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.

Prime Minister’s Literary Awards 2024

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

About the Prime Minister’s Literary Awards

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

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

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

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

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

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

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

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

  • Australian citizens or permanent residents of Australia.

Eligible entries must be:

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

For Australian History, eligible works include:

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

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

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

Please note:

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

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

The following are not eligible:

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

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

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

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

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

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

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

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

The judges will review support material against the assessment criteria.

You must submit the following support material with your application:

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

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

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

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

Applications submitted after the closing date will not be accepted.

Frequently asked questions

Shortlisted entries will be announced in mid-July 2024.

Category winners will be announced in September 2024.

Unsuccessful applicants will be notified via email.

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

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

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

Artwork is available on request.

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

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

Fundraising Masterclass with Bernard Ross

Our biennial Masterclass brings international expertise to the Australian sector providing arts professionals access to the leading fundraising knowledge in the form of an intensive workshop, developing your next fundraising campaign.

International Touring and Presentation Fund

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

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

Please note: this program excludes applications for contemporary music, which we define as, “any genre or subgenre of music currently composed, written, produced by Australians and licensed, recorded, presented, and distributed through commercial and non-commercial activity. The focus will be on musical works that are new, original and relevant to contemporary Australia.”

Please apply for the Music Australia Export Development Funds:

  1. Performance and Touring Activity
  2. Professional and Artistic Development
  3. Market and Audience Development

This program also excludes applications from literature publishers, literary agents, rights managers, authors and illustrators. Please apply to our literature grants instead:

  1. International Rights Fund for Literature
  2. International Travel Fund for Authors and Illustrators
  3. Translation Fund for Literature

 

About the program

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

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

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

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

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

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

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

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

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

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

Please read through the grant guidelines below.

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

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

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

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

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

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

You can’t apply for a grant if:

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

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

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

Eligible costs include but are not limited to:

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

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

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

You can’t apply for:

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

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

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

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

Commonwealth Child Safe Framework

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

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

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

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

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

  • The relevance and timeliness of the proposed project.
  • The skills and abilities of those involved, and their relevance to the project.
  • Realistic and achievable planning and resource use, including contingency plans.
  • Well-researched and rationalised activity, particularly if this is your first engagement with an international market.
  • Extent of sustainable practices, multiple engagements and/or slow touring or concept touring, where the idea, process, or work travels but the artist does not.
  • Appropriate payments to participating artists, creative professionals, collaborators, participants, or cultural consultants.
  • Measures being applied to ensure the safety and wellbeing of people involved in the project.
  • Measures being applied to ensure the proposed activity is accessible.
  • Where relevant to the project, evidence that the protocols for using First Nations Cultural and Intellectual Property in the Arts have been adhered to, or the relevant cultural protocols for the international jurisdiction in which you are working.
  • Evidence of appropriate consultation with participants, audiences or communities.
  • The role of partners or collaborators, including confirmation of any income and co-funding, including earned income, grants, sponsorship and in-kind contributions.

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

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

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

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

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

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

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

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

We do not accept application-related support material submitted via post. Application-related material received by post will not be assessed and will be returned to the sender. If you think you will have difficulty submitting your support material online, or need advice on what type of material to submit, please contact Artists Services.

1. Letters of confirmation

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

  • any invitations, partner fees or contributions to the activity, whether cash or in-kind
  • If relevant to your activity, letters of confirmation must provide evidence of appropriate permissions and support from First Nations organisations, communities, and Elders. Please refer to the First Nations Protocols for more information.

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

You may also submit the following as support material:

2. Artistic support material

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

Types of support material we accept

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

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

These URLs can include a total of:

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

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

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

Other accepted file formats

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

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

3. Biographies and CVs

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

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


More International programs

International Travel Fund

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

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

Please note: this program excludes applications for contemporary music, which we define as, “any genre or subgenre of music currently composed, written, produced by Australians and licensed, recorded, presented, and distributed through commercial and non-commercial activity. The focus will be on musical works that are new, original and relevant to contemporary Australia.”

Please apply for the Music Australia Export Development Funds:

  1. Performance and Touring Activity
  2. Professional and Artistic Development
  3. Market and Audience Development

This program also excludes applications from literature publishers, literary agents, rights managers, authors and illustrators, seeking support to attend international market platforms and events/activities associated with publication and promotion of your work in international markets. Please apply to our literature grants instead:

  1. International Rights Fund for Literature
  2. International Travel Fund for Authors and Illustrators

 

 

About the program

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

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

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

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

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

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

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

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

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

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

Please read through the following grant guidelines.

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

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

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

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

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

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

You can’t apply for a grant if:

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

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

Eligible costs include but are not limited to:

  • artist and creative worker fees. You may refer to industry benchmarks set by the National Association for the Visual Arts (NAVA), etc
  • flights, accommodation, per diems, ground transport costs
  • travel insurance
  • visas
  • freight or baggage costs
  • production expenses, including for remounting existing works
  • marketing, promotion and project management costs
  • childcare, carer and access costs
  • tickets and/or registration costs to attend events
  • costs associated with reducing the environmental impact of your activity.

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

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

You can’t apply for:

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

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

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

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

Commonwealth Child Safe Framework

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

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

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

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

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

  • The relevance and timeliness of the proposed project.
  • The rationale for the travel and who you will be meeting.
  • The skills and abilities of those involved, and their relevance to the project.
  • Realistic and achievable planning and resource use, including contingency plans.
  • Well-researched and rationalised activity, particularly if this is your first engagement with an international market.
  • Extent of sustainable practices, multiple engagements and/or slow touring or concept touring, where the idea, process, or work travels but the artist does not.
  • Appropriate payments to participating artists, creative professionals, collaborators, participants, or cultural consultants.
  • Measures being applied to ensure the safety and wellbeing of people involved in the project.
  • Measures being applied to ensure the proposed activity is accessible.
  • Where relevant to the project, evidence that the protocols for using First Nations Cultural and Intellectual Property in the Arts have been adhered to, or the relevant cultural protocols for the international jurisdiction in which you are working.
  • Evidence of appropriate consultation with participants, audiences or communities.
  • The role of partners or collaborators, including confirmation of any income and co-funding, including earned income, grants, sponsorship and in-kind contributions.

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

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

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

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

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

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

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

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

We do not accept application-related support material submitted via post. Application-related material received by post will not be assessed and will be returned to the sender. If you think you will have difficulty submitting your support material online, or need advice on what type of material to submit, please contact Artists Services.

There are three types of support material you may submit:

1. Artistic support material

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

Types of support material we accept

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

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

These URLs can include a total of:

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

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

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

Other accepted file formats

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

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

2. Biographies and CVs

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

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

3. Letters of support

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

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

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

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


More International programs

International Engagement Fund

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

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

Please note: this program excludes applications for contemporary music, which we define as, “any genre or subgenre of music currently composed, written, produced by Australians and licensed, recorded, presented, and distributed through commercial and non-commercial activity. The focus will be on musical works that are new, original and relevant to contemporary Australia.”

Please apply for the Music Australia Export Development Funds:

  1. Performance and Touring Activity
  2. Professional and Artistic Development
  3. Market and Audience Development

This program also excludes applications from literature publishers, literary agents, rights managers, authors and illustrators. Please apply to our literature grants instead:

  1. International Rights Fund for Literature
  2. International Travel Fund for Authors and Illustrators
  3. Translation Fund for Literature

 

About the program

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

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

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

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

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

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

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

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

Please read through the following grant guidelines.

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

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

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

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

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

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

You can’t apply for a grant if:

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

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

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

Eligible costs include but are not limited to:

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

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

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

You can’t apply for:

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

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

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

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

Commonwealth Child Safe Framework

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

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

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

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

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

  • The relevance and timeliness of the proposed project.
  • The skills and abilities of those involved, and their relevance to the project.
  • Realistic and achievable planning and resource use, including contingency plans.   
  • Evidence of other sources of income or co-funding, such as earned income, grants, sponsorship and/or in-kind contributions.
  • Well-researched and rationalised activity, particularly if this is your first engagement with an international market.
  • Extent of sustainable practices, multiple engagements and/or slow touring or concept touring, where the idea, process, or work travels but the artist does not.  
  • Appropriate payments to participating artists, creative professionals, collaborators, participants, or cultural consultants.   
  • Measures being applied to ensure the safety and wellbeing of people involved in the project.   
  • Measures being applied to ensure the proposed activity is accessible.   
  • Where relevant to the project, evidence that the protocols for using First Nations Cultural and Intellectual Property in the Arts have been adhered to, or the relevant cultural protocols for the international jurisdiction in which you are working.   
  • Evidence of appropriate consultation with participants, audiences or communities.   
  • Confirmation of the role of partners or collaborators, including any income and co-funding, such as earned income, grants, sponsorship and in-kind contributions.    

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

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

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

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

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

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

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

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

We do not accept application-related support material submitted via post. Application-related material received by post will not be assessed and will be returned to the sender. If you think you will have difficulty submitting your support material online, or need advice on what type of material to submit, please contact Artists Services.

There are three types of support material you may submit:

1. Artistic support material

This should include relevant, recent examples of your artistic or cultural work, or the services you provide.

Types of support material we accept

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

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

These URLs can include a total of:

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

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

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

Other accepted file formats

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

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

2. Biographies and CVs

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

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

3. Letters of support

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

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

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

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

More International programs

Prime Minister’s Literary Awards

Entries across six literary categories are now open for works published in the 2022 calendar year. For questions, or more information, please visit arts.gov.au

About the awards

The Prime Minister’s Literary Awards celebrate outstanding literary talent in Australia and the valuable contribution Australian writing makes to the nation’s cultural and intellectual life.

Each year, we call for entries for books of high literary merit, and in the case of the Prize for Australian History, scholarly accomplishment.

Awards are presented in six categories:

  1. fiction
  2. non-fiction
  3. young adult literature
  4. children’s literature
  5. poetry
  6. Australian history.

Up to $100,000 is awarded in each category: $80,000 for each winner and $5,000 each for shortlisted entries. All prizes are tax-free.

See the judges and previous winners here.

Who can enter

  • Entries are sought each year for books published in the previous calendar year, with high literary merit, and in the case of the prize for Australian history, scholarly accomplishment.
  • You must be a citizen or permanent resident of Australia to enter the Awards.
  • Non-book entries to the Australian history prize must be made by a registered Australian company.
  • A book must be professionally edited and digital books will be accepted only if they are also available in printed (bound) form.

Download the 2023 entry guidelines below.

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.

Music Writers’ Travel Bursary

A $3000 travel bursary for music writers to attend international showcases and write about Australian artists.

About the program

A $3000 travel bursary is available for music writers to attend international showcases and write about Australian artists performing.

We are offering four travel bursaries in 2023, in partnership with Sounds Australia, supporting the creation of more content on Australian music becoming discoverable into the global market.

Priority will be given to events that are supported by Sounds Australia, and those with confirmed media content. For more information about Sounds Australia go to soundsaustralia.com.au.

Travel must be completed in 2023 and all other costs including insurance, visas and travel costs are to be covered by the recipient. Deadline for submissions is 17 April 2023 – recipients will be notified as soon as possible after the assessment.

Applicants must be over 18 years old at the time of submission with a valid passport. No more than one recipient from any one organisation. For profit organisations are eligible.

If you have any questions, please contact hopadmin@creative.gov.au.

Auckland Writers Festival: First Nations Exchange

Travel and financial support for First Nations writers, editors, journalists, illustrators, and arts workers at all career levels, to attend in May 2023.

About the Opportunity

The Auckland Writers Festival is hosting a First Nations Literature Cultural Exchange as part of their 2023 program. We are inviting First Nations writers, poets, editors, illustrators, arts workers and journalists in the literature sector of all career levels to participate.  This program is engaging with New Zealand and Canada which aims to enhance the cultural, artistic and market development of First Nations artists. The Australia Council will cover costs and arrange associated travel, accommodation, per diems and pay an additional $1000 fee to the successful applicants.

This fund is open to individuals and provides networking, professional development, co-creation, and cultural exchange opportunities for participants.

Who can apply?

  • Open to Australian First Nations’ artists and arts workers living in Australia
  • Disciplines include writers, poets, editors and illustrators and arts workers, journalist in the Literature sector.

Artistic and career outcome

The Panel will assess the potential of the artist/arts worker. They may consider the following:

  • how attending the Auckland Writers Festival will benefit and strengthen your practice and career development, including any anticipated outcomes from attending the festival.
  • quality of work previously produced.
  • demonstrated ability, skills and creative thinking.

Impact on career

The Panel will assess the impact that this opportunity will have on your career. They may consider the following:

  • capacity to strengthen skills and abilities of artists/arts worker relevance of your attendance

Applications will be considered by the Australia Council in consultation with First Nations Industry Advisors.

Essential:

  • CV
  • brief biographical information and headshot
  • proof of valid passport
  • Letters of support(if applicable)
  • up to 3 pages of previous work
  • the preferred method of receiving support material is via URLs (weblinks).
  • up to three URLs that link to content that is relevant to your proposal.
  • If you cannot supply support material via URLs, you may upload support material to your application as written material (Word and PDF).

New York Publishers Program 2024 – Children’s & Young Adult Lists

$5,000 to support Australian rights sellers, literary agents, and publishers of works for children and young adults to travel to New York in February 2024.

“new york taxis” by ShedBOy^ is marked with CC BY 2.0.

About the opportunity 

Applications are now open to participate in an Australian publishing delegation to New York from 12-16 February 2024.

North America is the largest rights market in the world for Australian books, with New York at the heart of its publishing industry. It is also the hub for one of the world’s largest communities of literary agents and scouts.

This program will provide Australian rights sellers, literary agents and publishers of works for children and young adults with the opportunity to develop their experience in the North American market, extend their networks, and pitch titles to North American editors.

The delegation will undertake a five-day program of industry meetings, market briefings and networking opportunities. We will work with the delegates to develop a tailored schedule of meetings.

We will support up to eight delegates with $5,000 each towards the cost of participating. Delegates will be responsible for all associated costs including but not limited to visas, flights, accommodation, travel insurance, PCR tests, ground transport, meals and incidentals, and tickets to events.

After an evaluation of previous iterations of the program, we regret that we are no longer able to accommodate self-funded delegates.

Contact

To discuss your application, please contact Karen Le Roy, Acting Manager, International Engagement on 02 9215 9054 or karen.leroy@creative.gov.au.

Who can apply

Australian rights sellers, literary agents and publishers working in the following areas of creative writing are eligible to apply: children’s picture books, junior fiction and non-fiction, and young adult fiction, including graphic novels.

Please check the general eligibility requirements on our website.

Who can’t apply

You can’t apply for a grant if:

  • you have an overdue grant report
  • you owe money to Creative Australia

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.

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.

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.

You must consider how you will promote health and safety and mitigate risk. This includes taking into account the latest Australian Government COVID-19 health and travel advice.

If your application is successful, you will be responsible for your own COVID-19 safety planning and risk management. You must consider the costs and impact of quarantine and/or any additional travel and accommodation costs required if international borders were to close or if you were to become unwell while overseas.

You must submit a one-page risk management/COVID-safe plan (in any format) with your application. Your plan should address how you would manage the costs and impacts of quarantine and/or any additional travel and accommodation required, if international borders were to close or you were to become unwell while overseas. If you require a template, you can download onehere.

Our staff will assess your application against the published selection criteria and will seek recommendations by industry advisors as needed.

You will be notified of the outcome of your application approximately six weeks after the closing date.

Applicants are required to respond to the following selection criteria:

  1. Demonstrated understanding of, and commitment to, North American markets and networks. Demonstrated suitability of your represented books and authors to the North American market. Applications must include an indicative range of the authors and titles you wish to introduce to the North American market.
  2. Professional experience relevant to the aims of the delegation addressing the timeliness of this opportunity. Demonstrated ability to plan and deliver on any international outcomes that may arise.
  3. The impact of participation in this delegation in achieving the aims of your international market development strategy.

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

  • a response to the selection criteria
  • supporting material as relevant to the application, including an indicative overview of the titles you wish to present to the North American market, and a risk management plan.

You must include an indicative overview of the range of titles you wish to introduce to the North American market with your application.

You must also submit a one-page risk management/COVID-safe plan (in any format) with your application. If your application is successful, you are responsible for your own COVID-19 safety planning and risk management. This includes taking into account the latest Australian Government COVID-19 health and travel advice.

Your plan should address how you would manage the costs and impacts of quarantine and/or any additional travel and accommodation required, if international borders were to close or you were to become unwell while overseas. If you require a template, you can download onehere.

No other supporting material or budget is required.

Additional information

Once you submit your application, we will send you an email acknowledging receipt of your application.

After you submit your application, we first check it meets the eligibility criteria for the grant or opportunity to which you are applying.

Applications for this program are assessed by Australia Council staff, and industry advisers as required, against the published assessment criteria for the relevant grant program.

We aim to notify you of the outcome of your application no later than 6 weeks after the published closing date for the applicable grant round.

Once all applications have been assessed, you will be contacted about the outcome of your application. If you have been successful, you will also be sent a funding agreement. This outlines the conditions of funding, how you will be paid and your grant reporting requirements. The following accordion items outline these stages in more detail.

If your application is successful, you will receive an email advising you a grant is offered. You must then agree to the conditions of your grant, which represents the Australia Council’s contract with you – this can be done online, by email or by letter. Payment of a grant will not be made until the grant conditions have been agreed and accepted by all the relevant parties.

You should not start a project that depends on a grant until all relevant parties have agreed and accepted the grant conditions and we have evidence of such acceptance on file.

Standard grant conditions require you to, among other things:

  • seek prior approval for making a change to a funded project (for example, changes in the activity budget; changes to key creative personnel; or changes to start or end dates)
  • respond to requests for information about the project or grant
  • satisfactorily account for how the grant is spent (if you do not you will be required to return all monies for which you cannot satisfactorily account)
  • comply with all applicable laws
  • acknowledge our support in all promotional material associated with the project; this includes use of the Creative Australia logo and a standard text of acknowledgement.
  • provide artistic and financial acquittal reports at the end of the project
  • return any unspent grant funds at the completion of your project or on notice from us to return such unspent funds.

Grant agreements must be signed by a legal entity – either a legally constituted organisation or an individual. For unincorporated groups, see the section on administered grants

All individual or organisation grant applicants based in Australia must have an 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).

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 applicants cannot provide an ABN and bank account that are in the same name as the applicant’s name, they will need to nominate an administrator for their grant.

Groups/ensembles/collectives, unincorporated associations/ unincorporated entities and other bodies with no legal status do not need an administrator if they have an active Australian Business Number (ABN) and bank account in their name. If they are unable to provide an active ABN and bank account that matches the name of the applicant, they must nominate an administrator. The name of the administrator must match the name of the ABN and bank account into which funds are paid if the application is successful.

If we approve your application you will need accept the conditions of the grant in a funding agreement.

After you accept your funding agreement online, we will automatically generate a payment for the grant on your behalf. You do not need to send us an invoice.

We will pay grant funds directly into your nominated bank account within two weeks after acceptance of the funding agreement. Grant payments cannot be postponed.

If you do not wish to have the grant funds paid directly into your bank account you can choose to have your grant administered by another individual or legally constituted organisation (Doesn’t apply to Arts Projects – Organisations).

When you apply, you will be asked to provide an active Australian Business Number or ‘ABN’. The ABN that you provide must correspond to the name of the applicant (or the administering body, if one has been nominated). When you accept your funding agreement, you will be asked to enter the details of the bank account you wish the grant to be paid into. The name associated with that bank account must correspond to the name in which the ABN has been registered.

Grant reports are required on completion of your project. Acquitting a grant means accurately reporting on the funded activities and the expenditure of Creative Australia funding.

Please read your funding agreement to check details of the grant acquittal material you should provide.

The grant acquittal report is where you tell us:

  • how you spent your grant
  • what the artistic outcomes of your funded activity were.

If you do not provide a satisfactory grant report at the times and in the manner detailed in your funding agreement, we will not make any further payments that may be due to you, and you will not be eligible  to apply for further grants.

If you do not provide a satisfactory grant report, we may ask you to pay back all or part of the funding provided to you.

We use grant reports to fulfil obligations of accountability to the Australian Government. They are also essential to the development work of Creative Australia. The reports help us evaluate the achievements of funded activities, monitor the effectiveness of grant categories and ensure our policy development is consistent with the experience of artists in the field.

Reporting for Multi-year Funded Organisations

Organisations in receipt of multi-year funding are required to submit financial, statistical, and artistic reporting on an annual basis.

All reporting is submitted online via our arts organisations reporting system.

If you are not sure what reporting you need to submit as part of your annual reporting, or what information to provide, please get in touch.

All recipients must acknowledge that Creative Australia provided funding for their activities. When you acquit your grant, we will ask you how you acknowledged us.

For printed or online material use our logo and this phrase:

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body. OR,

(Company Name) is assisted by the Australian Government through the Creative Australia, its prinicipal arts investment and advisory body.

Logos for download.

Where projects do not have a public outcome, or do not produce any printed or online material, you will need to think about how best to acknowledge Creative Australia funding.