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

Sir Robert William Askin Operatic Scholarship

Travelling scholarship to support the professional development of a man or male under 30 with outstanding ability and promise in opera.

About the Scholarship

The Sir Robert William Askin Operatic Scholarship was established by a Deed of Lady Mollie Askin to further culture and advance education in Australia by providing a travelling scholarship for Australian citizens with outstanding ability and promise in opera.

The scholarship is awarded biennially to a young man or male candidate who has outstanding ability and promise in opera. The scholarship is worth $30,000, payable in two instalments of $15,000 over two years.

A list of previous recipients is available here.

Who can apply

Applications for the Sir Robert William Askin Operatic Scholarship are open to individual artists who identify as a man or male and are Australian citizens aged 18 – 29 at the closing date.

These are terms established by the Sir Robert William Askin Operatic Scholarship Trust. There are no exceptions to these requirements.

If you are an Australian citizen but will have difficulty providing a copy of a birth certificate, passport or citizenship certificate, please contact Artists Services.

Who can’t apply

You can’t apply for a scholarship if:

  • you have an overdue grant report
  • you owe money to Creative Australia
  • you were previously awarded a Sir Robert William Askin Operatic Scholarship.

Scholarship funds can be used to assist with study programs, professional training courses and mentor programs that would not otherwise be obtainable due to lack of financial resources.

Scholarship proposals will be reviewed by Creative Australia staff. We may seek industry advice on your scholarship before making our recommendations to Perpetual, who will make the final decision.

The decision of Perpetual is final, and no feedback will be provided  on your application or the decision.

Your application will be assessed against two criteria:

  • the potential of the applicant
  • the viability of the proposal.

Scholarship applications are submitted through Creative Australia’s Application Management System (AMS).

Once logged into the AMS, click on ‘Apply for a Grant’ from the left panel menu. Scroll down the list of opportunities. Under ‘Co-Investment Opportunities’ select ‘The Sir Robert William Askin Operatic Scholarship’.

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

  • your name and contact details
  • your gender
  • confirmation that you are an Australian citizen
  • confirmation of your age
  • information about your practice, your professional experience and your career goals
  • the proposed aims and activities of your scholarship (names of teachers/institutions, travel plans, dates, etc.), and how your planned activities will assist your career
  • supporting material relevant to your proposal.

Additional material can be submitted to support your application. We will review support material to understand your artistic practice and viability of your proposal.

We do not accept support materials 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, please contact Artists Services.

You can submit the following support material with your application:

    1. Artistic support material

You may submit up to two URLs (web links). These URLs should be direct links to material that can include video, audio, images, and writing.

Please provide:

      • a direct link/URL to a video or audio recording of a performance.

 

  1. Letters of support

You may include up to three letters of support or written references for you and your scholarship, with each letter not exceeding one A4 page. The letters should explain how the proposed scholarship will benefit you.

Our preferred method of receiving support material is via URLs (weblinks). However, if you cannot supply artistic support material via URL, we will accept artistic support material in the following formats:

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

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.

To find out more about support material, including advice on how to get examples of your work online, please contact Artists Services.

International Touring and Presentation Fund

$5,000 to $50,000 to support international touring, showcasing and presentation opportunities.

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

Online information session

Watch our information session about the new programs here.

See also: International Travel Fund and International Engagement Fund.

Register now

 

About the program

This 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).

Individuals, groups and organisations (including small businesses) may apply to this category. International organisations that are presenting Australian artists or creative workers are also 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 $50,000.

Applications must meet at least one of our 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.

Your project must consider the latest government travel advice regarding COVID-19.

Please read through the following grant guidelines.

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

Who can apply

  • You can only submit one application to each closing date for the International Touring and Presentation Fund.
  • You cannot have applied to the Tuesday 5 September 2023 closing date for the Arts Projects grant categories for the same activity.
  • 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.
  • International publishers seeking support to translate Australian works by living authors of creative writing, and Australian publishers seeking support to translate non-English works into English by Australian translators must apply to the Translation Fund for Literature.

Who can’t apply

You can’t apply for a grant if:

  • you have already applied to this closing date for the International Touring and Presentation Fund 
  • you have already applied to the Tuesday 5 September 2023 closing date for the Arts Projects grant categories for the same activity
  • you have an overdue grant report
  • you owe money to Creative Australia
  • your organisation receives investment through the National Performing Arts Partnership Framework
  • your organisation receives a combined total of more than $520,000 annually (per calendar year) through the Four Year Funding program, and/or the Visual Arts and Crafts Strategy funding from 2021 to 2024
  • 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.

What can be applied for

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:

  • fees for artists and creative workers for showcasing opportunities
  • a reasonable contribution towards artist and creative worker fees relating to remount or pre-production costs, for tours or presentations
  • flights, accommodation, per diems, ground transport costs
  • travel insurance
  • visas, COVID-19-related tests or documentation
  • 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.


What can’t be applied for

You can’t apply for:

  • unconfirmed international tours, showcases or presentations
  • touring or presentation activities where there is no reasonable contribution to fees for artists or creative workers from the presenting partner/s
  • activities that are not international tours, showcases or presentations (apply for the International Engagement Fund instead)
  • outbound international market development activities (apply for 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 our First Nations Cultural & Intellectual Property Protocols.
  • 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.

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. Our 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.

Viability

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 and COVID-safe plans for projects that involve public presentations, domestic or international travel.
  • 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.

Impact

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.

Strategic focus

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 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.

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

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

Other accepted file formats:

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

  • video (MP4, 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 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.

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

4. 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.

5. Travel risk management

Your project must consider the latest government advice regarding COVID-19.

If your application is successful, you will be responsible for your own COVID-19 safety planning and risk management.

If your project involves international travel, you must consider the costs and impact of quarantine and/or any additional travel and accommodation costs for all project participants. For the Australian Government’s latest travel advice, go to Smartraveller.

You are strongly encouraged to submit a one-page risk management and/or COVID-safe plan (in any format) with your application if it involves travel. If you require a template, you can download one here.


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

Online information session

Watch our information session about the new programs here.

See also: International Touring and Presentation Fund and International Engagement Fund.

 

About the program

This fund supports Australian artists and creative workers to travel to attend international market development or cultural exchange platforms or key gatherings overseas, for example:

  • North America: CINARS, International Society for the Performing Arts (ISPA) Congress, International Market of Contemporary Circus (MICC), Mundial Montreal, MUTEK Festival, TYA/USA National Festival & Conference, Western Arts Alliance (WAA) Annual Conference, Winter Jazzfest;
  • North Asia: Art Basel Hong Kong, Asia Discovers Asia Meeting (ADAM), China Shanghai Performing Arts Fair (SPAF), Hong Kong Performing Arts Expo (HKPAX), Yokohama Performing Arts Meeting (YPAM);
  • South and Southeast Asia: Art Jogja, Bangkok International Performing Arts Meeting (BIPAM), Dhaka Art Summit, Indonesian Dance Festival (IDF);
  • Europe and the UK: Ice Hot Nordic Dance Platform, IETM Plenary Meetings, Frieze London, Gamescom, The Great Escape;
  • The Pacific: Going Global Music Summit New Zealand, Performing Arts Network of New Zealand (PANNZ) Arts Market;
  • Global: ASSITEJ gatherings, NY:LON Connect.

We will run a separate callout in due course for delegates who would like to attend the Performing Arts Market Seoul (PAMS) in 2024, Tanzmesse 2024, and the New York Publishers Program in 2023 and 2024.

Australian literary agents, rights managers and publishers seeking support to attend international market platforms such as book fairs must apply to the International Rights Fund for Literature.

Australian authors and illustrators seeking support to attend events and activities associated with publication and promotion of their work in international markets, must apply to the International Travel Fund for Authors and Illustrators.

Eligible applicants include Australian artists, producers, curators, music industry representatives, and presenters.

Applicants can propose attendance at a single market development or cultural exchange platform or key gathering, or a program of events across multiple locations.

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 our 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.

Your project must consider the latest government travel advice regarding COVID-19.

Please read through the following grant guidelines.

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

Who can apply

  • Australian artists, curators, producers, music industry representatives, and presenters may apply to this category.
  • You must be an Australian citizen or an Australian permanent resident to apply.
  • You can only submit one application to each closing date for the International Travel Fund.
  • You cannot have applied to the Tuesday 5 September 2023 closing date for the Arts Projects grant categories for the same activity.
  • International publishers seeking support to translate Australian works by living authors of creative writing, and Australian publishers seeking support to translate non-English works into English by Australian translators must apply to the Translation Fund for Literature.

Who can’t apply

You can’t apply for a grant if:

  • you have already applied to this closing date for the International Travel Fund.
  • you have already applied to the Tuesday 5 September 2023 closing date for the Arts Projects grant categories for the same activity
  • you have an overdue grant report
  • you owe money to Creative Australia
  • your organisation receives investment through the National Performing Arts Partnership Framework
  • your organisation receives a combined total of more than $520,000 annually (per calendar year) through the Four Year Funding program, and/or the Visual Arts and Crafts Strategy funding from 2021 to 2024
  • 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.

What can be applied for

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:

    • flights, accommodation, per diems, ground transport costs
    • travel insurance
    • visas, COVID-19-related tests or documentation
    • 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.


    What can’t be applied for

    You can’t apply for:

    • travel costs for international tours, showcases or presentations (apply for the International Touring and Presentation Fund instead)
    • travel costs to participate in international exchange activities such as residencies, labs, and peer exchange models (apply for the International Engagement Fund instead)
    • travel costs for international market development activities within Australia
    • 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 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.

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. Our 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.

Viability

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 and COVID-safe plans for projects that involve public presentations, domestic or international travel.
  • 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.

Impact

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.

Strategic focus

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
  • evidence of confirmation of the presentation/tour, such as letters of agreement or confirmation, contracts, evidence of reasonable fees being paid by the presenter
  • 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 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.

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

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

Other accepted file formats

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

  • video (MP4, 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.

4. Travel risk management

Your project must consider the latest government advice regarding COVID-19.

If your application is successful, you will be responsible for your own COVID-19 safety planning and risk management.

If your project involves international travel, you must consider the costs and impact of quarantine and/or any additional travel and accommodation costs for all project participants. For the Australian Government’s latest travel advice, go to Smartraveller.

You are strongly encouraged to submit a one-page risk management and/or COVID-safe plan (in any format) with your application if it involves travel. If you require a template, you can download one here.


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.

Online information session

Watch our information session about the new programs here.

See also: International Travel Fund and International Touring and Presentation Fund.

 

About the program

This fund supports Australian artists and creative workers to undertake 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 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 our 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.

Your project must consider the latest government travel advice regarding COVID-19.

Please read through the following grant guidelines.

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

Who can apply

  • You can only submit one application to each closing date for the International Engagement Fund.
  • You cannot have applied to the Tuesday 5 September 2023 closing date for the Arts Projects grant categories for the same activity.
  • 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.
  • International publishers seeking support to translate Australian works by living authors of creative writing, and Australian publishers seeking support to translate non-English works into English by Australian translators must apply to the Translation Fund for Literature.

Who can’t apply

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 the Tuesday 5 September 2023 closing date for the Arts Projects grant categories for the same activity
  • you have an overdue grant report
  • you owe money to Creative Australia
  • your organisation receives investment through the National Performing Arts Partnership Framework
  • your organisation receives a combined total of more than $520,000 annually (per calendar year) through the Four Year Funding program, and/or the Visual Arts and Crafts Strategy funding from 2021 to 2024
  • 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.

What can be applied for

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
  • flights, accommodation, per diems, ground transport costs
  • travel insurance
  • visas, COVID-19-related tests or documentation
  • 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.


What can’t be applied for

You can’t apply for:

  • international presentations or tours (apply for the International Touring & Presentation Fund instead)
  • outbound international market development activities (apply for the International Travel Fund instead)
  • international activities that do not involve or benefit Australian practicing artists or creative workers
  • 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 our First Nations Cultural & Intellectual Property Protocols.
  • 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.

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. Our 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.

Viability

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 and COVID-safe plans for projects that involve public presentations, domestic or international travel.
  • 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.

Impact

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.

Strategic focus

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
  • evidence of confirmation of the presentation/tour, such as letters of agreement or confirmation, contracts, evidence of reasonable fees being paid by the presenter
  • 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 four 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 peer assessors will not access any URLs that require them to log in or sign up to a platform. Please do not provide links to Spotify or other applications that require users to log in or pay for access.

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

Other accepted file formats

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

  • video (MP4, 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.

4.  Travel risk management

Your project must consider the latest government advice regarding COVID-19.

If your application is successful, you will be responsible for your own COVID-19 safety planning and risk management.

If your project involves international travel, you must consider the costs and impact of quarantine and/or any additional travel and accommodation costs for all project participants. For the Australian Government’s latest travel advice, go to Smartraveller.

You are strongly encouraged to submit a one-page risk management and/or COVID-safe plan (in any format) with your application if it involves travel. If you require a template, you can download one here.

More International programs

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.

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.

TOP 5 – ABC Media Residency Program

The ABC is seeking dynamic early-career PhD arts and humanities scholars with flair and passion for communicating their work to a non-academic audience.

CINARS 2022 Biennale

Blood on the Dance Floor by Jacob Boehme. Credit: Dorine Blaise.

About the program

Established in 1984, taking place every two years, CINARS is one of the most important international showcases and networking events attracting over 1900 performing arts professionals from around the globe.

The Australia Council will support a delegation to attend this event. We also welcome any Australian artists and companies attending on a self-funded basis to join the delegation and any related networking activities.

More details on the event can be found on the CINARS website.

Funding

Australia Council will support 10 delegates with $4,000 each, towards the cost of travel. These supported delegates will be responsible for all costs associated with attending the market including flights, visas, insurance, accommodation and registration.

Who can apply

  • This opportunity is for Australian-based artists and/or producers working independently or within organisations.

Who can’t apply

You can’t apply for this grant if:

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

Applicants are required to respond to the following assessment criteria:

  1. The impact of attendance at CINARS in developing future international opportunities and enhancing international visibility.
  2. Demonstrated understanding of and commitment to the region and market.
  3. The timeliness of this opportunity and demonstrated ability to plan and deliver on any international outcomes that may arise.

Your application will be reviewed by Australia Council staff and industry advisers against the assessment criteria.

Applicants will be notified of the outcome of their application by late September 2022.

No supporting material is required for this application.

Victorian Circus and Physical Theatre Projects for Individuals and Groups

Announcement

Recipients of this opportunity have been announced. The full list can be found on the awarded grants page.

About the program

This program is designed to specifically support the circus and physical theatre sector in Victoria. It provides investment into artist and artform development, projects and activities to support skills development, employment, market development and artistic outcomes. This program supports circus and physical theatre practice; it does not extend to dance or dance-theatre.

Victorian applicants may apply for activity to take place in Victoria, nationally and internationally.

Applicants from outside of Victoria may apply for activity in Victoria if the proposed activity is in partnership with Victorian individuals, groups or organisations and the applicant can demonstrate impact for the Victorian circus and physical theatre sector.

Individuals and groups can propose a single project; a series of projects; or a suite of activities over a fixed period of time.

This Investment is offered following changes to the circus and physical theatre landscape in Victoria during 2021. The Australia Council and Creative Victoria are jointly managing strategic investments to support the circus and physical theatre sector, guided by the principles of the National Performing Arts Partnership Framework.

Grants are available from $10,000 to $80,000. Supported activities must last no longer than two years from the proposed start date.

Please note: Your project must consider the latest government advice regarding COVID-19.

Please read through the following grant guidelines.

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

Who can apply

  • Only individuals and groups may apply to this category.
  • Australian citizens or Australian permanent residents and a practicing artist or arts professional.

The proposed activity must support the circus and physical theatre sector in Victoria

 

Who can’t apply

You can’t apply for this grant if:

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

What can be applied for

We will fund a range of activities which support and build capacity in the circus and physical theatre sector in Victoria, for example:

  • professional skills development, including mentoring and residencies. This may include a suite of activity over a fixed period of time.
  • the creation of new work
  • practice based research
  • creative development
  • experimentation
  • collaborations
  • touring
  • festivals
  • productions
  • exhibitions
  • performances
  • publishing
  • recording
  • promotion and marketing
  • market development activity
  • activities that creatively engage communities.

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

If you are an applicant with a disability, or are working with 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.

What can’t be applied for

You can’t apply for:

  • projects or activities that do not involve or benefit the Victorian circus and physical theatre sector
  • projects or activities that do not have a clearly defined arts component
  • projects 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.

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.

Your application will be assessed by a panel of artists and arts workers with expertise in the Australian circus and physical theatre sector.

You must address three assessment criteria in this category.  

Under each criterion are bullet points indicating what peers may consider when assessing your application. You do not need to respond to every bullet point listed. 

First criterion 

Quality 

  • Peers will assess the quality of the artistic and cultural activities at the centre of your proposal. They may consider: 
  • vision, ideas and artistic rationale 
  • benefit and impact on career, artistic and cultural practice 
  • level of innovation, ambition, experimentation or risk-taking 
  • rigour and clear articulation of creative, engagement or development processes 
  • significance of the work within the relevant area of practice and/or community 
  • contribution to diverse cultural expression 
  • timeliness and relevance of work 
  • quality of previous work 
  • responses to previous work from artistic or cultural peers, or the public. 

Second criterion 

Viability 

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

  • relevance and timeliness of proposed activity 
  • skills and ability of artists, arts professionals, collaborators, or partners involved, and relevance to activity 
  • realistic and achievable planning and resource use, including contingency and COVID-safe plans for activities involving public presentations, national or international travel 
  • appropriate payments to participating artists, arts professionals, collaborators, participants, or cultural consultants 
  • the safety and wellbeing of people involved in the project 
  • role of partners or collaborators, including confirmation of involvement 
  • the diversity and scale of income and co-funding, including earned income, grants, sponsorship, and in-kind contributions 
  • where relevant to the project, evidence that the Protocols for using First Nations Cultural and Intellectual Property in the Arts have been adhered to 
  • evidence of appropriate consultation with participants, audiences, or communities 
  • where relevant, evidence that you have considered and addressed any access issues associated with your project 
  • where relevant, evidence that you have addressed the environmental impact of your project. 

Third criterion 

Impact 

The peers will assess how your activity contributes towards building a sustainable and diverse Victorian circus and physical theatre sector. They may consider how your activity: 

  • contributes to increasing diversity (including First Nations, disability, gender, LGBTIQ+, age and cultural diversity) within the circus and physical theatre sector in reference to artists, key creatives, programming and audiences. 
  • contributes to artform development through the commissioning, development and/or presentation of new Australian work that reflects contemporary Australia  
  • contributes to building capacity in the circus and physical theatre sector 
  • demonstrates collaboration and/or leadership on key sector issues.

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

What you should provide

We do not accept application-related support material submitted via post. 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 peer assessors will not access any URLs that require them to log in or sign up to a platform. Please do not provide links to Spotify or other applications that require users to log in or pay for access.

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

Other accepted file formats

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

  • video (MP4, QuickTime, and Windows Media)
  • audio (MP3 and Windows Media)
  • images (JPEG and PowerPoint)
  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.

Frequently asked questions

You will receive your grant payment within two weeks of accepting your funding agreement. Please note we pay our grants in the financial year which they are approved. We will not adjust payment timelines to the particular circumstances of individuals. 

The deadline for applications is at 3:00pm AET on the closing date. We strongly recommend submitting before this. Administrative and technical support is only available during office hours (Monday-Friday) 9am to 5 pm AET. Late applications will not be accepted. 

Yes, if you have support materials such as letters from project partners, collaborators or participants that are in languages other than English (including Auslan), we can arrange translation or captioning. 

Please contact the Artists Services team at least four weeks before the closing date of the grant round to which you are intending to make an application. If you do not contact us at least four weeks before the closing date, we may not have sufficient time to meet your translation needs. 

Our online application form also has a checkbox at the top which you can tick if you have attached materials in a language other than English. This alerts the Artists Services team that you have submitted these materials. 

We do not accept applications submitted via post. Any material received by post will not be assessed and will be returned to the sender. If you think you will have difficulty submitting your application online, please contact Artists Services. 

We do not amend, correct, update or change any part of your application once it has been submitted. However, if you receive additional confirmations for activities or artists after the closing date you may alert us to these, and we may bring them to the attention of peer assessors at the assessment meeting. These updates could include confirmation that a proposed activity will take place, a partnership has been secured, or funding from another source has been received. 

You can update us about such confirmations by contacting us. Briefly describe the nature of the confirmation and cite your application reference number.  You do not need to send us copies of confirmation emails from third parties – if we need to see evidence of the confirmation we will request it. 

If you wish to update your application once it has been submitted, but the closing date has not yet passed, you can submit a new, updated application and request to withdraw the original one by emailing operationsservicedesk@creative.gov.au 

Grant applications can be found and are submitted through our online system. If you are using the system for the first time you will need to register your details before filling out a grant application form. 

When will I be notified about the outcome of my application? 

Applicants will be notified of the outcome of their application approximately 12 weeks after the closing date. Please see the guidelines page for the grant category you are interested in for more details. 

Yes, however you must be the applicant. Contact us to discuss your proposal prior to submitting your application.

To apply for this category your project must be circus or physical theatre activity or proposing to support the Victorian circus and physical theatre sector.

This program supports circus and physical theatre practice, it does not extend to dance or dance-theatre. 

Following changes to the circus and physical theatre landscape in Victoria during 2021, the Australia Council for the Arts and Creative Victoria are jointly managing new investments to support the circus and physical theatre sector, guided by the principles of the National Performing Arts Partnership Framework. 

We define a ‘group’ as two or more individuals who do not form a legally constituted organisation.  This can include co-collaborators and collectives.  Groups are not eligible to apply to programs open only to organisations. 

An ‘organisation’ is a legally constituted organisation that is registered or created by law. For example, incorporated associations, companies limited by guarantee or government statutory authorities are all defined as organisations. Organisations that are not legally constituted are not eligible to apply for funding in grant categories that are open to organisations only. Organisations may be required to provide a certificate of incorporation or evidence of their current legal status.  Funding programs for organisations are not intended for sole traders or partnerships. 

No. 

Yes. However, the contact person for group applications must be an Australian citizen or permanent resident. 

We provide funding to practising artists or artsworkers. While you may not regularly earn income from your practice, you must be identified and recognised by your peers as a practising artist or artsworker. This may include cultural practitioners, editors, producers, curators and arts managers. 

No. If you have an overdue grant acquittal you will not be eligible to apply for any further grants. 

No. Only Australian citizens and Australian permanent residents may apply to the Australia Council for funding. Foreign nationals who are permitted to live and work in Australia by holding visas such as a Special Category visa or a Bridging visa are not eligible to apply. 

Yes. Creative research and development is a key component of the creative process and can be funded through this category.

Yes. We accept applications in languages other than English, including Auslan. 

If any part of your application requires translation into English, please contact the Artists Services team at least four weeks before the closing date of the round to which you intend to apply. We will use our best and all reasonable endeavours to assist in having some or all of the material translated. However we reserve the right to refuse an application in a language other than English if we believe there is no genuine reason to accept such an application, or if the time-frame for translation precludes us from making the materials available for assessment in the round to which it was submitted.

If you wish to request an application form in a language other than English, please contact the Artists Services team at least 12 weeks before the closing date of the round to which you intend to apply.

We reserve the right to refuse an application form translation request if we believe there is no genuine reason for the request. We also reserve the right to refuse an application form translation if the time-frame for translation prevents us from providing a translated form in time for assessment in the round to which it was submitted. 

Where you have supplied creative content in a language other than English, we may engage an industry expert to provide the peers with an evaluation of the artistic merit of that creative content. 

You can speak with staff at the Australia Council in your first language. Please telephone the Translating and Interpreting Service on 131 450 (local call anywhere in Australia) and ask to be connected with the Australia Council. 

Applications that focus solely on academic studies, or are for activities that are part of assessable coursework are unlikely to be successful with our assessment panels. Assessment panels are also unlikely to support applications requesting the costs of academic fees or courses. 

If you wish to apply for study costs, explain to the panel how your project extends, or supplements, the course’s standard curriculum requirements. Also, bear in mind that your project will be assessed on artistic merit of the work. 

If you are applying for funding to complete a training program, course, workshop or diploma, explain how doing so will impact positively on your career or practice. 

Do you fund feature film, television or documentary? 

While we can support screen-based art, we do not generally support activities associated with feature film, television or documentary. See Screen Australia, the Federal Government’s primary agency for production of Australian screen activity. https://www.screenaustralia.gov.au/  

No, we do not offer quick response grants. Outside of our regular grants program, we do offer a number of other grants and opportunities. 

Yes. Early career artists are eligible to apply for funding through this category.  

Yes. Individuals and Groups can propose a program of projects and/or activities. This could be a series of projects; or a suite of activities over a fixed period of time.

We encourage applicants to be mindful of the following considerations: 

The activities should each contribute toward a clear, unifying overall objective –  for example,  the development of an individuals or group’s artistic practice. The suite of activity could include creative development or presentation alongside professional development opportunities. It is important to demonstrate the rationale for the inclusion of these activities and how the overall program or suite of activity will align with the individuals or group’s artistic practice and ambition.

In proposing a program consisting of multiple projects or activities, it is possible that some individual projects may be less compelling than others. If you are submitting an application proposing multiple activities or projects, we encourage you to ensure that a similar level of consideration, planning, and artistic merit is common to each to avoid one component of your program potentially letting down the others. 

You may wish to consider using one of the 3 URLs you can provide as support material to link to a document that provides more detail about each individual project or activity in your program. 

As a national arts funding body, all Australia Council grant rounds are competitive. Success rates are usually between 15% and 20%. Success rate for this category may be higher depending on demand.

Yes. Projects must have a start date that falls after we notify you of the outcome of your application, and no later than one year from that date. We will notify you of the outcome of your application approximately 12 weeks after the closing date. 

No. However, applications involving venues and partners are likely to be more competitive if their involvement is confirmed. 

Australia Council staff are available to assist you in understanding the purpose of the grant, application requirements, and submitting your application. Staff can assist over email, phone and using Skype. We cannot review application drafts. 

Additional support can be discussed where needed. Where the additional support required is beyond the scope of what our staff can provide, we may recommend speaking to an appropriate organisation for further assistance. 

The best applications are those where the voice of the artist comes through. Where possible you, ‘the artist’, should write your application. Your manager may administer the grant on your behalf to undertake the financial and reporting requirements. 

If you are applying as an unincorporated entity, unincorporated association or partnership you do not need to have an administrator for your grant. However, you must be able to provide an ABN and bank account that are in the group’s name. If you cannot do this you must nominate an administrator. For more information about this, please contact us. 

All individual or organisation grant applicants based in Australia must have an active Australian Business Number (ABN). Individual applicants without an ABN may have their grant administered by an individual or organisation with an ABN. Organisations operating outside of Australia do not need an ABN to apply. Individuals based outside of Australia may not need an ABN to apply, depending on their circumstances (please check with your accountant or tax advisor). 

Furthermore, the name of the applicant must match the name of the ABN and the name of the bank account into which we pay the funds. There are no exceptions to this rule. If you cannot provide an ABN and bank account that are in the same name as the applicant, you will need to nominate an administrator for your grant. 

For more information about this, please contact us.

Grants can be considered income by Centrelink. The amount is generally assessed as a lump sum and could affect your Centrelink payment for the financial year. Artists who are running a business (even on a small scale) may have their grant treated differently. It is possible to have your grant paid to an administering body if you wish. 

Applicants should contact Centrelink on 13 28 50 for advice. Additionally, Centrelink’s Financial Information Service (FIS) is an education and information service available to everyone in the community and may be of benefit to applicants who also receive assistance through the social security system. To contact FIS phone 13 23 00. 

Yes.  The Australia Council expects that artists professionally employed or engaged on Australia Council-funded activities will be remunerated for their work in line with industry standards. Payment of artist fees should be reflected in your application budget. 

For more information, see our Payment of Artists page. 

Our grants program is primarily designed to support projects that have a defined start and end date, rather than ongoing organisational administration costs. Project budgets that include a high proportion of administration costs may be less competitive. However, if you do need funding to cover administration costs directly related to the delivery of your project, you can include them in your grant request. 

Grants paid by the Australia Council may be considered part of your income in a financial year and may be subject to tax. You must determine your own taxation liabilities. We suggest you consult your financial adviser or contact the Australian Taxation Office on 13 28 66. 

No. The Australia Council encourages applicants whose projects will take place in regional and remote locations to budget accurately and realistically, as it is recognised that costs may differ between regions and major cities. 

If you are GST-registered when you receive an Australia Council grant, the Australia Council will pay the grant amount plus GST. The budget provided in your application should be exclusive of GST. 

Yes. The Australia Council recognises that funding may be required for access costs incurred by applicants with disability, or for costs associated with working with artists with disability – who may have particular access needs (e.g. use of an interpreter, translation services, specific technical equipment, support worker/carer assistance). Access costs are viewed as legitimate expenses and may be included in an applicant’s budget. The Australia Council encourages applicants to ensure that their work is accessible to everyone. Therefore, budgets may also include costs associated with making activities accessible to a wide range of people (e.g. performances using Auslan, captioning, audio description, temporary building adjustments, materials in other formats such as Braille or CD). 

The application form calculates your grant request as the difference between your total cash income, and your total cash costs. The gap between these two numbers is the grant request. In-kind contributions are not included in this calculation. 

Total cash costs – total cash income = grant request 

For example – 

$50,000 cash costs – $30,000 cash income = $20,000 Australia Council grant request. 

Yes. The Australia Council recognises that childcare needs may impede access to employment in the arts. Accordingly, childcare is a legitimate expense to include in an applicant’s budget. 

We encourage our applicants to seek funding from other sources to cover the complete costs of their projects. While it does depend on the size of your grant request to us, we would expect that applicants with large grant requests would also secure funding from elsewhere to cover all costs associated with a large-scale project. 

Yes. Out-of-pocket expenses such as telephone calls or petrol for travel, are recognised as legitimate expenses and may be included in an applicant’s budget. 

Yes. In-kind support refers to resources, goods and services (for example, use of a venue, materials, and/or people’s time) provided by yourself or others either free of charge, or below market value. Detailing in-kind costs in the budget is important as it gives peers a full understanding of the viability of your project and levels of support you are receiving. In-kind costs are also an expense so, when you save your application, any in-kind income you included will auto-populate to the expenses side of the budget. 

Victorian Circus and Physical Theatre Projects for Organisations

Announcement

Recipients of this opportunity have been announced. The full list can be found on the awarded grants page.

About the program

This program is designed to specifically support the circus and physical theatre sector in Victoria. It provides investment into artist and artform development, projects and activities to support skills development, employment, market development and artistic outcomes.

This program supports circus and physical theatre practice, it does not extend to dance or dance-theatre.

Victorian applicants may apply for activity in Victoria, nationally and internationally.

Applicants from outside of Victoria may apply for activity in Victoria if the proposed activity is in partnership with a Victorian organisation and the applicant can demonstrate impact for the Victorian circus and physical theatre sector.

Organisations that undertake arts programs, projects or that provide services to artists are welcome to apply. Organisations can propose a single project, a suite of projects or annual programs of activity.

Applicants do not need to be a specialist circus or physical theatre organisation however the application must propose circus or physical theatre activity or capacity building for this sector.

This Investment is offered following changes to the circus and physical theatre landscape in Victoria during 2021. The Australia Council and Creative Victoria are jointly managing strategic investments to support the circus and physical theatre sector, guided by the principles of the National Performing Arts Partnership Framework.

Grants are available from $20,000 to $150,000. Supported activities must last no longer than two years from the proposed start date.

Please note: Your project must consider the latest government advice regarding COVID-19.

Please read through the following grant guidelines.

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

Who can apply

  • Only organisations may apply to this category.
  • The proposed activity must support the circus and physical theatre sector in Victoria

Who can’t apply

You can’t apply for this grant if:

  • your organisation receives $600,000 or more per year in Multi-Year Investment from the Australia Council
  • you are an international organisation
  • you have an overdue grant report
  • you owe money to the Australia Council
  • you are an individual or group

What can be applied for

We will fund a range of activities which support and build capacity in the circus and physical theatre sector in Victoria, for example:

  • professional skills development, including mentoring and residencies
  • the creation of new work
  • practice based research
  • creative development
  • experimentation
  • collaborations
  • touring
  • festivals
  • productions
  • exhibitions
  • performances
  • publishing
  • recording
  • activities to develop the arts sector
  • promotion and marketing
  • market development activity
  • activities that creatively engage communities.

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

If you are an applicant with a disability, or are working with 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.

What can’t be applied for

  • projects or activities that do not involve or benefit the Victorian circus and physical theatre sector.
  • projects or activities that do not have a clearly defined arts component
  • projects 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.

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.

Your application will be peer assessed by a panel of artists and arts workers with expertise in the Australian circus and physical theatre sector.

You must address three assessment criteria in this category.

Under each criterion are bullet points indicating what peers may consider when assessing your application. You do not need to respond to every bullet point listed.

First criterion 

Quality of artistic activity or services to artists 

Peers will assess the quality of the artistic and cultural activities at the centre of your proposal. They may consider:

  • vision, ideas and artistic rational
  • benefit and impact on careers, artistic or cultural practice
  • level of innovation, ambition, experimentation or risk-taking
  • rigour and clear articulation of creative, engagement or development processes
  • significance of the work within area of practice and communities
  • contribution to diverse cultural expression
  • relevance of work
  • quality of previous work
  • responses to previous work from artistic or cultural peers, or the public.

Second criterion 

Viability

Peers will assess the viability of your proposal.

They may consider:

  • capacity to deliver the proposed activities or services
  • timeliness of proposed activity
  • skills and ability of artists, arts professionals, collaborators, or participants involved, and relevance to activity
  • realistic and achievable planning and resource use, including contingency and COVID-safe plans for activities involving public presentation, national or international travel
  • meaningful evaluation
  • appropriate payments to participating artists, arts professionals, collaborators, participants, or cultural consultants
  • the safety and wellbeing of people involved in the project
  • governance arrangements
  • role of partners or collaborators, including confirmation of involvement
  • diversity and scale of income and co-funding, including earned income, grants, sponsorship and in-kind contributions
  • where relevant to the project, evidence that the Protocols for First Nations Cultural and Intellectual Property in the Arts have been adhered to
  • evidence of appropriate consultation and engagement with participants, audiences or communities
  • Where relevant, evidence that you have considered and addressed any access issues associated with your project
  • Where relevant, evidence that you have addressed the environmental impact of your project.

Third criterion 

Impact

Peers will assess how your activity contributes towards building a sustainable and diverse Victorian circus and physical theatre sector.

They may consider how your activity:

  • contributes to increasing diversity (including First Nations, disability, gender, LGBTIQ+, age and cultural diversity) within the circus and physical theatre sector in reference to artists, key creatives, programming and audiences
  • contributes to artform development through the commissioning, development and/or presentation of new Australian work that reflects contemporary Australia
  • contributes to building capacity in the circus and physical theatre sector
  • demonstrates collaboration and/or leadership on key sector issues

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

What you should provide

We do not accept application-related support material submitted via post. 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 peer assessors will not access any URLs that require them to log in or sign up to a platform. Please do not provide links to Spotify or other applications that require users to log in or pay for access.

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

Other accepted file formats

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

  • video (MP4, QuickTime, and Windows Media)
  • audio (MP3 and Windows Media)
  • images (JPEG and PowerPoint)
  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.

Frequently asked questions

You will receive your grant payment within two weeks of accepting your funding agreement. Please note we pay our grants in the financial year which they are approved. We will not adjust payment timelines to the particular circumstances of individuals. 

The deadline for applications is at 3:00pm AET on the closing date. We strongly recommend submitting before this. Administrative and technical support is only available during office hours (Monday-Friday) 9am to 5 pm AET. Late applications will not be accepted. 

Yes, if you have support materials such as letters from project partners, collaborators or participants that are in languages other than English (including Auslan), we can arrange translation or captioning. 

Please contact the Artists Services team at least four weeks before the closing date of the grant round to which you are intending to make an application. If you do not contact us at least four weeks before the closing date, we may not have sufficient time to meet your translation needs. 

Our online application form also has a checkbox at the top which you can tick if you have attached materials in a language other than English. This alerts the Artists Services team that you have submitted these materials. 

We do not accept applications submitted via post. Any material received by post will not be assessed and will be returned to the sender. If you think you will have difficulty submitting your application online, please contact Artists Services. 

We do not amend, correct, update or change any part of your application once it has been submitted. However, if you receive additional confirmations for activities or artists after the closing date you may alert us to these, and we may bring them to the attention of peer assessors at the assessment meeting. These updates could include confirmation that a proposed activity will take place, a partnership has been secured, or funding from another source has been received. 

You can update us about such confirmations by contacting us. Briefly describe the nature of the confirmation and cite your application reference number.  You do not need to send us copies of confirmation emails from third parties – if we need to see evidence of the confirmation we will request it. 

If you wish to update your application once it has been submitted, but the closing date has not yet passed, you can submit a new, updated application and request to withdraw the original one by emailing operationsservicedesk@creative.gov.au 

Grant applications can be found and are submitted through our online system. If you are using the system for the first time you will need to register your details before filling out a grant application form. 

When will I be notified about the outcome of my application? 

Applicants will be notified of the outcome of their application approximately 12 weeks after the closing date. Please see the guidelines page for the grant category you are interested in for more details. 

Yes, however you must be the applicant. Contact us to discuss your proposal prior to submitting your application.

To apply for this category your project must be circus or physical theatre activity or proposing to support the Victorian circus and physical theatre sector.

This program supports circus and physical theatre practice, it does not extend to dance or dance-theatre. 

Following changes to the circus and physical theatre landscape in Victoria during 2021, the Australia Council for the Arts and Creative Victoria are jointly managing new investments to support the circus and physical theatre sector, guided by the principles of the National Performing Arts Partnership Framework. 

We define a ‘group’ as two or more individuals who do not form a legally constituted organisation.  This can include co-collaborators and collectives.  Groups are not eligible to apply to programs open only to organisations. 

An ‘organisation’ is a legally constituted organisation that is registered or created by law. For example, incorporated associations, companies limited by guarantee or government statutory authorities are all defined as organisations. Organisations that are not legally constituted are not eligible to apply for funding in grant categories that are open to organisations only. Organisations may be required to provide a certificate of incorporation or evidence of their current legal status.  Funding programs for organisations are not intended for sole traders or partnerships. 

No. 

Yes. However, the contact person for group applications must be an Australian citizen or permanent resident. 

No, international organisations are not eligible to apply for this category.

We provide funding to practising artists or artsworkers. While you may not regularly earn income from your practice, you must be identified and recognised by your peers as a practising artist or artsworker. This may include cultural practitioners, editors, producers, curators and arts managers. 

No. If you have an overdue grant acquittal you will not be eligible to apply for any further grants. 

No. Only Australian citizens and Australian permanent residents may apply to the Australia Council for funding. Foreign nationals who are permitted to live and work in Australia by holding visas such as a Special Category visa or a Bridging visa are not eligible to apply. 

Yes. Creative research and development is a key component of the creative process and can be funded through this category.

Yes. We accept applications in languages other than English, including Auslan. 

If any part of your application requires translation into English, please contact the Artists Services team at least four weeks before the closing date of the round to which you intend to apply. We will use our best and all reasonable endeavours to assist in having some or all of the material translated. However we reserve the right to refuse an application in a language other than English if we believe there is no genuine reason to accept such an application, or if the time-frame for translation precludes us from making the materials available for assessment in the round to which it was submitted.

If you wish to request an application form in a language other than English, please contact the Artists Services team at least 12 weeks before the closing date of the round to which you intend to apply.

We reserve the right to refuse an application form translation request if we believe there is no genuine reason for the request. We also reserve the right to refuse an application form translation if the time-frame for translation prevents us from providing a translated form in time for assessment in the round to which it was submitted. 

Where you have supplied creative content in a language other than English, we may engage an industry expert to provide the peers with an evaluation of the artistic merit of that creative content. 

You can speak with staff at the Australia Council in your first language. Please telephone the Translating and Interpreting Service on 131 450 (local call anywhere in Australia) and ask to be connected with the Australia Council. 

Applications that focus solely on academic studies, or are for activities that are part of assessable coursework are unlikely to be successful with our assessment panels. Assessment panels are also unlikely to support applications requesting the costs of academic fees or courses. 

If you wish to apply for study costs, explain to the panel how your project extends, or supplements, the course’s standard curriculum requirements. Also, bear in mind that your project will be assessed on artistic merit of the work. 

If you are applying for funding to complete a training program, course, workshop or diploma, explain how doing so will impact positively on your career or practice. 

Do you fund feature film, television or documentary? 

While we can support screen-based art, we do not generally support activities associated with feature film, television or documentary. See Screen Australia, the Federal Government’s primary agency for production of Australian screen activity. https://www.screenaustralia.gov.au/  

No, we do not offer quick response grants. Outside of our regular grants program, we do offer a number of other grants and opportunities. 

Yes. Early career artists are eligible to apply for funding through this category.  

Yes. Organisations can propose a program of projects and/or activities. This could be an organisation’s full artistic program for a given calendar year, for example.

We encourage applicants to be mindful of the following considerations: 

The activities should each contribute toward a clear, unifying overall objective –  for example,  the organisation’s artistic vision. It is important to demonstrate the rationale for the inclusion of these activities and how the overall program will align with the organisation’s vision.

In proposing a program consisting of multiple projects or activities, it is possible that some individual projects may be less compelling than others. If you are submitting an application proposing multiple activities or projects, we encourage you to ensure that a similar level of consideration, planning, and artistic merit is common to each to avoid one component of your program potentially letting down the others. 

You may wish to consider using one of the 3 URLs you can provide as support material to link to a document that provides more detail about each individual project or activity in your program. 

As a national arts funding body, all Australia Council grant rounds are competitive. Success rates are usually between 15% and 20%. Success rate for this category may be higher depending on demand.

Yes. Projects must have a start date that falls after we notify you of the outcome of your application, and no later than one year from that date. We will notify you of the outcome of your application approximately 12 weeks after the closing date. 

No. However, applications involving venues and partners are likely to be more competitive if their involvement is confirmed. 

Australia Council staff are available to assist you in understanding the purpose of the grant, application requirements, and submitting your application. Staff can assist over email, phone and using Skype. We cannot review application drafts. 

Additional support can be discussed where needed. Where the additional support required is beyond the scope of what our staff can provide, we may recommend speaking to an appropriate organisation for further assistance. 

The best applications are those where the voice of the artist comes through. Where possible you, ‘the artist’, should write your application. Your manager may administer the grant on your behalf to undertake the financial and reporting requirements. 

If you are applying as an unincorporated entity, unincorporated association or partnership you do not need to have an administrator for your grant. However, you must be able to provide an ABN and bank account that are in the group’s name. If you cannot do this you must nominate an administrator. For more information about this, please contact us. 

All individual or organisation grant applicants based in Australia must have an active Australian Business Number (ABN). Individual applicants without an ABN may have their grant administered by an individual or organisation with an ABN. Organisations operating outside of Australia do not need an ABN to apply. Individuals based outside of Australia may not need an ABN to apply, depending on their circumstances (please check with your accountant or tax advisor). 

Furthermore, the name of the applicant must match the name of the ABN and the name of the bank account into which we pay the funds. There are no exceptions to this rule. If you cannot provide an ABN and bank account that are in the same name as the applicant, you will need to nominate an administrator for your grant. 

For more information about this, please contact us.

Grants can be considered income by Centrelink. The amount is generally assessed as a lump sum and could affect your Centrelink payment for the financial year. Artists who are running a business (even on a small scale) may have their grant treated differently. It is possible to have your grant paid to an administering body if you wish. 

Applicants should contact Centrelink on 13 28 50 for advice. Additionally, Centrelink’s Financial Information Service (FIS) is an education and information service available to everyone in the community and may be of benefit to applicants who also receive assistance through the social security system. To contact FIS phone 13 23 00. 

Yes.  The Australia Council expects that artists professionally employed or engaged on Australia Council-funded activities will be remunerated for their work in line with industry standards. Payment of artist fees should be reflected in your application budget. 

For more information, see our Payment of Artists page. 

Our grants program is primarily designed to support projects that have a defined start and end date, rather than ongoing organisational administration costs. Project budgets that include a high proportion of administration costs may be less competitive. However, if you do need funding to cover administration costs directly related to the delivery of your project, you can include them in your grant request. 

Grants paid by the Australia Council may be considered part of your income in a financial year and may be subject to tax. You must determine your own taxation liabilities. We suggest you consult your financial adviser or contact the Australian Taxation Office on 13 28 66. 

No. The Australia Council encourages applicants whose projects will take place in regional and remote locations to budget accurately and realistically, as it is recognised that costs may differ between regions and major cities. 

If you are GST-registered when you receive an Australia Council grant, the Australia Council will pay the grant amount plus GST. The budget provided in your application should be exclusive of GST. 

Yes. The Australia Council recognises that funding may be required for access costs incurred by applicants with disability, or for costs associated with working with artists with disability – who may have particular access needs (e.g. use of an interpreter, translation services, specific technical equipment, support worker/carer assistance). Access costs are viewed as legitimate expenses and may be included in an applicant’s budget. The Australia Council encourages applicants to ensure that their work is accessible to everyone. Therefore, budgets may also include costs associated with making activities accessible to a wide range of people (e.g. performances using Auslan, captioning, audio description, temporary building adjustments, materials in other formats such as Braille or CD). 

The application form calculates your grant request as the difference between your total cash income, and your total cash costs. The gap between these two numbers is the grant request. In-kind contributions are not included in this calculation. 

Total cash costs – total cash income = grant request 

For example – 

$50,000 cash costs – $30,000 cash income = $20,000 Australia Council grant request. 

Yes. The Australia Council recognises that childcare needs may impede access to employment in the arts. Accordingly, childcare is a legitimate expense to include in an applicant’s budget. 

We encourage our applicants to seek funding from other sources to cover the complete costs of their projects. While it does depend on the size of your grant request to us, we would expect that applicants with large grant requests would also secure funding from elsewhere to cover all costs associated with a large-scale project. 

Yes. Out-of-pocket expenses such as telephone calls or petrol for travel, are recognised as legitimate expenses and may be included in an applicant’s budget. 

Yes. In-kind support refers to resources, goods and services (for example, use of a venue, materials, and/or people’s time) provided by yourself or others either free of charge, or below market value. Detailing in-kind costs in the budget is important as it gives peers a full understanding of the viability of your project and levels of support you are receiving. In-kind costs are also an expense so, when you save your application, any in-kind income you included will auto-populate to the expenses side of the budget. 

Internationale Tanzmesse NRW

Apply for support to attend the largest international professional gathering for contemporary dance.

Urban Dance Day at internationale tanzmesse nrw 2018. Photo credit Dmitrij Matvejev.

About the opportunity  

Tanzmesse is the largest international professional gathering for contemporary dance. Taking place every two years, the event is attended by up to 2,000 international exhibitors and visitors, and is an important forum for exchange, knowledge transfer and networking.

The Australia Council will support a delegation to attend this event. We also welcome any Australian artists and companies attending on a self-funded basis to join the delegation and any related networking activities.

You can find more details on the event on Tanzmesse’s website. You may also be interested in viewing the recording of APAM’s The Future of Market Platforms Series: Internationale Tanzmesse nrw conversation.

Applicants are encouraged to consider extending their time in the region to undertake additional market or professional development activities beyond Tanzmesse.

Other festivals and events taking place in Europe and the UK in August and September include:

Australia Council will support delegates based in Australia with $3,000 and overseas-based Australian delegates with $1,500 towards the cost of travel to attend Tanzmesse. These delegates will be responsible for all costs associated with attending the event including flights, visas, insurance, accommodation, and registration.

Who can apply

This opportunity is for dance artists and/or producers working independently or within organisations.

Who can’t apply

You can’t apply for this grant if:

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

Applicants are required to respond to the following assessment criteria:

  1. The impact of attendance at Tanzmesse in developing future international opportunities for your work.
  2. Demonstrated understanding of, and commitment to, the region and market.
  3. The timeliness of this opportunity and a demonstrated ability to plan and deliver on any international outcomes that may arise.

Your application will be reviewed by Australia Council staff and industry advisers against the assessment criteria.

Applicants will be notified of the outcome of their application by 12 July 2022.

No support material is required for this application.

Frequently asked questions

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

No. You are not required to provide support material with your application.

Helsinki International Artist Programme (HIAP)

With $12,500 in funding, this three-month residency program offers time and space for open-ended research and experimentation.

Image caption: HIAP Suomenlinna. Credit: Sirja Moberg.

About the opportunity

Founded in 1998, HIAP – Helsinki International Artist Programme – is the largest international residency centre in the Nordic and Baltic region. Every year up to 40 artists and arts professionals residing in Finland and abroad are offered a working period at HIAP.

With $12,500 in funding, this three-month residency program offers time and space for open-ended research and experimentation, without the requirement to produce finalised work. The HIAP residency venues are located on Suomenlinna island, a UNESCO World Heritage Site located a 15-minute ferry ride away from the centre of Helsinki, and in the Cable Factory cultural complex in Helsinki.

The HIAP residency program focuses on visual arts, however, it is open to artists and curators from various disciplines. Collaborating with local and international partner organisations, residencies extend to such creative fields as dance, theatre, literature, and music. The activities are organised predominantly through thematic residency programs that highlight a geographical area or concentrate on a specific contemporary topic or an aspect of artistic practice.

The HIAP residency program offers time and support for developing new work in dialogue with the local art scene. The goal is to offer space for experimental, cross-disciplinary art practices and to actively contribute to topical debates within and around the context of art.

The HIAP team help the residents with their research as well as practical everyday matters. Residents have access to services such as weekly residency community meetings, facilities and equipment, and the option to take part in the HIAP Open Studios event. This normally takes place towards the end of each residency season and is an opportunity to present work-in-progress to arts professionals and the general public.

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

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

Information pack: Download PDF.

Meet this year’s participants

Sarah Rodigari

Sarah Rodigari

Sarah Rodigari is a Sydney-based artist whose practice addresses the social and political potential of art. Sarah’s work is site responsive, employing durational live action, improvisation, and dialogical methodologies to produce text-based performance, installations and video. Rodigari has worked with and within various contexts and institutions. These include the National: New Australian Art, Museum of Contemporary Art (Sydney), the 20th Biennale of Sydney, Monash University Museum of Art, Melbourne International Arts Festival, ACCA, The Poetry Project (NYC) and SOMA (Mexico City). Rodigari holds a PhD in Creative Arts from the University of Wollongong and is a member of the collective Field Theory.

Image credit: Jacquie Manning

Make or Break

Make or Break

Make or Break devise and experiment with process-based projects that are co-authored with communities they are invited into. These have included creating experimental economies and temporary currencies; caring for civic spaces and the ‘nonhuman’; celebrating the labour of strangers; prototyping for future worlds; writing speculative fiction and facilitating conversations as collective research. Make or Break is Rebecca Gallo and Connie Anthes, who work and live on the stolen lands of the Gadigal and Bidjigal in Sydney, Australia. They acknowledge First Nations sovereignty and their continuing care for Country, Sky, and Water. www.makeorbreakart.com

Image credit: Dean Tirkot

Helen Svoboda

Helen Svoboda

Helen Svoboda is a double bassist, vocalist, and composer. Her work explores the melodic potential of the contemporary double bass, intricately weaving extended techniques and overtones amidst abstract song writing and nature-themed compositions.

Helen lived and studied in the Netherlands/Germany from 2018-20. She has performed with artists and organisations including Cory Smythe, Sebastian Gramss, the Melbourne Symphony Orchestra, and the Australian Art Orchestra. She was awarded the 2020 Freedman Jazz Fellowship, was the recipient of the 2020/21 Australian Art Orchestra Pathfinders Music Leadership Program and is currently studying a PhD in composition under the tutelage of Cat Hope at Monash University.

In line with her active performance career, Helen has released albums across her own original projects, including ‘Vegetable Bass’ (2020) and ‘Since Subito’ (Meatshell, 2021). As a composer her commissions include works for solo guitar and viola, alongside a collection of her own scores which are published online in the Contrabass Conversations Online Music Library.

Image credit: Celeste de Clario

  • 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 can’t apply

You can’t 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 will consider applications according to the assessment criteria and will seek recommendations by industry advisors as needed. Successful applicants will be notified of the outcome of their application by mid-December 2023.

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 Ellen Dwyer, International Engagement Adviser, Europe on +61 2 9215 9051 or ellen.dwyer@creative.gov.au.

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 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).

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.

The selected residents stay in a HIAP Suomenlinna atelier apartment. The residency spaces are in the Palmstierna studio complex, a renovated two-storey red-brick barrack from the 18th century, currently housing nine residential units (five atelier apartments and four regular apartments) and one workspace for artists.

The HIAP Suomenlinna atelier apartments are approx. 80 sqm each, furnished, and divided into a working space downstairs and a separate living space with bathroom and fully equipped kitchenette upstairs. The atelier apartments feature two single beds and a sofa-bed and can accommodate a family up to three persons. Bedding, linen, and towels are provided. The atelier apartments have a wireless internet connection. You can see some of the residency spaces here.

It is possible to access the ground floor of the HIAP atelier apartments, office, Gallery Augusta & Project Space by wheelchair, but HIAP recommend wheelchair users be accompanied by a person assisting because the entrance doors are not step-free. The living area of the two-story atelier apartments is accessible only via staircase (approx. 19 steps), and not accessible by wheelchair. The toilets are not spacious enough to meet accessibility standards. Despite this, HIAP are happy to help you plan your residency. Please contact HIAP to discuss your access needs and receive additional information. You can also find further details on accessibility in the information pack.

Family members and guests are welcome in all HIAP’s locations. The atelier apartment can accommodate a family of two adults with up to two small children. The set up of the apartment cannot accommodate artists living together outside of a family situation. Please note that pets are not allowed in the rooms.

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.

2021-2022

2020-2021

  • Rebekah (Bek) Berger
  • Joshua Pether

2019-2020

  • Rhiannon Newton
  • Judith Hamann
  • Sarah Aiken
  • Courtney Coombs

2018-2019

  • Loren Kronemyer
  • Lisa Hilli
  • Tamara Searle
  • Caitlin Yardley

2017-2018

  • Laith McGregor
  • Tessa Rapaport
  • Natalie Abbott
  • Matt Shilcock

Frequently Asked Questions

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.

It is not essential, but you may want to consider using the ‘Activity Details’ section in the application form to outline the key stages of your proposed residency.

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 capacity to accommodate children and partners varies for different residencies. Please check the program descriptions for specific requirements. Please note that the programs are limited to the participating artist only and have various limitations e.g. communal living and/or working space or modest living quarters.

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. If you are looking for some tips on organising your residency or programs in the region you’re interested in, check out the Tips and Links resources on our International Engagement web page.

There is no limit to the number of international residencies applications you can submit. However, you will need to consider how the assessors will perceive your commitment to a particular residency program and/or market if you have applied for multiple residencies. Each residency requires you to submit a separate application form. Please note, applications to International Engagement funding opportunities do not count as an application to the Creative Australia Grants Program.

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.