclusive
    • methods for designing solutions to complex problems
    • strategies for rethinking and reorienting the cultural ecosystem towards a thriving future that prioritises the well-being of people and nature
  4. Develop insights into climate ‘leadership’ at individual and collective levels, bottom up and top down
  5. Emerge ready to translate their learning into a CCL Action project

The Australia Council is committed to increasing the diversity of leaders in our industry and encourages applications from people who identify as First Nations, from culturally and linguistically diverse backgrounds, people with disability, and people living in regional and remote areas.

We actively work with individuals to support access needs – including childcare, cultural practices, financial and/or learning access needs as required.

Find out more information about this program in a one-hour Zoom information session with Mikala Tai and Adam McGowan from the Australia Council; Farah Ahmed and Chiara Badiali (Music Lead) from Julie’s Bicycle, and Australian Facilitator Ruth Langford. Watch the recording here.


This program delivery is supported by the British Council.

Ruth has a diverse background in cultural arts, environmental, social justice, youth work and Indigenous Medicines Therapy and divides her time on projects that reflect her passion for uniting ancient traditions and contemporary innovations for optimistic action and healing for all.

As a Songwoman and Storyteller, Ruth draws upon the cultural knowledge of her Yorta Yorta lineage and the Tasmanian Aboriginal community where she was born and continues to live.

Combining over twenty years traveling the world sitting with Indigenous Elders, Senior Knowledge Keepers and World Wisdom Teachers with conscious research, Ruth Langford’s vision is to connect people to the ancient wisdom of Indigenous teachings in a contemporary and relevant context through the expression of cultural arts, ceremony and ritual.

Establishing Nayri Niara Centre for the Arts of Healing and Nayri Niara Good Spirit Festival, Ruth has gained a reputation as an expert facilitator and coordinator of effective capacity building programs, which have as their guiding principles Connection to Country, Culture, the Self and the Sacred.

Alison established Julie’s Bicycle in 2007 as a non-profit company helping the music industry reduce its environmental impacts and develop new thinking in tune with global environmental challenges. JB has since extended its remit to the full performing and visual arts communities, heritage and wider creative and cultural policy communities. JB is acknowledged as a leading organisation bridging sustainability with the arts and culture.

Originally trained as a cellist, Alison worked with seminal jazz improviser and teacher John Stevens. She worked for many years at Community Music and at Creative and Cultural Skills where she established the National Skills Academy. She has been on many advisory and awarding bodies including Observer Ethical Awards, RCA Sustainable Design Awards, D&AD White Pencil Awards. She has been on the boards of the Music Business Forum, Live Music and Sound Connections, and is on the board of Energy Revolution.

Farah Ahmed (she/they) is the Climate Justice Lead at Julie’s Bicycle. She supports the delivery of events and the Creative Climate Justice programme, developing resources, training and advocacy, connecting environmental, racial and social justice, and creative activism. Their interests lie in how art can centre stories and solutions from the frontlines of climate impacts, and how we can imagine and enact decolonial and anti-capitalist ways of being.

Farah is also co-founder and facilitator of Diaspora Futures, a reflective space for people of colour to centre collective care in the face of the climate crisis. She was on the sounding board for Arvae, a site-specific experiment in collaborative work between artists, scientists and regional environmental experts in Arosa, Switzerland, and was on the oversight board for Art For The People, a citizen’s assembly on arts and culture in Coventry. She is an alumni of the peer-led accelerator programme Huddlecraft and is also an Arts Emergency mentor, supporting young people into careers in the arts.

Thiago Jesus is a creative producer and researcher that joined JB in 2022 to work on the Creative and Climate Leadership programme. For over ten years, he has managed wide-ranging international creative projects and interdisciplinary research at People’s Palace Projects (Queen Mary University of London) in collaboration with artists, academics, activists, and local communities in ten countries.

Since 2014, as the head of PPP’s Indigenous Exchange and Climate Action projects, Thiago has been working closely with Indigenous peoples from the Xingu Territory—in the Brazilian Amazon’s ‘arc of deforestation’—leading an exchange programme for the preservation of indigenous cultural practices as a key factor in safeguarding these communities from the climate crisis.

Thiago is doing doctoral research at Queen Mary University of London, funded by the AHRC (LAHP Collaborative Doctoral Awards). The study, ‘The Art of Creating Climates’, investigates how third-sector organisations with arts and environment at the heart of their programmes approach climate change and respond to environmental issues in distinct North and South contexts, in partnership with the Calouste Gulbenkian Foundation and Inhotim Institute in Brazil.

Thiago holds a MA in Visual Culture (University of Westminster) and a BA in Media and Communications (Federal University of Rio de Janeiro, Brazil) and is a Fellow of the Royal Society of Arts.

Aimee Smith is an award-winning choreographer and climate change professional working for 20 years at the intersection of these two fields.

As a choreographer Aimee has created over 15 professional productions including Borderline, Wintering, Accidental Monsters of Meaning and The Futures Project, and has an extensive community arts and cultural exchange practice. She is inspired by the capacity of art and creative experiences to hold spaces for dialogue about the issues of our time, and to imagine the kind of future(s) we want to create.

With a Masters in Sustainability and Climate Policy, Aimee has also worked as a climate change professional across government, business and academia. She has supported arts companies and festivals to develop and implement sustainability strategies and climate action plans, and co-founded Arts and Cultural Workers for Climate Action (ACWCA) to mobilise WA artists & cultural workers for the global student climate strikes.

Anna Weekes is a parent, activist & artist with a CACD practice, working both in Australia and internationally on arts projects for social and environmental justice. Anna has previously worked in Cambodia with an arts organisation, and remote Vanuatu with a women’s group.

Anna has spent the last 14 years working in the Northern Territory. Anna is one of the Creative Producers and Executive Officers at Darwin Community Arts, is a recipient of the Kirk Robson CACD Award, Future Leaders, and Australian Progress fellowship alumni.

Antonia is an arts leader living and working on Gadigal land. She has a rich knowledge of the performing arts sector and the national touring landscape, and is passionate about the transformative impact of arts experiences as well as working collaboratively to lead on change. In her current role as Executive Director of Arts on Tour, she has led on, and is deeply committed to, supporting the transition to environmentally sustainable touring, launching in 2022 the award-winning Green Touring Toolkit. In 2024 Arts on Tour will launch a carbon neutral touring service.

Antonia has held senior management roles in marketing, producing and development at companies large and small, including Urban Theatre Projects, the Australian Theatre Forum, Performing Lines, the Lyric Hammersmith in London and Sydney Dance Company. An alumna of Adaptive Leadership Australia, past Board roles include Co-Chair of PYT Fairfield and Chair of De Quincey Co.

Ari Fuller is Facilities Management Officer at the Queensland Art Gallery and Gallery of Modern Art (QAGOMA) in Brisbane, Queensland. With 20 years of invaluable experience at QAGOMA, Ari has emerged as a driving force for museum sustainability practices. Leading the sustainability portfolio since 2015, Ari has implemented comprehensive initiatives that have positioned QAGOMA at the leading edge of Australian museum sustainability.

Drawing on a strong background in museum operations and armed with dual arts degrees, Ari brings a unique blend of artistic sensibility, operational expertise and personal influence to his role. His commitment to institutional carbon reduction strategies has earned him recognition in and beyond the art gallery community. With a vision of carbon neutrality, Ari continues to shape the future of museum operations, leaving an indelible mark on QAGOMA’s sustainability practices and contributing to the preservation of art and culture for generations to come.

Astrid Edwards is a teacher, interviewer and critic. Her PhD at the University of Melbourne investigates potential and perceived barriers to publishing and selling climate fiction in Australia. She hosts The Garret, a podcast exploring the Australian writing and publishing industry, and teaches in the Associate Degree of Professional Writing and Editing at RMIT University. She is the former Chair of Melbourne Writers Festival and former Deputy Chair of Writers Victoria.

Beatrice is a Facilitator, Creative Producer and Climate Impact Manager. For the best part of the last decade, Bea has worked with festivals, events, arts organisations and touring musicians to reduce emissions and take action on climate.

Bea has worked with Green Music Australia, the Off-Grid Living Festival, Slingsby Theatre Company, the Adelaide Festival, Tim Minchin and Lime Cordial.

Last year Bea co-produced Climate Crisis and the Arts, a free one-day event as part of the Adelaide Festival. Bea also co-curated and produced Australia’s first Culture and Environment Roundtable, a collaboration with Julie’s Bicycle, British Arts Council and Australian Council for the Arts.

In November 2022, Bea launched Creative Climate Action, an environmental action course to build frameworks and set goals for sustainability in the live music and arts sector.

Bea is currently working with FEAT.Live, spearheading a new climate action strategy designed to reduce the emissions of live entertainment by unlocking sustainability funding through ticket sales.

In between projects, Bea leads multi-day hiking trips and outdoor adventures around Australia.

Bryony Anderson has been a maker, designer and creative director of participatory artworks for 26 years, creating high calibre works with salvaged materials for puppetry, performance and exhibition. Her work has toured nationally and internationally with many of Australia’s leading performing arts companies. Currently heading Terrapin’s workshop team in Hobart, Tasmania, she has led the company’s move towards carbon neutrality. She has held over 120 workshops in rural, desert, and urban communities and is currently training emerging makers in sustainable practice.

Bryony and her family spent 15 years living in an off-grid shed in the forests of NSW, where they experienced first-hand the upheavals of extreme climate events. Her work is dedicated to raising awareness of the preciousness of resources and ecosystems, coupled with the potential of imagination to motivate and illuminate.

Catherine Polcz is a curator and creative producer working across museums and media specialising in climate and the natural world. Drawing on her background as a botanist and ecologist, she has conceived and produced content for science festivals, events and panel discussions and has exhibited her own work at artist centres in Canada, US and Australia. Since 2018, she has been science producer at the Powerhouse Museum and Sydney Observatory. She is the curator of 100 Climate Conversations, the new Powerhouse climate solutions exhibition, program and podcast featuring 100 weekly conversations with Australian climate leaders.

Charlie Mgee is a songwriter, ukulele-player, permaculturist and founder of the world-renowned ecological funk/swing band, Formidable Vegetable. Growing up in a tin shed with a veggie garden, rainwater tank and one 100W solar panel for power in the south-west of Western Australia, Charlie lived the low-impact lifestyle from a young age, using a dunny that didn’t flush and hanging out with his chickens for entertainment, which made him realise early on that you don’t need a lot in life to be happy.

Later on, Charlie went off to study permaculture and soon after, formed Formidable Vegetable – a band based entirely around principles of regenerative living and being good to the planet, with the hope of inspiring people everywhere to grow better gardens/lives/communities and generally make the world a nicer & more ecologically just place.

His music has been acclaimed by the United Nations and the band has performed not once, not twice, but thrice at Glastonbury Festival alongside such acts as Ed Sheeran, Dolly Parton and The Rolling Stones, inspiring the creation of many a backyard, frontyard and community garden, among other things.

Eliki Reade is an Interdependent Producer and artist of kailoma-Fijian (Fijian/European) heritage. Eliki is intrigued by many forms of storytelling and the ways it is creatively embodied, engaging with work that centres the practice, creating critical connection. Centring relationships in the work that they do and not tied to form, their producing practice covers various forms across performing and visual arts including live music, parties, poetry and spoken word performance, workshops, exhibitions, experimental and digital art. Put simply, ‘they like making cool stuff with their mates’.

They wear multiple creative hats including Program & Events Coordinator at MPavilion, co-instigator with Lana Nguyen for A Climate For Arts commissioned by Diasporas, Co-Creative Producer for Listening Across Faultlines, Pacific Drift—Crenulations & Oceanic Refractions with AM Kanngieser and Mere Nailatikau supported by Australia Council’s International Engagement Fund and VACS, Cultural Advisor for Museums Victoria’s Culture Makers Program, and Co-Chair with Lana Nguyen at SEVENTH Gallery, among many other personally fun and exciting projects and loves.

Eliki is a recipient of the Creative Victoria’s Unlocking Capacity grant (2022-24) and is currently developing a working methodology and manifesto, applying iTaukei / Indigenous Fijian knowledge in intercultural collaboration.

Fiona Lee (b. 1981 Vancouver) is a visual artist and the government relations advisor for Bushfire Survivors for Climate Action (BSCA). A graduate of Newcastle Art School and the University of Newcastle (with class one honours in sculpture), Fiona’s journey merges her art practice with her dedication to climate activism.

The line between protest, installation and campaigning is blurred, with a constant focus on challenging the social license of fossil fuels by highlighting the personal costs of climate change. Her involvement in grassroots social justice and climate organisations across the country spans two decades, including her recent coordination of the Gas Free Hunter Alliance.

A pivotal moment in her campaigning work was her participation in Bushfire Survivors for Climate Action’s landmark court win in 2021. The NSW Land and Environment Court ruled that the NSW Environment Protection Authority take significant action on greenhouse gas emissions and climate change. This groundbreaking decision marked the first time an Australian court had directed a government agency to address climate change, setting a precedent for targeted climate policies across Australian states.

Following the devastating loss of her home in the 2019-20 bushfire crisis, Fiona embarked on a 12-month Bushfire Affected Artist residency at The Creator Incubator in Newcastle. From the remnants of her scorched home, Fiona crafted unapologetic and political artworks that addressed her personal loss and the impact of climate change on us all. Her resulting solo exhibition, Carbon Tax, toured Maitland and Manning Regional Art Galleries, CLIMARTE Gallery Melbourne, was featured on ABC Artworks TV and in The Art of Protest at Newcastle Art Gallery.

In 2024 her public artwork High Tide, a collaboration with architectural designer Aaron Crowe, is set to be installed at Yapang Sculpture Park within the Museum of Art and Culture Lake Macquarie.

Grace is a scientist and stage manager with a unique blend of expertise. Currently pursuing her PhD in social-ecological systems, Grace held a previous career as a stage manager, touring nationally and internationally. Driven by her love for both theatre and the environment, Grace has undertaken a mission to promote sustainability within Australia’s theatre industry. With a strong background in research and science communication, Grace founded Griffin Theatre Company’s Green Griffin program and Bump Out Sydney. Her current project is the creation of The Theatre Green Book Australia.

Grace firmly believes that sustainability should be accessible to all and that everyone can contribute to positive change. Her research centres on cultivating and strengthening stakeholder networks across Australia to advance sustainability in the creative and cultural sectors. By understanding the intricacies of the professional theatre industry, and the science behind climate change and sustainability, Grace combines her dual passions to help arts organisations create and maintain greener theatrical practices.

Guy Ritani (Ia/they/them) is a proud Ngāti Toa Rangatira, Ngāti Koata, Ngāti Kahungunu & Macnamara takatāpui Māori artist, activist, designer and teacher currently living on Kombumerri Country. Co-founder of PermaQueer, Pacific Climate Warrior & community organiser, Guy’s work is within the growing edge of our systemic ecological relationships to Whenua/Country, building food systems, economic support systems and housing that aligns to our planetary limits. Guy is the President of regional arts council Tamborine Mountain Arts Collective and is passionate about social systems and climate justice. Their practice it within storytelling and uses the whatever medium is available and most appropriate to tell stories needing to be told.

Dr Jen Rae is an award-winning artist-researcher of Canadian Scottish-Métis (Indigenous) descent based in unceded Djaara Country/Castlemaine, Victoria. Jen’s practice-led expertise is situated at the intersections of art, speculative futures and climate emergency disaster adaptation + resilience – predominantly articulated through transdisciplinary collaborative methodologies and multi-platform projects, community alliances and public pedagogies. She is a Co-founder and Creative Research Lead of the Centre for Reworlding.

A Bundjalung-Kannakan woman (she/her) and emerging artist, Juundaal lives on Wodi Wodi land of the Dharawal nation and returned to visual arts study at the University of Wollongong in 2018. Her work functions within the discomfort of decolonisation frameworks to actively negotiate tensions, investigate strength in vulnerability and contribute to empowering the non-Indigenous and Indigenous relationship in addressing climate crisis. Healing, cultural connection and learning inextricably fuel and co-exist within her work within an intersectional environmental and Aboriginal cultural revitalisation context. As an emerging artist with a disability, her mentors and space for diverse expression in the arts, are also integral to her creative practice.

Dr Kate Scardifield is an artist and researcher living and working on Gadigal Land. Her practice is cross-disciplinary, collaborative, and focused on charting materials and material systems through states of transformation. Her works span large-scale installations, adaptable textiles, sculpture, and video. Her current projects are investigating algae-based biopolymers, designing with biomaterials for carbon capture and storage, and working with textiles as instruments for navigation, transmission and communication.

She is co-founder and Co-Director of the Material Ecologies Design Lab at the University of Technology Sydney. MEDL is a creative practice and interdisciplinary research lab committed to transforming waste and transitioning material systems for a post-petrochemical world. She is a member of the Algal Biosystems and Biotechnology group in the UTS Climate Change Cluster, working closely with marine scientists and biotechnologists on the design and development of algae-based materials for fashion, textiles and architecture.

Keg de Souza is an artist of Goan ancestry who lives and works on unceded Gadigal land in Sydney. Architecturally trained, she creates social and spatial environments, making reference to her lived experiences of squatting and organising with projects that use and food politics, temporary architecture, publishing and radical pedagogy. Keg draws from personal experiences of colonialism – from her own ancestral lands being colonised to living as a settler on other peoples unceded lands – to inform her layered projects that centre marginalised voices and lesser-known stories for learning about Place.

kelli is an artist and co-founder of boorloo based experimental art group, pvi collective. their work is renowned for being socially engaged and participatory, seeking to empower audiences to step out of their comfort zones.

kelli is a passionate advocate for experimental practice and it’s continued growth in australia. kelli is an AusCo peer, a member of #feminist educators against sexism, a climate champion for better futures australia and a trouble-maker at heart – good trouble, that is 🙂

Na’im lives and works on stolen Wurundjeri Woi-Wurrung Country. They’re a settler non-binary disabled queer neurodiverse radical composer, ecologist & sound artist. Their practice, identity & values are indivisible. Their work explores environmental and social justice, & personal experience using traditional notation, sonifying data, live-composing with objects, video scoring, field-recordings, hand-drawn graphic scores, & collaboration across artforms.

Na’im has been commissioned & had works performed in Australia, Aotearoa, UK, US, Hong Kong & China. They’ve had residencies at Tilde New Music Fest (Naarm, Aus) & Lijiang Studio (Yunnan, China). In 2022 they created the soundtrack to Zoë, A Good Catch Circus’s response to the climate crises.

Art is for everyone and it’s integral to growing change. Na’im wants to empower access to ecological & marginal knowledges, radical futures imagining, and weird enriching art experiences.

Noemie Huttner-Koros is a performance-maker, writer, dramaturg and community organiser based between Whajuk Noongar country and Wurundjeri country. Their practice is driven by a deep belief in the cultural and civic role of art and in engaging with sites and histories where queer culture, composting and ecological crisis occur. Shows include: Mother of Compost (M1 Singapore Fringe Festival), The Lion Never Sleeps (Australian Book Review’s Arts Highlights of 2019) & Democracy Repair Services (The Blue Room Theatre 2023).

Noemie has a Bachelor of Performing Arts, Performance Making (WAAPA) and a Master of Theatre, Dramaturgy from Victorian College of the Arts. They have worked with companies including: Mammalian Diving Reflex, Australian Theatre for Young People, DADAA, Propel Youth Arts WA and is currently the Graduate Dramaturg at Red Stitch Actors Theatre. They were the winner of the 2020 Venie Holmgren Environmental Poetry Prize & 2021 WA Young Environmentalist of the Year.

Pippa Bailey is an independent producer/director/consultant based on Wangal Land in Sydney. She is committed connecting artistic practice to plans for fairer future where Climate Justice leads.

Pippa started her career as an actor and reporter/producer with SBSTV. She held leading roles in the UK including The Museum Of on London’s South Bank, oh!art at Oxford House in Bethnal Green, The World Famous – company of pyrotechnicians and Total Theatre Awards at Edinburgh Festival Fringe.

Since 2013 Pippa has worked as Senior Producer with Performing Lines, Sydney Festival and in the First Nations team at Carriageworks. As Director/Producer for ChangeFest 2019-21, she worked in collaboration with Elders and communities to create events that imagine systems change and rehearse fairer futures.

Pippa co-convenes the Cultural Gardeners – Australian Cultural Alliance for Climate Action, is a coordinator with Culture Declares Emergency UK, member of Collaborative Futures and a board Director of IETM: International network for contemporary performing arts.
ve Futures and a board Director of IETM – International Network for the Performing Arts.

Sēini ‘SistaNative’ Taumoepeau (she/her) is a Regenerative Orator & Songwoman, Faivā practitioner (performance of space). A voice of modern Australia, Sēini is an inter-disciplinary artist, storyteller and founder of OceaniaX, Pacific Wave and LELEI Wellness.

Commissions include: Sydney Opera House, Australian Broadcasting Corporation and Museum of Contemporary Art. Sēini is a veteran of the arts, media, culture, educational and personal development sectors with an intersectional Oceanic-Pacific lens and First Nations focus.

She carries medicine in her presence, hands and voice, commanding an aesthetic in harmony and rhythm, working with the invisible and intangible.

Connecting with global communities, Sēini is known as: SistaNative, Napangardi & Cantora, with origins from Kingdom of Tonga. An Australian veteran with a career spanning more than 30+ years as a performance artist, presenter/broadcaster and creative industries professional.

Dr Tanja Beer is an ecological designer and community artist who is passionate about co-creating social gathering spaces that accentuate the interconnectedness of the more-than-human world. Originally trained as a performance designer and theatre maker, Tanja’s work increasingly crosses many disciplines, often collaborating with landscape architects and urban ecologists to inspire communication and action on environmental issues.

Her most celebrated project is The Living Stage: a global initiative that combines spatial design, permaculture and community engagement to create recyclable, biodegradable, biodiverse and edible event spaces. Tanja’s extensive career as a designer, educator and researcher builds on more than 20 years of practice. Her pioneering concept of Ecoscenography has been featured in numerous programs, exhibitions, articles and platforms around the world. Tanja is Co-director of the new Performance + Ecology Research Lab (P+ERL) and Senior Lecturer in Design at Griffith University (Brisbane). She is the author of Ecoscenography: An introduction to Ecological Design for Performance (Palgrave Macmillan, 2021).

Vika Mana is a Torres Strait Islander and Tongan storyteller that takes many forms. They are from the Zagareb and Dauareb tribes of Mer Island and the village of Fahefa in Tonga. They perform poetry, write criticism and breathe life into worlds whilst doing their best to protect this one. Vika excels in a variety of storytelling mediums, all of which centre sovereignty and justice.

This opportunity is open to:  

  • Practising artists and creative/cultural/arts professionals. 
  • Australian citizens or permanent residents. 
  • Individuals who are available to travel to Bundanon NSW to attend the program in full and in person from 11 – 16 September 2023. 

You can’t apply if: 

  • You have an overdue grant report. 
  • You owe money to the Australia Council. 
  • You are applying as a group or organisation. 

You can submit your application via our online application system 

If you have access requirements, please let us know how we can support you. Please see FAQs below for information on submitting a video application. 

Selection criteria:  

  • Nuanced understanding and reflection on what creative climate leadership means. 
  • Engagement with and awareness of climate change, environmental and/or social justice themes, issues and connections in your work to date. 
  • Ability and capacity to take action and lead change. 
  • Demonstrated ability and willingness to work collaboratively and contribute to a group. 

Applications will be reviewed by staff and industry advisors. Your application will be based on quality, response to the selection criteria above, and in line with Australia Council’s commitment to diversity and inclusion. 

Please note:   

To apply you must be registered in our application management system a minimum of two business days prior to the closing date.  

Applicants will be notified of the outcome of their application approximately four weeks after the closing date.

Learn more about how we assess your application.

Applicants may choose to supply up to 3 links or attachments to support your application (optional).  

Examples include: 

  • online links to documentation (blogs, news articles, other multimedia content) 
  • past projects and reports 
  • links to video files should be between one to ten minutes in .mp3, .mp4, .mov or .wmv formats 

The CCL Australia programme includes: 

A five-day residential course for arts and cultural professionals who want to take a lead on climate change. Participants will arrive on Monday and leave the following Saturday, with full days of workshops, discussions and talks in between. 

The training sessions will: 

• Explore the role of culture and creativity in responding to climate change and environmental challenges. 

• Share case studies, research, approaches and practical solutions for environmental sustainability in the cultural sector. 

• Enable each participant to develop their leadership and ideas. 

• Prepare participants to apply their learning and new skills when they return home. 

• Support ongoing learning and exchange through an alumni network. 

Themes will include: 

• Approaches to organisational change. 

• Engaging people with new narratives and shifting values through art and design. 

• Encouraging behaviour change through communications and advocacy. 

•  Collaborative ways of working to maximise impact in civic society and policy making. 

A full programme will be released to participants in advance of the course. 

After the course, participants will become members of the CCL Alumni network, which will facilitate ongoing communications. 

CCL Australia is open to practising artists and creative/cultural/arts professionals based in and/or working in Australia. We encourage creatives and leaders that want to challenge the status quo and conventional ways of thinking. 

Previous applicants and/or alumni from Australia Council leadership programs are eligible to apply.

The CCL Australia will take place between 11 – 16 September 2023, at Bundanon NSW, therefore you need to ensure you are available to participate fully, in person, for the full duration. 

​Dates: 

Monday 11 September 2023 – Participants arrive at Bundanon 

Monday 11 to Saturday 16 September 2023 – Training course 

Saturday 16 September 2023 – Participants depart Bundanon. 

The new Bridge and Art Museum are wheelchair accessible. There are designated accessible parking spaces available outside the Bridge and Art Museum. Guide dogs and assistance animals are allowed on Bundanon properties. 

Arthur Boyd’s Studio and the ground floor of the Homestead are wheelchair accessible. There is a staircase inside the Homestead and uneven ground in the visitor carpark and throughout the site. 

We are committed to ensure to remove all possible barriers to participation. If you have any access requirements please let us know in advance so we can make the necessary adjustments. Please contact HOPadmin@creative.gov.au

Participants do not need to do any work prior to attending the course. However, an important part of this CCL is active participation. All participants will be given space to share their skills, knowledge or experience with the other participants. All participants will become members of the CCL Alumni network, which will facilitate ongoing communications. 

Yes, CCL Australia will be held in person at Bundanon, NSW. Applicants must be able to travel and participate in person for the full duration of the course. 

Yes, if you would prefer to submit a video application instead of a written application, please record a video of max 5 minutes addressing the questions in the application form. For further information on how to submit a video application, or if you would like to discuss submitting an application in another format, please email HOPadmin@australicouncil.gov.au.

The Australia Council will cover the costs of accommodation and all meals at Bundanon, NSW during the course. 

Bus travel between Sydney and Bundanon will be provided by the Australia Council. Successful applicants can make their own preferred travel arrangements to Bundanon from other locations at their own cost.

There is an optional question for those seeking to apply for a stipend to support costs. Australia Council will pay a stipend to successful applicants who are self-employed and/or freelancers, and need support to cover costs such as interstate travel, course participation and other expenses. We suggest applicants include a breakdown of the costs you anticipate needing to cover when answering this question.

We are closely monitoring the COVID-19 situation, and the appropriate protocols will be put in place. We will remain in close communication with all successful applicants to chart the best course of action. 

We ask all participants to take a Rapid Antigen Test (RAT) within 24 hours before the programme starts and recommend wearing wear masks when travelling to the event on public transport. Masks and RAT tests will be made available on-site. 

Spaces will be ventilated with regular opening of windows where possible (please bring layers in case of cooler temperatures), and some sessions will be held outside weather permitting. 

All participants who, prior to the event, have symptoms of a respiratory infection, have a high temperature or do not feel well enough to carry out normal activities will be asked to stay at home. Any participants and facilitators who present symptoms during the programme will be asked to self-isolate until they have had a negative RAT test and will be asked to wear masks and maintain a distance to other participants if re-joining the group. 

Creative Climate Leadership Program Information Session

Download the transcript.

Milparanga Australia Council Scholarship

Welcome to the Milparanga Australia Council Scholarship

About Milparanga and the scholarship

Milparanga is run by the ARLF and is a cross industry leadership program with a focus on regional and remote Australia. The Australia Council is supporting First Nations artists and arts practitioners to participate in the program. Milparanga, meaning ‘watching over country and its people’ (in Mithaka language), honours Indigenous knowledge, philosophies and reclaiming of language. Milparanga is designed to develop Aboriginal and Torres Strait Islander Leadership and aims to support participants to:

  • increase awareness of self and others
  • develop greater understanding and confidence to apply leadership behaviour, clear communication, governance and decision making
  • broaden perspectives and act for the greater good of communities, regions and organisations
  • engage in robust conversations that will honour existing skills and knowledge, as well as provoking thoughts and assumptions.

Program dates for 2021 are:

  • Session 1:
    • Townsville 26 April to 1 May 2021
  • Session 2:
    • Canberra 21-26 June 2021.

Milparanga is fully funded by the National Indigenous Australians’ Agency and participants will only need to pay a $200 contribution fee.

The contribution fee goes towards program costs and a lifetime membership to the Network of Fellows of the Australian Rural Leadership Foundation.

Participants may be responsible for a small component of travel expenses to and from major transport services.

In partnership with:

International Leadership program (Indo-Pacific)

In partnership with the Department of Foreign Affairs and Trade (DFAT), the International Leadership Program invites applicants from nine eligible Indo-Pacific countries to apply for the Arts Leaders or Future Leaders programs in Australia.

Apply for a fully funded scholarship in one of our groundbreaking programs to transform your leadership and create impact for your organisation, practice or community.

Join colleagues from across our region to explore arts leadership through a different lens and learn through a range of experiences during your visits to Australia.

Applications for the 2019 round are now closed.

LEARN MORE

Arts Leaders program

The Arts Leaders Program is designed to transform our sector’s knowledge by developing skills and capabilities of our established practitioners. The program brings together leaders from Australia and eligible Indo Pacific countries across artforms and career levels, to inspire and enhance arts leadership. The Arts Leaders Program is a personal and professional development opportunity – it will enhance your skills and capabilities, develop your networks and provide a platform for growth.

Applications are now closed.

LEARN MORE

Future Leaders program

The Future Leaders Program is designed to transform our sectors knowledge by developing skills and capabilities of our emerging practitioners. The program brings together a group of diverse leaders to engage with current and relevant themes affecting the future of the arts. Together, you will work through common challenges and opportunities faced within the sector today. 

The Future Leaders Program is for emerging leaders within their first ten years’ experience in the sector. The program is open to arts leaders working independently, within organisations or the broader community. 

Applications for the 2019 round are now closed.

Future Leaders Program

Arts Governance program

The Arts Governance Program is a national opportunity for organisations to enhance their governance practices through a program tailored specifically to the arts. The program aims to enhance governance skills, supporting leaders to prosper and arts organisations to thrive.

The program is comprised of two components, an arts governance workshop series and webinar series, both of which are aimed at the leaders (including board members/chairs, as well as senior management and artistic staff) of small to medium arts organisations.

LEARN MORE

Creative Connections: an online learning series for the arts and creative sector

Learn. Adapt. Respond. 

Creative Connections is an online webinar series for the cultural and arts sectors and will offer practical, accessible and useful content delivered by industry experts on key topics and emerging themes.

As a direct response to the current challenges faced by the arts sector, we acknowledge the isolation felt by artists and practitioners at this time, and the impact that temporary closure of many arts organisations is having on our collective wellbeing.

Watch now the recorded sessions.

LEARN MORE

What does leadership look like in 2020?

We are delighted to announce the next cohort of leaders to take part in our 2020 leadership programs. These individuals will transform their knowledge, skills and capabilities. 2020 also marks the first year of the Custodianship Program adding to our commitment to our First Nations people(s) as our cultural Elders and leaders.

Grounded in respect, generosity and listening, the programs tackle the big issues and opportunities faced by arts workers. Participants explore new ways of thinking and enact the potential of creativity for change.

The Australia Council Leadership Programs are dedicated to transforming our sector’s knowledge, skills and capabilities by supporting emerging and established leaders.

Current Participants

Frequently asked questions

To be eligible for the Australia Council scholarship you must:

  • be an Aboriginal and/or Torres Strait Islander artists or arts practitioner
  • be 21 years or older
  • have a connection and interest in rural and regional Australia.

Leaders will be assessed proportionately to their experience level. Australia Council staff and industry advisers will assess the applications using the following criteria:

  1. Level of commitment and engagement – introduce yourself, telling us who you are and about your passion and commitment to the cultural sector.
  2. Readiness – outline your career trajectory and tell us why this is the right program for you and your leadership development at this moment in time.
  3. Collaborative learner – show you are open to new ideas, able to learn in a group situation and willing to share knowledge and insights with others.
  4. Leadership ability and potential – explain what leadership in the arts mean to you as an individual.  What skills, attributes and behaviours do you have or need to grow in your leadership?

Please note this is not a job or project application – assessors are looking for evidence of deep thinking, self-reflection and an understanding of the arts sector and your place within it.

Entry to the program is highly competitive. In your application, you must demonstrate how you meet each of the selection criteria.

Provide a written response to each of the selection criteria in the field where indicated in the online form. We recommend you break up your proposal with headings to clearly identify which criterion you are addressing and keep answers succinct and relevant.

You must submit either a short CV (max 2 pages) or your LinkedIn profile. You will be required to submit a URL for either of these. Your resume should be uploaded online and an URL provided as support material.

To find out how to upload your CV, click here.

Please do NOT attach any letters of support, media articles, examples of your artistic practice or other documentation. These will not be viewed by assessors.

Industry advisors and Australia Council staff will review submissions according to the selection criteria, and shortlisted candidates may be invited to an interview.

All applicants will be advised of the outcome of their application once the selection process has been completed.