STRATEGIC PLAN 2016 2020 - Granville Boys at the Haines & Hinterding Exhibition, MCA 2015. Photo Marian Abboud, 2015 - Information and Cultural ...
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STRATEGIC PLAN
2016 – 2020
Granville Boys at the Haines & Hinterding Exhibition,
1
MCA 2015. Photo Marian Abboud, 2015
EXECUTIVE SUMMARY
Information and Cultural Exchange (ICE) has built a reputation for its fresh and innovative approach to
creative engagement with our communities (particularly via screen and digital-based platforms). Importantly,
this work has been accompanied by training and professional development initiatives that have seeded new
artistic work and creative outcomes.
Since 1984 ICE has worked with Western Sydney communities, artists and creative producers. Together, we
have created exciting art, built community capacity and enhanced our region’s cultural vibrancy. We began
in the 1980s as a part-time service supplying mobile information services to our local community. We have
since evolved into a dynamic, nationally and internationally unique organisation that offers a rich synergy of
community engagement, cultural production, digital technology, training and artist development.
Collaborative and responding to community demand, our work is embedded in and determined by community.
We work across a range of Western Sydney local government areas (Auburn, Blacktown, Fairfield, Holroyd,
Liverpool, Parramatta and Penrith) with a diverse range of communities: Aboriginal, African, Arabic-speaking,
asylum seekers and refugees, Central and South Asian, Muslim, newly arrived migrants, Pacific Islander and
people with Disability.
Western Sydney is Australia’s fastest growing region, and is the fourth largest economy in the nation. However,
despite economic growth and increased community affluence, pockets of severe disadvantage and major barriers
to social, creative and educative participation and community engagement persist. This is where we work.
However, ICE recognises that history is merely a foundation for the future; and that in order to remain a relevant
creative force ICE must be more competitive, innovative and proactive in our commitment to Community
Cultural Development, creative production and community engagement. There is more work to be done. We
are ready and raring to go.
Delivery of our 2016-2020 plan will enable ICE to expand, enrich and deepen our engagement with Western
Sydney’s most vulnerable. The plan is built on achieving four goals:
• Intensive Engagement: To make more art via an increased range and number of creative projects that
engage with our key communities (existing and new)
• Accelerated Capacity Building: To expand our training and skills/professional development programs to
increase our community’s cultural, creative and social capacity
• Staying Local – Going Global: To ensure our community and its creativity is increasingly seen and
celebrated locally, nationally and internationally
• Stocking the Larder: To build long-term sustainability so we can do more
Information and Cultural Exchange confidently believes our 2016-2020 Strategic Plan will position us as a
national and international leader in our field; and that it will give voice to dynamic and expressive communities,
artists and cultural producers who live, work and create in the most culturally diverse and vibrant region in
Australia. Without hubris, we want to be champions with our community.
3
ICE
About Us
ICE is a Western Sydney community arts and training organisation working with our region’s most vulnerable
and disadvantaged communities:
• Aboriginal young people and their families
• Asylum seekers and their families
• At-risk Youth
• Culturally and linguistically diverse communities (CALD)
• Emerging Western Sydney artists and community-engaged cultural producers
• People with Disability
• Refugees and newly arrived migrants and their families
Our Vision
Our communities are empowered and equipped to make art that is bold, exciting and challenging.
Our Mission
Our mission is to provide creative access, equity and opportunity for Western Sydney communities.
Our Work
ICE believes that creativity can change our lives and world. We work with communities, emerging cultural
producers and community-engaged artists via our dynamic multi-disciplinary/multi-platform work, including:
• Digital and screen-based work for TV, cinema and other multimedia platforms
• Music across a range of genres (including Hip Hop, Rap, Electronic and RnB)
• Performances and community events
• Film festivals and forums
• Digital storytelling
• Digital and video art
• Creative writing and literacy (e.g. spoken word, poetry and script development)
• Training and professional development
• Outreach and school-based engagement
Our Commitment
Our commitment is to contribute to and reveal the rich and evolving cultural life of Western Sydney and our
inspiring communities.
We Value
• Creativity
• Ambition
• Collaboration
• Inclusion
• Integrity
Our Impact
Our work fosters and increases community pride, cohesion and creativity. For over thirty years ICE has
collaborated successfully with communities, artists and educators to build creative opportunity and social
capacity in Western Sydney and produce art that drives cultural change.
4
ICE...COMMUNITY Call to Prayer, Imam Musa Celik, Auburn Gallipoli Mosque. The Calling, 2014 Sydney Festival. Photo Marian Abboud
“They hand out gongs for much less than what ICE
does … If community cohesion is the name of the
game in Western Sydney – and only fools think
otherwise – what could be more important …”
John Shand. Sydney Morning Herald, 13 January 2014
Our History
For over thirty years ICE has worked with Western Sydney communities, artists and creative producers.
Together, we have created exciting art, built community capacity and enhanced our region’s cultural vibrancy.
We began in the 1980s by supplying mobile information services to our local community. We shifted focus in
1993, initiating Community Arts and Cultural Development programs targeting culturally diverse communities
and community access to information technology. In the late 1990s, responding to community demand for
projects engaging with technology, our focus sharpened to include the nexus between arts, technology and
cultural engagement, and we widened our community reach across Western Sydney.
Critical to our development and effectiveness has been the establishment of our purpose-fitted digital arts facility
in Parramatta. Operating since 2010, this multi-purpose creative hub enables us to deliver digital media and
professional development, production and training programs that incubate Western Sydney creative and cultural
enterprises and deliver next level professional development pathways for emerging cultural entrepreneurs.
ICE has consistently created professional development pathways and employment opportunities for thousands
of Western Sydney artists. In particular, ICE has built a diverse range of cross-sectoral linkages, producing
projects with and for the Powerhouse Museum (MAAS), Stockland Property, Australian Immigrant and
Refugee Women’s Alliance, Football United, Aurora Community Television, SBS TV, the Museum of
Contemporary Art Australia (MCA), Campbelltown Arts Centre, Casula Powerhouse Arts Centre and the
Auburn Community Development Network.
In 2010 ICE partnered with the British Council and UK urban theatre creator/MC Jonzi D to produce East
London West Sydney for the 2011 Sydney Festival. In 2013, 2014 and 2015 ICE produced projects for a
number of major Sydney-based arts festivals, including the Sydney Festival, Sydney Writers’ Festival and Sydney
Architecture Festival. In 2015 ICE partnered with the Museum of Contemporary Art Australia to present the
international Civic Actions Artists’ Practices Beyond the Museum conference.
ICE continues to work directly with communities and regionally based artists to generate cultural engagement
and activity, and has been responsible for the production and presentation of hundreds of community-based
projects. As well as working locally and regionally (across 14 local government areas), we have developed a
host of national and international creative projects and partnerships, e.g. the Arab Film Festival Australia
(AFFA). Launched in 2001, AFFA is now one of the largest events on the Arab-Australian cultural calendar
and an important ongoing national screen culture event. Screening each year to over 4,000 people in Sydney,
Canberra and Melbourne, AFFA is set to expand to Perth in 2016. Importantly, it has been the model for the
establishment of similar community specific film festivals in Australia, Korea and the United States.
ICE is unique nationally and internationally in that we are able to offer a rich synergy of community engagement,
cultural production, digital technology, training and artist development.
6
ICE...CREATIVITY
Stephanie and Davin, Mum’s Creative Hub. Photo: Eddie Abd, 2015
7
- Kids, Mum’s Creative Hub. Photo: Marian Abboud, 2015
Our Plan
Our plan for 2016-2020 is to expand our engagement with Western Sydney’s most vulnerable
communities by:
• Deepening and enriching programs (and partnerships) that tackle community need and demand
• Attacking disadvantage by utilising multimedia platforms that deliver digital literacy and equity
• Widening the demographic, geographic and digital reach of our programs into new areas of need
• Building resources that enables ICE to make/present art that drives social change and builds for the
future
• Developing creative partnerships that drive increased creative outcomes
Our vision and plan is built around four pillars:
Intensive Engagement
We will make more art via an increased range and number of outreach, online and studio-based projects that
engage with key communities:
• Aboriginal kids and families
• Asylum seekers
• At-risk youth (particularly African, Arabic-speaking and Pacific Islander)
• Emerging CALD artists and community engaged cultural producers
• People with Disability
• Refugee and recently arrived migrant families (particularly Iranian, Syrian, Iraqi, Afghani and Sri Lankan)
Accelerated Capacity Building
We will expand our training and skills/professional development programs. Our focus will include:
• Creative enterprise development
• Project-based informal learning
• Partnerships with accredited institutions to enhance existing course offerings
• Industry-based mentorships
• Referral and advocacy
• School and community facility-based outreach
Staying Local – Going Global
We will ensure our community and its creativity is increasingly seen and celebrated by combining innovative
and dynamic digital marketing campaigns with local, national and international publicity, as well as through
digital interaction with our participants, audiences and partners. We will do this by:
• Producing and distributing compelling screen content for specific platforms (TV, cinema, computers,
tablets, iPhones)
• Presenting performances/events in partnership with major arts/cultural festivals
• Integrating compelling social media content into all marketing campaigns
• Utilising mobile and online technologies to ensure local and global reach
Stocking the Larder
We will build towards long-term sustainability by developing partnerships and resource development initiatives,
specifically:
• Developing strategies to diversify funding and increase revenue stream from the non-public sector
• Developing strategic alliances with new businesses and corporates to identify areas of income generation
and partnership (e.g. cash and bartered sponsorship, philanthropic partnerships, product sales, online
giving)
• Leveraging existing infrastructure to generate increased income from venue and equipment hire
• Maximizing income from commercial revenue sources (e.g. event box office, memberships and donations,
consulting, curating and project commissions)
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How We Will Do This
Engagement
We will expand the reach, focus and output of our programs, i.e.
• Community Development
• Youth Engagement
• Emerging Artist and Cultural Producer Development
• Disability
Partnerships
We will expand our creative, educative and operational partnerships, including:
• Community organisations
• Community social service providers
• Government (local, state and federal)
• Regional arts organisations
• CBD arts institutions
• Broadcast media/organisations
• Tertiary and secondary educational sector
• Screen industry
• Major Arts/cultural festivals
Resources
We will strive for increased sustainability via:
• Increased/diversified income streams
• Increased commercial partnerships and creative commissions
• Increased income from philanthropy and fundraising programs
Communication
We will maximise digital communication to:
• Develop new audiences
• Expand ICE profile
• Create communication partnerships
• Drive income generation
I think it (Kasey is Missing) is amazing. This is
about the kids...we let them have the power to tell
their own story, to write their story, make their
film. It’s about letting them know that they have
control of certain aspects of their lives.
Aunty Mary Ridgeway, Community Elder and ‘Kasey is
Missing’ (web mini-series) Co-producer
ABC Radio 702, November 6, 2015
9
Where We Are Now
INTERNAL SITUATION ANALYSIS
Over the last three years ICE has been re-built from the ground up: program, staff, operations and finance, governance and policy. This
has been challenging. As a result we are better connected and more focused (with increased efficiency and productivity). ICE is now
better prepared to address the challenges facing our work, our communities and the small-to-medium arts sector. We are well prepared
to expand into the future.
Staff Financial Position
ICE employs 13 staff (7 full-time and 6 part-time positions – ICE receives most of its funding from the public sector. In 2014,
plus contracted artists/facilitators/cultural workers) who come ICE turnover was $1.56 million i.e. 75% public sector funding
from a range of cultural backgrounds, including Arabic-speaking, ($1,166,428), 11% private sector donations/grants ($178,641)
Aboriginal, Pacific Islander, South Asian and Vietnamese. Their and 14% self-generated revenue ($218,683). Turnover for 2015
expertise includes: is predicted to be $1.45 million i.e. 72% public sector funding
• Community Cultural Development ($1,044,530), 15% private sector donations/grants ($216,429)
• Youth/urban culture and 13% self-generated revenue ($194,087). There is currently (as
• Digital/screen culture of 30 Sep 2015) $649,000 in employee and building provisions
• Music (production and presentation) and a reserve of $60,700.
• Literature/publishing
• Artist training and development Funding and Revenue
• Community based events
ICE currently receives core support/multi-year funding from:
• Arts NSW
Community Engagement • NSW Department of Family and Community Services
ICE is creatively engaged with communities across Western • NSW Department of Education and Communities
Sydney (primarily Auburn, Blacktown, Fairfield, Granville, • Multicultural NSW
Guildford, Mt Druitt, Parramatta, Penrith and Villawood). • Scanlon Foundation
These connections have been long-term, hard-won, respectfully • Screen NSW
nurtured and based on trust. Importantly, we are repeatedly • Vincent Fairfax Family Foundation (VFFF)
invited to keep coming back. • Crown Resorts Foundation and Packer Family Foundation
Artistic Reputation We also receive project funding from:
Working successfully within and between two mutually inclusive • Screen NSW
artistic practices—meaningful Community Art and Cultural • Commonwealth Department of Foreign Affairs and Trade
Development (CACD) and socially-engaged contemporary • Local government (Auburn, Parramatta, Fairfield and
practice—we believe ICE has built a strong and distinctive local, Penrith City Councils)
national and international reputation for artistic excellence and • ClubGrants NSW (Parramatta, Auburn)
innovation. • Corporate sponsors and philanthropic foundations
Our Primary Markets Each year we raise additional revenue from:
• Community-based project participants • Box office/event income (e.g. Arab Film Festival Australia)
• Training program participants (including schools-based • Project commissions (e.g. Sydney Festival)
projects) • Facility, equipment and venue hire
• Emerging artists • Commercial enterprise hire (e.g. hot-desking)
• Film festival and cultural event audiences • Consultancies and training initiatives
• Screen/digital/social media audiences • Philanthropic trusts and foundations
• Venue and equipment hirers • Project partners/sponsors (e.g. Etihad Airways, Abu
• Community organisations and service providers Dhabi Tourism and Culture Authority)
• Fundraising/resource development activities
10
Infrastructure Benchmark Organisations/Projects
ICE operates from a purpose-fitted facility providing: ICE looks to a range of organisations and projects for inspiration,
• Office, performance, workshop and exhibition space including:
• Video and audio production, graphic design and digital • Creative Time, New York
media studios • Edgeware Road Project, Serpentine Galleries, London
• A video editing suite with industry standard software/ • Feral Arts, Brisbane
equipment • Flying Fruit Fly Circus, Albury/Wodonga
• Facility/equipment for screen projection and digital • Footscray Community Arts Centre, Melbourne
display • Peckham Platform, London
• Long-term and short-term facility hires • Situations, Bristol (UK)
• Subsidised access for community based artists/groups • Soul City Arts, Birmingham (UK)
with limited capacity to pay • Urban Theatre Projects, Bankstown
Technology
ICE currently offers community access to the following
technologies:
• Video cameras and digital photography equipment (entry
level to advanced)
• PA equipment suitable for use by people with minimal
training
• Projection equipment for computers and AV equipment
for screening and presentations
• Professional quality recording devices for audio and video
applications
• MacBooks and iPads equipped with video, audio and
graphic software
I have been to screenings all over the world and I follow the
peoples’ reactions and tonight was one of the best...
Amin Dora, Film Director, Ghadi (Lebanon)
Arab Film Festival Australia 2015, Opening Night, Parramatta
(ICE’S) Disco Dome: To have history and the hysterical – in this
case both trippy film and performance art on the up and down
escalator – in the one package is reward enough but then to top
it with percussion-enhanced gym workout to disco favourites is
possibly the best Friday night out ever.
Bernard Zuel, ‘Critic’s Pick of the 2015 Sydney Festival’
Sydney Morning Herald, January 26, 2015
11EXTERNAL SITUATION ANALYSIS
The external situation for ICE is both challenging and promising.
Funding
The reduction of funding to the Australia Council and the newly created Catalyst - Australian Arts and Culture
Fund has tested ICE’s ability to plan. Best/worst case scenarios have been prepared. ICE has secured ongoing
multi-year funding from Arts NSW, Screen NSW and from a range of philanthropic foundations.
Rising Youth Unemployment in Western Sydney
The national youth unemployment rate is currently 13.9% (Western Sydney @ 17%). However, both these
national and Western Sydney rates are well below that of the suburbs where ICE primarily works, e.g. Auburn,
Granville, Guildford and Mt Druitt @ 25%+ and Parramatta expected to rise to 24% in 2016. (Source: ABS
and Brotherhood of St Laurence statistics). ICE has established a range of project specific/employment focused
partnerships in order to expand work in this area.
Youth Disengagement
There are increasing levels of youth disengagement in a range of our participant communities, especially:
• Arabic-speaking youth in Auburn, Granville, Parramatta, Holroyd, Fairfield and Bankstown
• Muslim youth across Western Sydney
• Aboriginal youth in Penrith, Blacktown and Mt Druitt
• Pacific Islander youth in Penrith, Blacktown and Mt Druitt
Supported by philanthropic funding, ICE has established a range of project specific/employment focused
partnerships in order to expand work in this area. Also concerning are low levels of literacy, numeracy and
school retention in the schools where ICE works e.g.
• Auburn Girls High (97% Arabic speaking. 2014 HSC performance ranked 428 out of 585 schools)
• Granville Boys High (93% Arabic speaking. 74% Year 9 students in bottom quarter on all 2014 NAPLAN
measures).
NB: HSC retentions in both are 12.5% lower than the NSW state average
Community Demonisation
Community confidence and cohesion is being challenged by the continued demonisation of a range of
communities (e.g. Arabic-speaking, refugee and newly arrived migrant, Aboriginal, Pacific Islander and
Muslim). The media exacerbate the situation by declaring communities ‘bomb throwers’, ‘radicalised’, bludgers’,
‘bogans’ and ‘un-Australian’.
Increased Refugee/Migrant Intake in Western Sydney
In 2015 the Federal Government announced Australia’s humanitarian intake would increase to 18,750
(2018/19). Plus Australia would accept a one-off increase of 12,000 Syrian refugees. It is expected that up to
40% of these people will settle in Western Sydney in the suburbs where ICE works (e.g. Auburn, Granville and
Fairfield). ICE continues to expand project specific partnerships and operations/programs in this area.
Increased Disability Sector Needs in Western Sydney
The majority of people living with Disability in Sydney live in Western Sydney. As sector demand increases
ICE remains the only organisation in the region offering accessible digital infrastructure, tailored digital media
training and cross-artform creative development programs. (ABS reference)
Technology
ICE systems face redundancy due to rapid changes in technology. ICE has completed a capital replacement
resource plan to update current technologies but will require increased capital resources to undertake the plan.
12SNAPSHOT
Over the lasts three years ICE has delivered
63
training 10% increase in 22,058 89%
projects Philanthropic income Community members and
artists used our facility increase in
Box Office income
288 19,780
artists/ ($23,073 - $43,660)
facilitators people enjoyed
employed
our live events
1,975
124 106% increase project
participants
Projects in Print, Online, TV & Radio media coverage
NB: * ICE measures the values, impact and audience reach of all media results
SWOT
Strengths Weaknesses
• Experience and reputation • Overdependence on public sector Arts funding
• Connection to communities, partners, festivals • Big ambitions, limited resources
• Staff expertise • Limited marketing capacity
• Western Sydney location • Limited resources to employ specialist staff
Opportunities Threats
• Increasing community need and demand for cultural • Decreased public sector social engagement funding
services • Pace and cost of technological change and obsolescence
• Online platforms to increase community/audience • Rising infrastructure costs
engagement • Uncertainty of Federal Government arts funding
• New digital technology increasing community participation
and cultural production
• Increased demand from Governments for NGOs to deliver
culturally focused community services
13Where We Want To Be
GLOBAL… CHAMPIONS WITH OUR PEOPLE
Over the next five years ICE will have:
• Deepened our engagement with Western Sydney communities, artists and cultural producers
• Delivered expanded cultural and training programs
• Expanded our local, national and international presentation platforms for Western Sydney communities, artists and CACD
practice
• Secured a more sustainable organisation
Specifically…
Community Engagement
By 2020 ICE will have:
• Tripled our engagement with Aboriginal communities (i.e. from one major project per annum to three)
• Increased our asylum seeker, refugee and migrant programs from part-time to full-time
• Increased the number of project participants by 46%
• Increased the number of projects produced by 46%
Community Capacity
By 2020 ICE will have achieved:
• 45% increase in community participants engaged in CACD training programs
• 45% increase in artists/cultural producers engaged in ICE training programs
Resources
By 2020 ICE will have:
• Decreased reliance on public sector arts funding from 75% to 70% of annual turnover
• Achieved a liquidity ratio of 2:1 and reserves of 10% of annual turnover
• Achieved an efficiency gain of 5% on operational costs
• Upgraded all digital infrastructure
Staff
By 2020 ICE will have employed:
• A Fundraising Officer (P/T) to be appointed early 2016 (NB: Co-funded with Thyne Reid Foundation)
• An Aboriginal Cultural Producer (F/T) to be appointed 1/01/2017 (NB: 2016 training funded by Arts NSW)
• A Producer, Artist Training and Development (F/T) to be appointed 1/01/2017
• A full-time Producer-Mum’s Creative Hub as of 1/01/2017 (NB: currently P/T funded by Scanlon Foundation)
• A full-time Digital Marketing & Communications Officer as of 1/01/2017 (NB: currently P/T)
• A full-time Screen Producer as of 1/01/2017 (NB: currently P/T)
14OUR GOALS
GOAL KPI CURRENT 2016 2017 2018 2019 2020
Increased # Participants per year 721 757 908 953 1,001 1,051
Community # Participants with
Engagement 47 51 57 62 65 76
disability
Expanded
# Projects per year 39 41 49 51 54 57
Programs
# Community
Strengthened participants in CACD 207 217 260 273 287 301
Community training per year
Capacity # Artists/cultural
105 110 132 139 146 153
producers employed
# New local audiences
1,743 1,830 2,196 2,306 2,421 2,542
to ICE events
New # New national
565 1,083* 1,191 1,310 1,441 1,585
Audiences audiences for AFFA
# New Facebook
513 673 926 1071 1274 1401
Friends
# Corporate partners 6 7 10 11 12 13
Expanded
# Community partners 89 93 112 118 124 130
Partnerships
# Education partners 11 13 17 18 19 20
$ Philanthropic income 203,929 205,200 229,620 234,620 240,486 246,498
$ Venue/IT hire
74,800 82,280 90,508 99,559 109,515 120,466
Increased income
Sustainability $ AFFA Box Office
35,350 37,118** 38,973** 40,922** 42,968** 46,250**
income
$ Energy costs*** 10,000 10,250 10,506 10,770 11,850 12,150
* AFFA commences Perth. ** Does not include AFFA Perth fee. *** Maintain at < 10% of operational costs. 2.5% increase for CPI. 1% efficiency gain p.a.
15ICE...CONNECTION
Auburn Girls with Marina Abramović, Links 2 Learning,
16
Kaldor Art Projects, 2015. Photo: Marian AbboudOur Art
ARTISTIC VISION
Create community driven art of excellence and resonance.
AIMS AND OBJECTIVES
Facilitate Access, Equity and Engagement
• Encourage collaborations, building creative bridges with and between communities and artists
• Provide access to digital media/creative technologies for communities and artists
• Present quality artistic projects that respond to (and anticipate) community need
Deliver Development and Production
• Create cultural programs that encourage and empower self-determined narratives
• Produce works that feature unique voices and perspectives
• Connect audiences and communities
Ensure Opportunity and Illumination
• Develop strategic connections between communities, artists and cultural institutions
• Deliver training/professional development opportunities and showcase events
• Facilitate private and public sector partnerships
• Build capacity for sustainable community engagement and creative leadership
• Produce project showcase events and collateral e.g. film festivals, TV and film, performances and recordings
PRIORITY COMMUNITIES
• Aboriginal • Asylum seekers and refugees • Newly arrived migrants
• African • Central and South Asian • Pacific Islander
• Arabic-speaking • Muslim communities • People with Disability
OUR PROCESS
Responding to changing audiences and community demands (including people not currently engaged) ICE
‘has its ear to the ground’, e.g. our project producers and facilitators are consistently made aware of emerging
needs and community demands and program accordingly. Similarly, ICE keeps abreast of cultural and public
policy trends in order to map ‘the lay of the land’ and anticipate and prepare for the future. Our work is
embedded in and determined by community, and flows from our commitment to: Access, Collaboration,
Connection, Equity, Ethics, Respect and Trust.
MEASURING IMPACT
ICE measures impact via quarterly evaluation reports, which include:
• Community and participant analysis and feedback
• Internal evaluation and KPIs
• Critical and stakeholder response
• Media engagement and analytics
• Bi-monthly board reports
Some of the artists and cultural producers ICE has developed over recent years include:
• Saber Baluch ( Journalist/Producer – SBS)
• Ali Kadhim (Movement Artist, Filmmaker, Choreographer and Performer)
• Jerry Kahale (Musician, Performer, Composer, Cultural Facilitator)
• Zehrish Naera (Musician, Hip Hop Artist, DJ, Cultural Facilitator)
• Jerome Pearce (Digital Producer and Artist)
• Vanna Seang (Cinematographer, Cultural Producer)
• Maria Tran (Filmmaker, Cultural Producer, Martial Artist, Actor)
• MC Trey (ARIA nominated Hip Hop Artist, Cultural Worker)
• Andy Minh Trieu (TV Host – Asia Pop SBS TV)
17Our Programs
1. COMMUNITY DEVELOPMENT
ICE develops and delivers a range of community-determined creative projects that target disadvantaged,
disengaged and vulnerable communities across Western Sydney. The purpose of this work is to build social
cohesion, community confidence, and facilitate cultural expression and opportunity. The program works with a
number of priority communities, particularly Aboriginal families, asylum seekers and refugees, Culturally and
Linguistically Diverse (CALD) and migrants.
Leonie & Debbie with Sam Phibbs and Piotr Wasilewski, Kasey is William Paratene, Jimmy X and Darren McEvoy, Resident Voices,
Missing, Penrith. Photo: Julia Mendel, 2015 Villawood. Photo: Vanna Seang, 2014
Case Study: Kasey is Missing Case Study: Resident Voices
Kasey is Missing is a long-term screen arts engagement In 2014 and 2015 ICE ran participatory film and
program for film and television industries with photography programs for residents of the Urana
Aboriginal children and families living in Penrith. Street Villawood East Social Housing Estate
A narrative-based web series, Kasey is Missing was (most of whom were CALD and/or living with
devised, produced and recorded by Aboriginal young Disability). The project saw residents working with
people and community members collaborating with Western Sydney based screen artists (including
screen arts industry professionals including Fadia cinematographer/director Vanna Seang and
Abboud, Colin Kinchela, Nico Lathouris, Mary dramaturge Nico Lathouris) in storytelling, script
Munro, Sam Phibbs, Nadia Townsend and Piotr development, performance workshops, photography
Wasilewski. and film production.
This is great because not all kids love the To have that bestowed upon you made
classroom and this is an important way me want to do the best I could for the
for them to learn about cameras and stuff film guys because they took so much time
like that, but most importantly they are and put so much effort into us that I just
learning about their culture. wanted to do the same for them.
Aunty Mary Ridgeway William Paratene
Kasey is Missing Co-Producer Project Participant
Community worker, Nepean Community
Neighbourhood Services
182. YOUTH ENGAGEMENT
ICE produces and presents projects that engage with young people across Western Sydney (particularly
those at-risk, disadvantaged, disengaged, unemployed and vulnerable). The program uses a multiplicity of
engagement platforms, artistic practices and presentation methodologies, including digital and screen-
based art, music, digital-based literacy and numeracy learning, employment and skills development
programs.
Soul Benefits - Aakell Naera, Storme Edwards and Zehrish Naera, St Patrick’s Cathedral On Fire. Harrison Earl, 2013
Heat From The Street, Mt Druitt. Photo: Del Ray Fruen, 2015
Case Study: Heat from the Street Case Study: ParraNormal
Heat from the Street was a collaboration between ParraNormal was a youth engagement and training
young Mt Druitt filmmakers and musicians to create initiative that involved 15 young emerging
and produce music/music videos with experienced Parramatta writers, artists and musicians in the
producers and video-makers including Del Ray creation of a six-part online digital graphic novel
Fruen, Vanna Seang and Zehrish Naera. For two (with soundtrack and spoken word poetry).
years this engagement program worked primarily ParraNormal was presented online and performed
with Pacific Islander youth, and has resulted in the live. In 2014 the project received the Asia Pacific
production of new music recordings and music video Award from the J.P Morgan Foundation’s
works. Importantly, it also resulted in noticeable International Best Practice in Youth Engagement
increases in paid work (and commission fees) for five Program.
out of the twenty core participants.
The music scene in Mt.Druitt has been ICE is an amazing place, full of
thriving with young talent for many passionate, beautiful and amazing people
years, I believe the ‘Heat from the Street’ that believe in the power of youth, art
program provides the perfect platform and hope to make the community a better
for those artists to express themselves and place. There should be an ICE in every
take their careers to the next level. community!
Zehrish Naera Brittany Searle, 2013
Project Facilitator/MT Druitt musician ParraNormal participant/Parramatta resident
193. EMERGING ARTIST & CULTURAL
PRODUCER DEVELOPMENT
ICE develops and delivers creative and professional development activities and projects that engage and
train emerging artists and community engaged cultural practitioners from Western Sydney. Working
within culturally sensitive frameworks and delivery models, the program responds directly to community
and sector needs.
Branded! flyer. Luke Beeton, 2014 Abbas Sharhani as MJ, Man in the Mirror filming at ICE
Photo: Ali Mousawi, 2015
Case Study: Branded! Case Study: Ali Mousawi
In 2014, 16 young unemployed graphic designers Ali Mousawi is a recently arrived refugee from
from Western Sydney worked with four cutting- Iran (where he was an accomplished/award
edge Sydney graphic designers (Boccalatte, Garbett, winning photojournalist). Since coming to ICE
Kindred and We Buy Your Kids) and four local Ali has participated in a number of training/
retailers (Afran Lebanese Bakery, Anawin OP Shop, professional development programs to assist in his
Auto Shack and Granville Fruit Market) to ‘re-brand’ ambition to become a documentary filmmaker. A
Good Street in Granville. A skills development, participant in our ParraDocs documentary project,
mentoring and employment program, Branded! saw Ali was resourced and mentored to create Man
the young designers create fresh, bespoke brand in the Mirror, a short-documentary about Abbas
designs for participating businesses. The project was Sharhani, a fellow Iranian/Ahwaz refugee and local
featured on the ABC TV The Mix, and was awarded Michael Jackson impersonator. Completed in 2015,
the 2015 (Silver) Sydney Design Award. Four of the Man in the Mirror premiered at and was screened
participants gained employment from the project. nationally by the Arab Film Festival Australia, and
was featured on the SBS TV program The Feed. As
a result Ali Mousawi is now being mentored by
acclaimed Australian documentary filmmaker Tom
Zubrycki.
Working with ICE to engage with a Working with ICE was a very good
group of talented, motivated young opportunity for me as it allowed me
designers was one of the most rewarding to make my first documentary in
experiences we’ve had working in design. Australia… Also, because of ICE, I now
Being able to share skills and nurture the have Tom Zubrycki as Producer for my
next generation is a great honor. next documentary.
Sonny Day Ali Mousawi
We Buy Your Kids ParraDocs project participant
Branded! Project mentor, 2014
204. DISABILITY
ICE facilitates and produces creative development and training programs for People With Disability
(PWD) that place experimentation, technology and innovation at their core. Working with artists,
stakeholders and service providers the program responds directly to enunciated need and aspiration.
Listic (AKA Lima Peni), Listic and Rachel. My Life/My Art still, Anthony B, MAXIMUM HEADROOM Participant
2015. Image: Vanna Seang Photo: David Cretney, 2015
Case Study: My Life/My Art Case Study: Club Weld / MAXIMUM
My Life/My Art was an integrated training/screen- HEADROOM
content development project that teamed five Since 2014 ICE has worked with Autism Spectrum
Western Sydney artists with Disability with four Australia (ASPECT) to present Club Weld, a weekly
emerging Western Sydney filmmakers (Tresa Ponor, program for musical collaboration and creative
Ludwig El Haddad, Jerome Pearce and Vanna expression bringing emerging musicians with
Seang) to create a suite of broadcast ready short- Autism together with non-disabled musicians to
documentaries. Together they explored personal work in the areas of digital and live music production
stories of artists creating with/despite Disability, and recording. In 2015 ICE collaborated with
e.g. Lima Peni (a.k.a. Listic) a Samoan born, Club Weld to produce MAXIMUM HEADROOM,
Campbelltown based musician, MC and freestyler a music production/recording and video making
who was teamed with Vanna Seang. The project project engaging mostly non-verbal participants.
was funded by Screen NSW, NSW Department of Working with music producers (and video artists)
Family and Community Services and Arts NSW. the participants created an experimental music EP
featuring them singing.
I don’t think I’ve had a real mentor… I’m The Club Weld music project has proven
glad these kids see me as one because I’ve to be both innovative and enterprising in
always wished I had one… its approach to breaking down barriers
Listic (aka Lima Peni)
for people with Autism to participate
My Life/My Art participant/ICE facilitator/ in music at all levels. It’s been a truly
Campbelltown resident transformational project...
David Cretney
Community Projects Officer, ASPECT, 2015
TT
21
ee
xtxtAnthony B, Club Weld. Photo:
31 David Cretney, 2015Our Financial Plan
Where We Are Now - Current Financial Position
2014 ICE turnover was $1.56 million i.e.
• $1,166,428 from public sector funding (75% of income)
• $178,641 private sector donations/grants (11% of income)
• $218,683 self-generated revenue (14% of income)
2015 is projected to be $1.45 million i.e.
• $1,044,530 from public sector funding (72% of income)
• $216,429 private sector donations/grants (15% of income)
• $194,087 self-generated revenue (13% of income)
NB: There is currently (as of 30 Sep 2015) $649,000 in employee and building provisions and a reserve of
$60,700.
ICE turnover in 2016 is estimated to be $1.52 million i.e.
• $1,146,330 from public sector funding (75% of income)
• $180,200 private sector donations/grants (12% of income)
• $193,480 self-generated revenue (13% of income)
ICE’s funding primarily comes from the public sector (the largest core contributors being the NSW and
Commonwealth Governments). We received triennium funding from Arts NSW in 2012 and multi-year
funding from the NSW Department of Community Services – Human Services for Programs in 2011. ICE
also secured $364,000 in 2012 via the Australia Council’s Creative Communities Partnership Initiative for a
3-year hub artist residency program. T
e T
In 2014, ICE secured two year funding from Vincentxt
Fairfax
e Family Foundation and Crown Resorts / Packer
Family Foundation. ICE was able to increase its private sector donations/grants from 5% in 2013 to 15%
xt
in 2015. In 2015, ICE secured triennium organisational funding from Arts NSW (2016-18) and multi-year
program funding from Multicultural NSW (2016-18).
ICE also generates income from a range of funding and self-generated revenue streams e.g. project management
fees, professional development funding, training initiatives and technical and venue hire, as well as a small
number of donations from individuals, philanthropic trusts and foundations.
In addition to cash funding ICE also receives significant in-kind support in terms of rental subsidy (currently
estimated at $2.4 million over the term of a ten year facility lease) as well as venue and administration support
and marketing and promotion from project partners, which represents around 20% (approximately an additional
$85,000 per annum) of our program and production costs.
Where Do We Want To Be?
ICE will incrementally grow annual turnover over the life of the Strategic Plan with income increasing from
$1.52 million in 2016 to approx. $2 million in 2020 (growth at 8% p.a.). ICE will extend partnerships while
increasing non-government forms of revenue. AnnualT efficiency audits will identify savings on running costs,
and ICE will aim to increase reserves to 10% of annual
e turnover by 202f8
5
xt
T
T TT e
T
e ee xt
ext
xt
23
xtOur Financial Priorities
• Funding Diversity
In 2015, 72% of ICE funding was from the public sector. ICE is committed to diversifying our income
streams to reduce dependence on public sector funding. Our aim is to increase income from non-
government funding streams so that public sector funding is limited to 70% by 2020.
• Increase Revenue Streams
ICE anticipates additional income from increased venue/facility/equipment hire and increased project
management fees for our creative enterprise programs. Importantly, the introduction of fee-for-service
training programs and a targeted marketing approach will assist in achieving an anticipated 60% increase
in overall revenue by 2020.
• Develop Philanthropy and Fundraising Income Streams
The implementation of a fundraising and resource development strategy will see an anticipated 3% p.a.
increase in funding received from philanthropic foundations and private donations by 2020.
• Build Reserves
ICE aims to build its reserve to 10% of its annual turnover by 2020. In addition to the increased revenue
streams identified above, ICE will achieve this by introducing operational audits to ensure efficiency
gains.
• Business Risks
Public sector funding remains a core source of ICE’s income (75% in 2014). This possesses a huge
financial risk for ICE in terms of sustainability. ICE is committed to securing alternative sources of
funding from the philanthropic sector and from our commercial revenue (i.e. venue/technical hire and
box office collection). Other traditional business risks are legal, operational and professional for which
ICE will ensure that adequate insurance covers are in place.
24Appendices
APPENDICES
Appendices575hkAppendices
Our Communities
Western Sydney is Australia’s fastest growing region, and is now Arabic-speaking
the nation’s fourth largest economy. Despite growing economic According to the 2011 Census, an estimated 176,849 people of
investment and community affluence there remain pockets of Arabic-speaking heritage live in Sydney, with the vast majority
severe economic disadvantage, voids in infrastructure and major living in the Western Sydney LGAs of Parramatta, Fairfield,
barriers to social and cultural participation and community Bankstown and Canterbury. Arabic remains the second most-
engagement. spoken language in NSW after English (e.g. 44% of Old
Guildford, 36% of South Granville and 29% of Greenacre
We work across a range of Western Sydney local government residents come from Arabic-speaking backgrounds).
areas (Auburn, Blacktown, Bankstown, Fairfield, Holroyd,
Liverpool, Parramatta and Penrith). Communities engaged ICE works closely with Arabic-speaking communities to nurture
include Aboriginal, African (Sudanese, Sierra Leonean, and amplify the Arab voice, e.g. Links 2 Learning (for Arabic
Eritrean), Middle Eastern (Lebanese, Iraqi, Persian, Assyrian), speaking youth) and the annual Arab Film Festival Australia.
North Asian (Chinese, Korean), South Asian (Indian, Pakistani, Western Sydney’s Arabic-speaking communities, particularly
Sri Lankan, Nepali), South-East Asian (Vietnamese, Laotian, young people, are heavily impacted by cultural dislocation
Cambodian), Pacific Islander (Fijian, Samoan, Tongan) and and disengagement, disenfranchisement and stigmatisation.
Maori. Young Muslim members of the Arabic-speaking community
in particular face increasing scrutiny and hostility from a broad
Western Sydney remains the destination of choice for migrants section of the Australian community.
and refugees arriving in Australia, e.g. in 2006 the Fairfield
LGA was home for 22% of all humanitarian program arrivals to Asylum Seeker and Refugee
Australia. In Parramatta, Auburn and Blacktown 28%, 27% and From 2008-2013, NSW took 32% of Australia’s total
25% of residents respectively have arrived since 2006, compared humanitarian entrant intake, with 78% of asylum seeker and
to 4.3% for Greater Sydney. NB: It is anticipated that the region refugee arrivals to NSW settling in Western Sydney (18,858
will become home to increased levels of refugee placement from a total intake of 24,069). In this period, 27% of Western
flowing from increased refugee intake levels (particularly from Sydney humanitarian entrants settled in Fairfield, 16% in
Lebanon, Syria and Turkey). Liverpool, 11% in Blacktown, 10% in Auburn, 7% in Parramatta
and 5% in Holroyd. The dominant source regions of asylum
On average, over half of Western Sydney residents were seekers and refugees in 2008-2013 have been: the Middle East
born overseas (twice the average for NSW). The proportion and West Asia (Iraq, Iran, Afghanistan), East Asia (China),
of residents whose parents were both born overseas is also South Asia (Sri Lanka, Pakistan, Burma, Bhutan, Nepal) and
markedly higher in Western Sydney than NSW (e.g. Auburn Africa (Democratic Republic of Congo, Sierra Leone, Sudan).
and Liverpool at 82% and Parramatta 68%). This settlement
trend is forecast to accelerate, with estimates for population Since 2014, ICE has supported around 40 asylum seeker/refugee
growth in areas like Parramatta and Liverpool reaching 201,000 families to build wellbeing, skills and pathways to community
(+70%) and 325,000 (+75%) respectively by 2036. The region’s and workforce participation via our three-day-week Mum’s
cultural richness is reflected in the diversity of languages spoken. Creative Hub program. Factors impacting these families include
The percentage of Western Sydney residents who speak another first-hand experience of conflict and persecution, the trauma
language is significantly higher than the 5.8% Greater Sydney of harrowing passages to this country, social isolation, mental
average (e.g. Cabramatta at 38% and Fairfield at 20%). health issues and low levels of English literacy.
Specifically…
Afghan and Iranian
Approximately 12,000 Afghan-born people live in Western
Aboriginal Sydney. Ethnically diverse (Hazaras, Tajiks, Pashtuns, Uzbeks),
Western Sydney is home to the largest urban Aboriginal this community cohort is negatively impacted by poor literacy,
population in Australia. According to the 2011 Census, mental and physical health problems and unemployment (e.g.
21,181 people living in Western Sydney identified as ATSI. 54% of Afghans aged 15+ are unemployed). ICE is currently
ICE works with members of Aboriginal kinship groups and partnering with Granville TAFE to train young Afghan men
communities residing in the Blacktown (Mt Druitt), Penrith, and women from Hazara backgrounds in how to design, develop
Parramatta and Holroyd local government areas (i.e. the Darug, and deliver capacity building projects in their community. An
Wiradjuri, Kamilaroi and Dungudee peoples). Issues facing estimated 6,300 Iranian-born people reside in Western Sydney.
these communities include high unemployment, low literacy and This community is religiously diverse (Muslim, Baha’i, Christian
numeracy, limited access to cultural, technological and artistic and Jewish), and has been polarised by conflicting political
resources. allegiances. ICE engages young Iranian men and women in our
weekly Street2Studio music production and mentorship program.
ICE has been working with Aboriginal communities for
over twenty years. This work has been based on respectful
partnerships and collaboration in response to community
enunciated need. For example, ICE has undertaken an intensive
five-year engagement with Aboriginal children and families in
the Cranebrook neighbourhood of Penrith.
Appendices - hlAppendices
African Western Sydney Artists and Cultural Producers
From 2001-2011, approximately 19,000 people from Sub- According to the 2011 Census, 87,292 Western Sydney residents
Saharan Africa (e.g. Sudan, Ethiopia, Congo, Somalia, Sierra were working in a cultural/creative industry or occupation.
Leone, Burundi, Ghana) settled in NSW. The vast majority of Western Sydney is also home to a growing population of
these people settled in Western Sydney, e.g. between 2003 and community-based CACD workers, CALD artists and emergent
2008 half of Blacktown’s ‘emerging community’ settlers were contemporary artists. Over the last two decades the government
Sudanese. This influx is the result of Australia’s humanitarian sector has invested heavily in cultural infrastructure development.
settlement program having a particular focus on Sudan and Sub- However, investment in tertiary Arts training has diminished.
Saharan Africa in the 2000s due to the conflict in Darfur (e.g. Since 2012 ICE has employed 431 Western Sydney artists/
47% of refugee entrants to Australia in 2003-2004 came from cultural workers (including 78 in 2015).
Sudan and Sub-Saharan Africa, and almost 95% in 2004-2005).
According to the 2011 Census, 3,272 people of African ancestry Youth
lived in the Blacktown LGA and 924 lived in the Parramatta In 2011 there were 312,296 young people (aged 12-25yrs) living
LGA. in Western Sydney. Western Sydney is home to the majority of
the state’s young people (25%), and more young people live in
ICE has a long history of engagement with Western Sydney’s the Blacktown and Penrith LGAs combined than in the ACT.
African communities (e.g. the African Parenting Stories radio Youth population figures include: 29,335 in Parramatta, 14,545
play project in 2011), and has more recently engaged young in Auburn, 56,330 in Blacktown, 34,102 in Liverpool, 38,176 in
African men and women through our projects I Have a Dream! Fairfield and 37,715 in Penrith.
– Fairfield and Street2Studio. Significant numbers of these young
people are struggling with cultural dislocation, racism, inter- ICE continues to develop and deliver projects that address
generational conflict, early school leaving, youth unemployment identified issues of concern, including: disengagement, isolation,
and at-risk behaviour. poor digital literacy, declining school retention rates, the lack of
quality education and employment opportunities (particularly
Pacific Islander for emerging/community based and digital artists), media stigma
Approximately 60,000 people of Pacific Islander background and cultural ‘brain drain’.
live in Western Sydney. From Samoa, Fiji, Tonga and the Cook
Islands, these communities are primarily based in Blacktown, Western Sydney Arts
Campbelltown, Liverpool, Fairfield and Penrith. Pacific Islander The 2011 Census identified that 87,292 people living in Western
communities enjoy high rates of workforce participation and Sydney worked in a cultural or creative industry or occupation.
employment. However, they also face a range of issues relating The region is home to a diverse range of self-initiated youth
to English proficiency, lack of traditional support mechanisms, movements, grass roots community cultural groups and arts
racism, conflicting needs for cultural preservation and cultural and crafts associations and societies. Most are self-managed,
adaptation, financial insecurity, and intergenerational tension. unfunded and dependent on generating income through
workshops, artwork sales, events, family or their social security
ICE engages large numbers of young Pacific Islander men and income. A small number receive occasional small grants or
women through our music and music video production programs commissions, often one-off and not consistent. Others receive
(e.g. Street2Studio, Heat from the Street). A major issue currently the occasional support of local government community grants or
impacting these young people is the growing over-representation culturally relevant private sponsorship to survive.
of Pacific Islander young men in the juvenile justice system
(Pacific Islanders constitute 7% of juvenile offenders and are the Over the last two decades the government sector has laudably
highest represented ethnic group in the list of violent offenders invested in infrastructure development. However, this has not
on remand). been matched by investment in programming and training.
Employment opportunities and career pathways for artists
South Asian working and living in Western Sydney remain limited.
According to the 2011 Census, just under 47,000 people from Importantly, there are a number of training gaps that must be
South Asian backgrounds live in Western Sydney, including met to ensure community-based artist/cultural capacity building
64% of Sydney’s Tamil-speaking population and 72% of continues, including:
Sydney’s Hindi speakers. From 2001-2011, South Asian • Entry level grant writing, Curriculum Vitae and project
settlement in Western Sydney grew exponentially, with Indian development workshops
migration tripling and Sri Lankan settlement growing by one- • Entry level administration, e.g. contracts, copyright,
third. Parramatta City and bordering suburbs form the epicentre budget workshops
of Sydney’s South Asian community. In 2011, 43% of Harris • Entry level creative enterprise set up and management
Park residents, 32% of Holroyd residents and 24% of Parramatta • Community artist/facilitator training
residents were Indian-born, and 9.4% of Pendle Hill residents
and 8.5% of Homebush residents were Sri Lankan-born.
Appendices - hmAppendices
Marketing & Communication
Mission
Promote ICE locally, nationally and globally
2016-2020 ICE communication and marketing will respond Current Situation Analysis
to the challenge of increasing digital marketing and social Primary Markets
media communication platforms/delivery, whilst at the same • Past project participants
time servicing traditional marketing methodologies. Proactive • Emerging CACD artists
marketing will be key to ICE meeting its income targets and • Project specific communities
sustainability ambitions. ICE growth will be dependent on • Emerging Western Sydney filmmakers, screen/digital
increased community engagement, audience relevance and artists and producers
operational sustainability. • Event audiences, e.g. Arab Film Festival Australia
• Western Sydney LGA, State and Federal government
We will continue to implement a whole of organisation agencies working in health, arts, community, welfare,
marketing plan with the intention of improving marketing human rights and Indigenous portfolios
reach, efficacy and efficiency. Importantly, priority will be • Peak Arts/cultural festivals, e.g. Sydney Festival, Sydney
given to digital marketing and communications activities, Writer’s Festival
driving audience development and income generation. This • Not-for-Profits/NGOs commissioning community
will be supported via limited paid advertising through social engagement and development
media including Facebook and Twitter, to be integrated into
program specific marketing campaigns. Similarly, focus will be Marketing Channels and Tactics
given to the reduction and reliance on paid advertising through • Digital, including websites, e-Newsletters, social media
traditional marketing channels, with cost efficiencies and related and transmedia marketing
saving being redirected back into cultural program development. • Word of mouth and third party relationships
• Engagement with community specific digital media
Incorporated into this redirection of resources will be the including blogs/social media
production of a variety of project specific digital marketing • Local, regional and metropolitan mainstream print, radio
collateral including video, gifs and photos. This content will be and TV media (editorial)
tailored specifically for ICE’s website and eNewsletter as well • Community-specific print media and community radio
as ICE’s various social media platforms including Facebook, • Database Marketing (CRM)
Twitter, Instagram, Youtube, Soundcloud and the ICE Blog,
which is administered through the Tumblr blogging platform.
Distributed digitally, this content can then be promoted through
social media advertising, cross-promotional partnerships as well
as through strong relationships with media outlets.
Brand
Community, Creative, Digital
Messages
Creative, Contemporary, Community, Local & Global
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