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Do culture counts have a significant role to play in the accumulation of data in the consultation phase? Is there much wariness surrounding the 'echo chamber' effect (whereby data only reflects the opinions of participants in the arts), particularly when collating insight into the effects and impacts of cultural policy through culture counts or other data collating programs/ market research organisations? Finally, if there is an 'echo chamber' effect, would you say that there is a bottom up process with regards to incorporating the interests of cultural agents in cultural policy and more of a top down approach when it comes to accounting for the interests of non-arts participants?

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You spoke yesterday about the importance of maintaining the evaluation process throughout the structure of the policy life cycle in Australia. However, you also spoke of that lack of actual dedication to maintaining this function due to its highly laborious nature. Are there any cases where this process is/ has been actually maintained and seen as successful? How and why was this done?

Thank you!

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1.Melbourne is a diversity culture city. How the creative state implement the audience development program to attracts people who from different cultural background taking part in the various arts and culture events?

2.I know that Australia government pays more attention on cultural trade in recent years, expecting exporting local cultural product to other countries, is there any cultural policy support importing other countries’ special cultural products? Or cooperate with other country with creative arts festival?

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*I've read some analysis articles that suggest that Australian arts and culture sector could seek cooperation opportunities with Asian countries since most Asian countries are heavily invest in building their own arts and culture sector. I am from China and I can feel that the government in my country  attaches great importance to the development of arts and culture, not only because of the need to protect our own traditional culture, but also because of economical consideration. So, in which aspect do you think that Asian countries like China can cooperate with Australia in both national and regional levels?

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According to the reading: Katya Johanson and Ruth Rentschler's article "The new  arts leader: The Australia council and cultural policy change", "the changing context around the Council altered the significance of these leaders and the roles they played", to what extent the leader can impact the development and orientation and any other aspects of the Council? What will be the key factors, the leader's background, experience, political position, personal opinions and attitude toward the arts and culture, or the economical and political context, or the relationship between the leader and the predominant government? In the contemporary cultural context of Australia, what kind of council leaders are expected by the public, the politicians and the artists? Will a radical leader be better, or a conservative leader is more suitable?

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What does the Artistic Excellence refer to in cultural policy and for Creative Victoria? Is it Arts for Arts sake or is it more in terms of professionalisation?

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Does Creative Victoria have a democratic approach to synthesising data when forming policy in the consultation phase, or is there a priority in liaising with experts ?

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Due to the fact that there are eight steps to accomplish one cultural policy, I want to know how to make sure that every step is correct, and how to manage the staffs to accomplish a cultural policy effectively?

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The creative state put much emphasis on festivals and there are a lot festivals held in Melbourne, what are the benefits these festivals actually brought to the state? Or to the government or to the economy? Or other aspects?

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How could creative state be beneficial to the su sustainable development? not just for the economy but also other aspects in daliy live.

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1. In the lecture, you mentioned that cultural policies in Australia are more likely to be at state levels rather than at a national level, so is there any cooperation or competition between Victoria and other states in terms of developing creative industry.

2. You also mentioned the supply-side and demand-side policy. I am wondering the action which encourages the audiences to engage in the creativity and makes them become creators belongs to which side?

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1. Is the eight stages of Australian policy cycle could be supplies in any other countries?
2. If the Creative Victoria giving financial support depending on programs, whats the censorship or boundary of them?

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(1)* I know that the Creative Victoria provides financial support to some artists or groups. What is the standard for the staffs of creative victoria to choose and decide who they will provide the financial support?
(2) The creative victoria pays more attention on artists' domestic projects or Australian artists’ overseas projects? Why?

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What was it like moving from working in arts organisations like festivals and venues, to working directly for government? What were the challenges, what were the similarities, what have been the positives and negatives?

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1- "Creative Nation" cultural policy was a bold vision for Australian culture, but its reality was that little of it was implemented as the government that created it was voted out in 1996.
With "Creative Australia", almost 2 decades form the first cultural policy,the election of a conservative coalition government in 2013 made that cultural policy highly unlikely to be implemented too.
How does Creative Victoria survive different government elections and political change? And how does it protect its affiliated cultural industry and artists?   *

2- How does change in National Cultural Policy affect a state's Cultural Policy. Any examples?

3- In light of our project of a digital performance including local and international performers, how available would Creative Victoria be in supporting student projects (financial reach...etc)
In other words, how has or could Creative Victoria attend to students, if it does at all?
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4- Stemming from the department of economic development, how does creative Victoria keep an open eye for, and a support to, art and avant-gardism?

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1) Having worked in Victoria's Creative sector over the past 20 years (from film festivals, circus arts, community arts), what were some of the leadership styles you have witnessed / experienced? Which is your most preferred style - why so?

2) In the 2000s, the changing technologies have shaped how cultural policies (or policies in general). What are some of the possible trends /key focus areas would you expect for the creative/cultural industry the next 10 - 20 years?

3) In class, we spoke about the effects and roles foundation play in providing monetary support and funding to arts / cultural groups. In Australia, do the existence of these funding support / go against what Creative Victoria is doing?

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In light of the Bill Henson controversy a few years ago, is the amount of self-censorship by funding bodies measurable or are its effects too insidious?

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Are there any great ideological differences between the two major parties these days or have they both adopted similar neo-liberal funding models?

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Over the past couple of years, and particularly in this ongoing "Me Too" and "Time's Up" climate, issues of gender equity, sexual harassment & assault, and respectful behaviour are receiving greater attention, particularly in the arts, culture and entertainment sectors. Screen Australia, Screen NSW, Film Victoria and Music Victoria are all enacting policies and strategies to support gender equality and increase diversity (including aspects such as gender, age, Indigenous identity, cultural and linguistic diversity, disability, sexual orientation, gender identity, geographic location and socio-economic status, according to a Film Victoria document). Arts South Australia has recently issued a Respectful Behaviours policy making funding contingent upon a zero tolerance approach towards victimisation, harassment and bullying. Similarly, Screen Australia will be bringing in a code of conduct to prevent sexual harassment on their funded projects. While arts organisations and members-based bodies such as the Confederation of Australian State Theatres, Live Performance Australia and the union MEAA are bringing in place policies to deal with these issues, what is the position of Creative Victoria towards this issue? Aside from the Future Makers For Change, where projects can be funded for their social impact including in the gender equality area, and policies of Film Victoria and Music Victoria, there is little mention of gender equality in the broader Creative Victoria strategies. What role do governments have to play in bringing about cultural change?

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My understanding of the Creative Australia policy is that there is an implied goal to change the Australian understanding of arts funding from a primarily Patron state model (like the Australian Council) to combination of Patron and Facilitator state model (where funding comes from a variety of sources including individuals and private businesses).

Australia seems to embrace this in relation to sports (people paying memberships to local clubs, corporate sponsorships etc), but not in relation to the arts.

Does Creative Victoria have strategies in place (like tax benefits for example) to assist in shifting the mindset around individuals and local businesses (even international businesses that are located in a specific community) towards more funding for the arts?

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In my experience working in the arts, while there are policies in place to help the industry develop and there are guidelines in place to protect artists there doesn't seem to be much opportunity for those two things to cross over.

Are there opportunities for artists to contribute to the development of arts policies and guidelines before they become 'elite' representatives of their industry? For example, the Adelaide Fringe is the biggest Fringe festival in the southern hemisphere, but the majority of the artists at these festivals are not considered to be 'elite' artists. But, their contributions are important to keep growing the Australian arts and cultural sector. So, how do their needs get addressed in the development of cultural policies and industry guidelines?

Thanks Jeremy.

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On the ground (in independent radio stations, fringe festivals etc) there is a plethora of Australian art and cultural representation. However, on most Australian media outlets (film, television, magazines, commercial radio) the majority of representation is of international artists.

I know that France has policies around the amount of content that needs to be 'French' and I know that NZ has policies around films shot in the country needing to employ a certain number of NZ citizens. I'm wondering how and if any regulations around regulating the Australian media (to ensure Australian stories and artists stay at the forefront in an increasingly globalised arts and cultural market) are being addressed?