Creative Equity Toolkit

Making Art Work

Of the 48,000 practising professional artists in Australia, only 10% are from a non-English speaking background (NESB). This compares to 18% NESB people in the overall workforce. The number of NESB artists who feel their background had a negative impact on their arts practice increased from 15% in 2009 to 19% in 2017. Twice as many NESB artists say the lack of access to funding or other financial support is the biggest limit to their professional development (18% compared to 9% of others).

Managing Cultural Diversity: Training Manual

This training document aims to enable small and medium enterprises to better understand cultural diversity and how to manage it effectively to improve workplace relationships, teamwork, productivity, market knowledge, community relationships, customer service and competitiveness.

Mapping Social Cohesion

The Scanlon Foundation and Monash University have been researching attitudes to multiculturalism in Australia since 2007 through their Mapping Social Cohesion survey. The report includes many survey questions which may inspire questions for audience surveys. Questions include 'To what extent do you have a sense of
belonging in Australia?' and 'To what extent do you believe we should do more to learn about the customs and heritage of different ethnic and cultural groups?'

Martin Parr steps down as artistic director of Bristol Photo Festival

After an 18-month campaign by Mercedes Baptiste Halliday, Magnum photographer Martin Parr steps down from his festival director role after failing to notice racist depictions in a photography book he edited.

'the photographer said he was “ashamed of my association with the book”, writing: “I must have seen the spread in question, but not logged its implication, an oversight that I deeply regret.”'

Maxine Beneba Clarke talks about her new book The Hate Race

Australian author and poet Maxine Beneba Clarke speaks about her memoir The Hate Race.

'I felt that it was important to write The Hate Race. I felt there was a gap in Australian history in terms of migration stories, particularly coming out of the 70s, 80s and 90s, post White Australia Policy. So I wanted to be able to tell the story of what that time was like growing up as a young child of colour in the Australian suburbs.'