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MARY Rose Harrison
Melbourne Recital Centre, Victoria
Mary Rose Harrison used MAPD to regenerate a range of programming and marketing strategies to build new culturally diverse audiences for the Melbourne Recital Centre (MRC). This was one of the more impressive MAPD programs from the perspective of structural change in a large mainstream arts institution. The MRC was undergoing significant change in management and programming, as audience targets had not been reached.
Mary Rose utilised Cultural Brokerage, and Multicultural Marketing, to partner with Multicultural Arts Victoria, Music Deli ABC, and a range of African, Hispanic, Indian and Arabic musicians and groups to develop a 12 month high quality program and marketing strategy to bring in new audiences to the MRC
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| MING Zhu Hill
Melbourne Town Players, Victoria
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ing Zhu utilised MAPD to develop the business plan for Melbourne Town Players a theatrical ensemble/company dealing with actors of CALD background. More specifically Ming Zhu was able to employ actors with accents who generally find it difficult to find theatrical work, or work that is not stereotypical.
As part of MAPD, Ming Zhu presented a theatrical piece Attract/Repel, conceived by her, which focused on racism and intercultural misunderstandings, not only between the immigrant group and the host society but also within ethic groups. Melbourne Age critic Cameron Woodhead called her work; “a fiercely intelligent response to the lack of cultural diversity in Australian theatre.” |
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CARLI Leimbach
Producer Splendid Lismore Art Gallery, Regional NSW
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arli used the Splendid program to generate possibilities for young CALD artists within the context of Splendour In the Grass a site-specific music festival. Carli, the director producer for Splendid, sought new work by CALD artists for Splendour In the Grass, the annual music, arts and youth culture event on the outskirts of Byron Bay each July/August.
Splendour In the Grass presents musicians from Australia and overseas, while Splendid produced arts and performance program in partnership with leading regional and national art agencies.
Carli opened up opportunities for CALD artists to create work for and with festival audiences in mind, using the sonic environment and the roving nature of the audiences which creates challenges for creating work which in context to a festival audience.
Carli was though MAPD able to create CALD programming focused on artists under 30 years old who work in the visual arts, theatre, dance, design, installation, architecture, digital media, sound, text, and community arts. |
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KIRI Morcombe
Coordinator Parramatta City Council, NSW
Kiri is based at the Parramatta Studios, a contemporary arts space open to community and professional artists, and providing residencies for contemporary artists from across the world.
She used MAPD, especially the elements of Cultural Brokerage and Multicultural Marketing to engage with a broad range of Pacific Islander communities through the use of Pacific Islander weaving techniques.
The project opened up Parramatta Studios to professional and community artists of Pacific Islander cultural background. Importantly, Kiri was able through advice by MAPD consultants and various approaches grounded in MAPD practices negotiate between Council and the Studios, and the dominant Maori Community and other Pacific Islander groups. |
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TICHAONA Machawidza
Kulcha Western Australia
Tichoana developed a comprehensive strategy for the sourcing, development and promotion of high quality new performance artists in WA. Kulcha is the peak multicultural arts organisation located in Perth.
Tichoana's program strategy was based on the positioning Kulcha as a ‘marketing organisation’ as well as presenter and producer of new world music. His strategic plan also linked Kulcha to finding new markets in the Asia Pacific region. Tichaona took on another position as liaison between communities and the Department of Immigration before he could implement the strategy. |
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ADAM Roza
Artistic Project Coordinator Arts Access Victoria
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dam Roza developed an exceptional strategy on the repositioning of artists with disability as artists only. The philosophical implications of his strategy are significant. The focus is on the presentation of work by artists with disabilities on the same plane as that of artists with no disabilities.
Adam looked into developing a new language or narrative of dealing with artists with disabilities and in doing so market their work to new markets. He used the MAPD notions of Cultural Brokerage and segmented marketing to examine ways of penetrating new and important markets and audiences by work from artists with disability. Adam’s project reflects the concerns and challenges which of ‘multicultural arts’ face when the practice is critiqued from a cultural prism in opposition to the ‘mainstream.’ In other words, Adam’s program looks to position high quality arts programs and works in the centre of mainstream arts. |
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KIEREN Sanderson
Policy Officer Northern Territory Arts, NT
Kieren developed comprehensive policy documents that detailed the backbone of a restructure of the Northern Territory’s Arts (NT Arts) policy framework.
They were inclusive and flexible enough to accommodate environmental changes, such as government change, community needs and so on. She incorporated Cultural Brokerage, Future Visioning, Entrepreneurship and Emotional Intelligence in strategy. Kieren utilised MAPD’s Cultural Brokerage to create Arts NT brokers as ‘mavens’ and ‘connectors’.
Kieren’s strategic document takes account of NT conditions, especially the sparseness of the population and the dramatic cultural, Aboriginal and multicultural disparities of the Territory. She underscored importance of diverse language and cultural groups within the NT Aboriginal communities, and the desire to empower artists, an important aspect of the policy document. The result was an exhibition and an on-going engagement of Pacific Islander artists and groups with Parramatta Studios. |
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MICHELLE Welsby
Flemington Community Centre, Victoria
Michelle used MAPD to create an engagement strategy for the CALD people living Flemington Public Housing estates. She had to take into account the needs of recent arrival refugee and immigrant residents. The aim was to bring refugee and newly arrived youth into the Community Centre, within the Flemington Housing Estate, and to do so through an arts and cultural estate festival. The core challenge was a lack of sufficient funding as well communicating to the residents. Michelle’s plan emphasised the use of Cultural Brokerage and the development of local youth arts ambassadors in the estate.
A key strategy in her report was family programming so as to gain the confidence and support of the parents of the youth, most of whom face language barriers. She also took account of the cultural and religious needs of the diverse residents in developing programming. |
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