Agenda of Community, Culture and Events Committee Meeting

Item No. 6.1

Agenda (Open Portion)

Community, Culture and Events Committee Meeting

Page 7

11/9/2019

REPORT TITLE: City of Hobart Public Art Framework

REPORT PROVIDED BY: Cultural Programs Coordinator

Manager Inclusive, Resilient and Creative Communities

Director Community Life

1. Report Purpose and Community Benefit

1.1. This report seeks the Council’s adoption of a new Public Art Framework for the City of Hobart – City of Hobart Public Art Framework (refer Attachment A)

1.2. The consultant for the Public Art Framework, Andrew Overton, will give a short presentation to the Committee on the process and proposal.

1.3. The purpose of this Public Art Framework is to refocus our City’s relationship with public art by outlining a set of guiding principles, a curatorial setting, processes and practices intended to form the basis of the strategic development of public art across the City of Hobart over the next five to ten years.

1.4. Boosting the role of public art in everyday life will further strengthen Hobart’s position as a centre for creativity and connectedness - qualities outlined through extensive community consultation in the City’s visioning document, Hobart: A community vision for our island capital.

1.5. The new Public Art Framework seeks to:

1.5.1. Contribute to the development of Hobart as a vibrant and diverse city;

1.5.2. Support an expanded breadth of programs that allow residents and visitors to Hobart to experience more diverse public art outcomes within the city;

1.5.3. Guide the work of the City’s Public Art team and primarily be informative for those seeking to make public art in the city; and

1.5.4. Support a more diverse range of artists working in the public domain.

2. Report Summary

2.1. The City of Hobart’s Public Art program is currently operating under a 14 year old Public Art Strategy.

2.2. Given the evolution of Hobart and the Public Art program over this time, a new Public Art Framework has been developed to respond to current and future public art opportunities in the city.

2.3. The framework sets out a vision, guiding principles and a series of directions that form a curatorial structure for future public art projects implemented in the City.

2.4. The framework also sets out project types and processes for different types of projects, under four streams:

· Public Art team led project

· City Division led project

· Developer led project

· External interest group initiated project.

2.5. Each of these project streams has a range of different project types, each with a unique process for delivery.

2.6. The four streams require different funding sources and the new Framework sets out a proposal for each stream:

2.6.1. Public Art team led projects would continue be funded through the City of Hobart Public Art Fund annual allocation, with a proposed increase of $100,000 to the current allocation of $100,000.

2.6.2. City Division led projects will be funded via a new model proposed, which draws on a 1% age of the annual new Capital Works budget, with the total allocation to be accumulated across financial years to allow for large scale installations.

2.6.3. Developer led projects could potentially be funded through a mandatory requirement, triggered by the planning scheme, for a age of the overall budget (of certain projects in certain city zones), to be committed to public art on the project site or within the same precinct.

2.6.3.1. If the relevant recommendation is approved, a formal process would be initiated to develop the changes, with the final proposal the subject of a future report to Council for consideration.

2.6.4. External interest group initiated projects would be funded by external organisations, through the City’s grants program, or by a combination of external and internal funding.

2.7. Changes to the increased funding for the Public Art Fund and the Capital Works funding arrangement are proposed to commence in the 2020/21 financial year.

2.8. A public art masterplan will be developed, working with relevant City of Hobart stakeholders, which indicates likely public art sites in relation to upcoming/proposed capital works.

2.9. Funding related to the proposed developer scheme will begin once the formal process of amending the planning scheme is complete.

2.10. Consultation has occurred throughout the development of the Framework with:

· External individuals and organisations involved in delivering public art in the City

· Elected Representative workshop held on 26 March 2019

· Internal City of Hobart individuals and teams involved with the delivery of public art

· Developers working in the City of Hobart

· Members of the public through the Your Say website.

3. Recommendation

That:

1. The Council adopt the proposed new City of Hobart Public Art Framework (Attachment A).

2. An increase of $100,000 to the annual Public Art Fund be included for consideration in the 2020-21 budget preparation and ongoing.

(i) An allocation of $43,800 per annum from this allocation would be utilised in 2020-21 and 2021-22 for the two-year Signal Box Project (50 traffic signal boxes painted over this two year period).

3. The additional Public Art Fund allocation be able to be accrued across several financial years to enable the realisation of larger projects.

4. The Council list for consideration an ongoing one percent of the annual City of Hobart new capital works budget for public art.

(i) The allocation be able to accumulate across financial years, and expenditure of the allocation to go towards the inclusion of public art in major and/or significant capital works projects.

5. That consideration be given regarding a process to make amendments to the 2015 Interim Planning Scheme, and any subsequent schemes, to include a mandatory requirement for developments valued at or above $3,000,000 to contribute 1 per cent of the value to public art on the development site or in public space within specific zones (Sullivans Cove, Central Business Zone, Commercial Zone). Details of this process would be presented in a future report to Council prior to implementation.

4. Background

City of Hobart Public Art Program background

4.1. The City of Hobart’s Public Art program is currently operating under a 14 year old Public Art Strategy prepared in 2005 by Brecknock Consulting. This strategy now operates more as an operational roadmap rather than a visionary and conceptual guide.

4.2. The Public Art program has evolved significantly since the current strategy was written in response to changes in community demand, contemporary artistic practice and benchmark public art practice.

4.2.1. At that time the standard model was to commission static, permanent artworks for the city as part of infrastructure projects.

4.2.2. The program is now commissioning short, medium and long term works that are responding to different City processes (such as place making or urban renewal infrastructure projects) or increasingly interactive artworks incorporating technology, such as the upcoming Playful Cities commissions.

4.3. The current Public Art Strategy also pre-dates Council’s Creative Hobart Strategy.

4.4. In 2005 an allocation of $100,000 per annum ($50,000 for new projects, $50,000 for operating costs) was committed to a Public Art Fund for commissioning new public art works.

4.4.1. The only significant increase to this fund occurred in 2018, with an ELT agreed budget allocation of an additional $50,000 specifically for operative costs associated with maintenance of the existing public art collection and $40,000 for specialist cleansing of public art works (transferred from City Amenity).

4.4.2. Whilst there have been other small increases to the operating budget over this 14 year period to cover the costs of administering, communicating and documenting projects, the funds available for new projects has not had any review or revision.

4.5. Over the past 10 years, the City of Hobart’s Public Art team has delivered the following major public art projects/platforms (totals rounded):

· Beacon, Lower Sandy Bay. $300,000

· Two Islands, Franklin Square. $180,000

· The Loop, Elizabeth Street (LED screen). $130,000

4.6. These values are significantly lower than projects delivered in other Australian cities. The following provide examples of recent projects delivered or planned for delivery in other states:

· Illawarra Placed Landscape, Wollongong Mall, by Mike Hewson for the City of Wollongong $500,000

· The City of Sydney is currently enacting a City Centre Public Art Plan, to the value of $9.3m

· HI-LIGHTS Office Feuerman, City of Gold Coast. $2.1m

· Wake (Elizabeth Street Foot/Cycle Bridge), Milne and Stonehouse, Paramatta City Council, $1.75m

· Lanterns and furniture for Chinatown precinct, Smith and Plummer with Urban Art Projects, Gold Coast City Council, $360,000

4.7. The Public Art team are currently working on delivery of the following projects of medium to large scale:

· New Town Public Art $80,000

· Salamanca Urban Boundary $150,000

· Playful Cities project, Collins Court $50,000

· Forces of Nature, Resilient Hobart (Fed/State grant), $50,000

4.8. The public art team promotes the employment of local providers (fabricators, technology experts, specialist consultants) wherever possible and as a result the costs of delivering public art are higher in Hobart than in mainland cities, given the reduced competition.

4.9. It is noted that over the past 14 years the costs associated with the creation and installation of public art (as with any infrastructure project) has risen significantly. This has resulted in the $100,000 annual budget reducing our capacity to meet community expectations.

A changing landscape for public art, nationally and internationally

4.10. Since the City of Hobart’s Public Art Strategy was adopted, the landscape for public art has changed significantly.

4.10.1. Public art across the world has changed from static, permanent works placed on plinths to artworks that:

· activate or animate

· are interdisciplinary

· involve social practice (engagement/participation)

· shape the city.

A changing city landscape for Hobart

4.11. Hobart is currently experiencing significant city growth as evidenced by the number and scale of new development approvals in Hobart in 2018.

4.11.1. There were 30 new developments valued at over $2,000,000 approved in the City of Hobart throughout 2017 and 2018, with values ranging from $2m-$60m (Source: City of Hobart).

4.12. The recent decision by UTAS to move to a “city-centric” model, by moving much of the campus activity to the centre of Hobart will continue to bring significant change to the central business and commercial zones.

4.13. Future development on the Macquarie Point site will also contribute to changes in the types of activity and the pattern of use in the City of Hobart.

A changing cultural landscape for Tasmania and Hobart

4.14. Hobart is now recognised for, and continues to build upon, an identity as one of Australia’s cultural capitals.

4.15. Our own City of Hobart vision, “Hobart: A community vision for our island capital”, which was created through extensive community consultation, has a pillar entitled Creativity and Culture with a series of points that highlight its importance to Hobart:

4.15.1. Creative is our way of life (3.1)

4.15.2. We are a creative and cultural capital (3.2)

4.15.3. We support our artists (3.4)

4.15.4. Our civic and heritage spaces support out creativity.

4.16. There is an increased appetite for public art and other cultural activities to be part of the experience of Hobart. This has become evident over the last few years through the following:

· Public art is increasingly mentioned as a desire or priority when community consultation processes are undertaken for new infrastructure projects.

· Each year during Hobart’s seasonal festivals, in particular Dark MOFO, public art installations are heavily frequented by locals and visitors.

· There is increased tourist demand for the brochures produced by City of Hobart detailing public art experiences including an Urban Art walls trail and the Battery Point Sculpture Trail.

· There have been increased applications for Creative Hobart grants to artists and arts organisations to work in public space.

4.17. Visitation to the State has grown significantly, with Tourism Tasmania stating a 150% increase in visitor numbers since 2000 and it is expected that 4000 rooms to be added to the state in the next few years (Luke Martin, ABC News article 27 April, 2018).

4.18. There were 1.3 million visitors to the state in 2017-2018, with just over a million of those in the south of the state (ABC News article 20 Dec, 2018). Of those visitors to the South, the following was reported in terms of cultural tourism:

· 392,200 reported visiting museums during their entire trip (37%)

· 341,900 reported visiting MONA during their visit (33%)

· 315,600 reported visiting galleries during their visit (30%)

· 484,000 reported visiting historic sites/attractions during their trip (46%)

· 55,300 reported attending the theatre or performing arts (5.3%)

· 51,900 visitors reported experiencing Tasmanian Aboriginal Culture during their trip (4.9%)

· 26,000 were in Tasmania for the main purpose of attending a major/event festival (2.5% share of visitors to the South).

[Source: Tasmanian Tourism Research unit, Tourism Tasmania]

Developing a new Public Art Framework

4.19. Following an Expression of Interest Process, NSW based Overton Consulting was engaged in June 2018 to undertake the development of the new Public Art Framework.

4.20. Working in close collaboration with the City of Hobart Public Art team, Overton Consulting undertook the following:

· A research phase looking at current best practice in public art

· Stakeholder meetings with the following groups:

(i) Public Art Advisory Panel (TMAG, UTAS, Contemporary Art Tasmania, Bett Gallery)

(ii) External Stakeholders (Constance ARI, Salamanca Arts Centre, MONA, UTAS, individual artists)

(iii) Internal Stakeholders (Planning, Roads, Parks, Bushland, Community, Culture, Professional Services, Heritage, Cleansing, Civil Works)

· A draft Public Art Framework was presented to an Aldermanic/Councillor workshop in March 2019

· The body of work was presented to ELT in April 2019

· Public consultation was conducted in April/May 2019.

4.21. The Public Art team also undertook targeted consultation with internal stakeholders to ascertain how the recommendations of the Framework might be implemented.

A new Public Art Framework

4.22. The proposed City of Hobart Public Art Framework (Attachment A) has been established around the following goals:

· Position public art as a key part of the City of Hobart’s infrastructure.

· Express a sense of place and identity for Hobart.

· Increase the opportunities for a diverse range of artists to work in the public domain.

· Endeavour to commission new public art that reflects the

City’s diverse population.

· Ensure that public art in Hobart is physically, conceptually and professionally accessible.

· Foster partnerships with key city stakeholders (public and private-sector entities) to diversify our public art initiatives.

4.23. The guiding principles set out for the Public Art program within the framework are:

· Excellence

· Courage

· Connection.

4.24. A curatorial framework outlines five directions for the public art program, noting that any one project might embody several directions:

· Interactive – active engagement and interface

· Inclusive – art for and by everyone

· Expressive – city as a platform for creative expression

· Quintessential – sense of place and identity

· Experimental – on the edge.

Proposed funding streams to support the framework

4.25. The proposed Public Art Framework sets out four different origins for public artworks implemented in and by the city (refer Section 2, Attachment A):

a) Public Art team led

b) City Division led

c) Developer led

d) External interest group initiated.

4.26. Each of these streams have different funding requirements, different triggers or require different mechanisms.

4.27. It is proposed that the following model for funding public art in the city be adopted:

4.27.1. Public Art Team led projects: Increase the City’s Public Art Fund by $100,000 per annum to allow for the implementation of projects emerging directly from the new Public Art Framework.

4.27.2. City Division led projects: adopt a 1% for art scheme for projects over a particular value or for capital works projects considered to be significant within the City.

4.27.2.1. Public art policies requiring a per cent contribution for capital works projects have been instigated around Australia by state or local authorities including the following examples:

· City of Adelaide, SA: A minimum of 1.3% of the Council’s total Capital Works Program Budget will be made available on an annual basis for public art.

· City of Perth, WA: has a strategy within their current Public Art Strategy (2015) to implement a Per cent for Art Scheme for the City’s capital works, but this has not yet been enacted.

· Tasmanian State Government: 2% of capital works projects or all new buildings and renovations over $250,000 to a maximum of $80,000.

· City of Stirling, WA: 2% of total capital works project budget, for projects over $2 million (max $150,000) and 1.5% of total cost for significant projects under $2 million.

· City of Freemantle, WA: 1% of estimated development costs of relevant development types within specified areas, for projects over $1m in value

· City of Maribynong, Vic: 1% of the total capital works budget pooled in a Public Art Fund, to be allocated to public art projects for significant community/civic projects.

· Knox City Council, Vic: 1% of the total annual new and upgrade projects budget is allocated to public art per year, with funds able to be accumulated over a number of years to potentially fund larger and more significant works.

· Port Pirie Regional Council, Vic: 0.5-2% of publicly funded capital works projects is dedicated to public art.

· City of Casey, Vic: 1% of total Community Capital Works project budget, for projects over $3 million.

4.27.3. Developer led projects: for projects over a particular value, consider the incorporation of a planning requirement for the contribution of a age of the value of the new development towards one of the following options:

· the provision of public art on the development site in a publicly accessible/visible location

· into a Developer Contribution Fund, for the provision of public art in public space within the same precinct as the new development; or

· a developer could choose to split the required funding between the above two options.

4.27.3.1. Mechanisms for the incorporation of public art in or near new developments are in operation in planning schemes around Australia including the following examples:

· City of Melbourne, VIC: Docklands specific project – 1% of the value of new developments going toward public art

· City of Brisbane, QLD: Since the preparation of the first Public Art Policy in 1995, Brisbane City Council have a per cent for art contribution of 0.25% on all new developments over $5m in the CBD

· City of Paramatta, NSW: $5m-$15m, contribution of 0.1% of the development cost (minimum $25,000); $15m +, contribution of 0.5% of development cost, cap negotiated with Council, but no less than $150,000.

· City of Fremantle, WA: 1% of estimated development cost of relevant development types and scales within specified zones. Contribution can go to public art on the site or to a Developer Contribution fund for public art in the same precinct.

· City of Newcastle, NSW: public and civic buildings over 45m in height are to allocate 1% of the capital cost to public artwork.

· City of Clarence, Tas: developments over $1m within specified zones must contribute 1% of the cost (to a maximum of $20,000), to go toward public art on the site, or as a cash contribution to the City of Clarence Public Arts Fund.

4.27.4. External interest group initiated projects: remain active in encouraging, funding and partnering in community/sector initiated public art.

Signal Box Program

4.28. In 2010 and 2013 the Council approved the Signal Box Project to be implemented in two stages over four years at a total cost of $114,790 (ex GST) to the City of Hobart’s Public Art Program. The project has now been completed, with 80 boxes painted.

4.29. The project, managed by Queensland contractor Urban Smart Projects, has been a successfully executed and received program, offering art opportunities to a wide range of individuals and community groups. Fifty per cent of the participants in the project were from local community organisations. Nineteen local primary and high schools painted boxes, and other community participants included the Migrant Resource Centre, Palawa Aboriginal Corporation, Aspire Foundation, Headway, Reclink, Edge Radio, the Community Rehab Unit, and YouthARC.

4.30. When callouts have been made for community members to paint boxes (via the City’s Facebook page), the community has responded quickly and positively and all available boxes have often been allocated within a few weeks of the call out opening.

4.31. Inquiries by individuals wanting to paint boxes have continued to come to the Public Art team, since the last round of boxes was completed.

4.32. Sheree Martin, teacher for recent participant Lansdowne Primary School, provided the following feedback:

"This was such a fabulous project to be a part of - thank you! The actual 'process' leading to an 'outcome' was a new challenge for the projects I generally facilitate with children but forced me to look at things differently, engaging creative thinking to create what I hope was an enjoyable 'process' of learning about colour theory for the children with a pleasing aesthetic design finish for the community. It was also fabulous for the Kinders to be out in the community with many people stopping to chat with us during the painting process and it would not have been possible without the fabulous teachers coordinating all the logistics for the children to be able to be onsite for the experience. Thanks so much for an awesomely organised project…”

4.33. Examples of a selection of boxes completed throughout the project period are provided at Attachment B.

4.34. In each of the four years of operation, the project costs including Urban Smart Projects’ fee of $28,697 per annum and traffic management fees, of $7,000 - $10,000 per annum were expended from the Public Art operations budget.

4.35. In 2017, following completion of the four year program, the Public Art team made a recommendation, via memorandum, that the Signal Box program be concluded.

4.35.1. In response to the Memorandum, former Alderman Eva Ruzicka put forward a Notice of Motion (4 Dec 2017) recommending:

“That if Council agrees in-principle that the Signal Box Project has been a great success for livening the streets of Hobart and reducing the impact of tagging graffiti, a further report be prepared outlining what steps will be needed to continue the painting of Signal Boxes beyond the funded Signal Box Project, either to renew or place new art, including but not limited to:

· If Council will need to take over managing the project from Urban Smart Projects;

· Exploring a range of funding possibilities including part or calling for crowdfunding of future re-paints;

· The involvement of current artists; and

· The need for any agreement with the Department of State Growth (or its future iterations) in continuing the painting of the Signal Boxes.”

4.36. Since the last boxes were completed, new NBN infrastructure has been rolled out around the city (the work is ongoing) adding a “high hat” to existing boxes, which is a new small cabinet affixed to the top, increasing the height of the overall TSB by approximately 400mm.

4.36.1. The addition of these cabinets has had a significant and negative impact on existing artworks on the Traffic Signal Boxes (refer Attachment C for images of additions).

4.37. Given the popularity of the program within the community a quotation has been obtained from Urban Smart for an additional two years of the Signal Box program, at a cost of $57,600 (GST excluded). As with previous programs, the program will require an additional amount over and above the Urban Smart work, to allow for traffic management of approximately $15,000 per annum (required in any location where the TSB is less than 1.5m from the road edge).

4.37.1. This will result in an overall spend of $87,600 over two years.

5. Proposal and Implementation

Public Art Framework

5.1. It is proposed that Council adopt the Public Art Framework (Attachment A), for use as a guide for all new public artwork implemented within the City of Hobart.

Public Art project fund

5.2. It is proposed that the Public Art Project fund be increased by $100,000 per annum in order to meet the ambitions set out in the Public Art Framework, which in turn respond to the increased public and political expectation for the commissioning of and facilitation of temporary and permanent public artworks within the City of Hobart.

5.3. This fund will support projects developed by the Public Art program that sit outside of upcoming capital works projects.

5.4. An allocation of $43,800 per annum from this allocation would be utilised in 2020/21 and 2021/22 for the two year Signal Box Project (50 traffic signal boxes painted over this two year period).

City of Hobart Capital Works per cent for art

5.5. It is proposed that 1% of the total annual new Capital Works Project allocation be dedicated to the provision of public art, with the contributions to this fund able to be accumulated across financial years.

5.6. Public art commissions paid for by this fund will be selected for inclusion within capital works projects which are of suitable scale and/or significance to the City.

5.7. A public art masterplan will be developed, working with relevant City of Hobart stakeholders, which indicates likely public art sites in relation to upcoming/proposed capital works.

Public Art Developer Contribution Scheme

5.8. It is proposed that Council endorse a recommendation to initiate a formal process to consider draft amendments to the Hobart Interim Planning Scheme 2015, incorporating mandatory inclusion of public art on or adjacent to new private developments within specific city zones (detailed amendments to be the subject of a future report).

5.9. The proposal, for further refinement by City of Hobart’s Planning team, would be as follows:

5.9.1. Developments of gross value $3,000,000 or above, would contribute 1% of this value to:

· A new publicly accessible artwork on the development site, OR

· As cash to a Public Art Developer Contribution fund, for the commissioning of artworks in the same zone as the new development, OR

· A combination of the first two options.

5.9.2. The criteria for these public artworks would be as follows

· Public Sphere -the artwork must be clearly seen from the public sphere and contribute to public amenity.

· Professional Art -the artwork is to be designed by a professional artist and be a unique, high quality artwork.

· Site Specific –the artwork is to be designed specifically for the site and responsive to the site context, including a consideration of surrounding buildings and activities.

· Complementary - the artwork should complement the context, including but not limited to site layout, any adjacent building design and detailed building design.

· Management –the artwork must be designed, constructed and installed with best practice management including employment of a dedicated project manager for implementation of the work. Ongoing maintenance of the artwork on private land will be the land owner’s obligation (such as strata bodies).

5.9.3. These requirements would be limited to three precincts within the City of Hobart as defined by 2015 Interim Planning Scheme (and subsequent planning schemes). The proposed zones are:

· Sullivans Cove (Particular Purpose Zone)

· Central Business Zone (Special Area Plan)

· Commercial Zone (Special Area Plan).

5.9.4. Any cash contributions to the Public Art Developer Contribution Fund would be transparently managed by the City’s Public Art team, with Developers delegating responsibility to the City of Hobart for the selection of commission sites and artists.

5.9.5. A Public Art Panel would be formed from external public art peers and internal stakeholders to make decisions on expenditure from the Public Art Developer Contribution fund.

5.10. Prior to the commencement of a Public Art Developer Contribution fund, The City of Hobart’s planning officers would develop the appropriate amendments to the planning scheme, following the process set out in the Land Use Planning and Approvals Act (1993).

5.11. Details of this process would be presented in a future report to Council prior to implementation.

6. Strategic Planning and Policy Considerations

6.1. The Guiding Principles and Directions set out in the proposed Framework embody aspects of all of the pillars of Hobart: A community vision for our island capital, but particularly:

· Pillar 1: Sense of Place

· Pillar 2: Community inclusion, participation and belonging

· Pillar 3: Creativity and Culture

· Pillar 4: City economies.

6.2. The proposed Framework is intended to sit within the tenets set out by Creative Hobart; A Strategic Framework, with its intent touching on all three outcome areas, but particularly:

· Outcome Area 1: The city as a platform, and

· Outcome Area 2: The city as an incubator.

6.3. Other City of Hobart strategic and/or programmatic areas addressed by the proposed Framework include:

· Children and families

· Youth programs

· Community safety

· Graffiti management

· Social inclusion

· Aboriginal programs.

7. Financial Implications

7.1. Funding Source and Impact on Current Year Operating Result

7.1.1. There is no impact on the current year operating result.

7.2. Impact on Future Years’ Financial Result

7.2.1. If approved, there would be an annual increase of $100,000 per year in the Public Art Fund commencing in the 2020/21 financial year. In the 2020/21 and 2021/22 financial years, $43,800 per annum would be committed to the two year Signal Box Program as outlined in Section 4 of this report.

7.2.2. This Public Art Fund annual allocation would be an ongoing commitment and able to be accumulated across financial years to allow for larger and more significant works to be implemented.

7.2.3. The Public Art Fund would be indexed to increase each financial year in line with CPI increases.

7.2.4. In the 2020-2021 financial year and in subsequent years ongoing, a 1% allocation of the total Capital Works budget would be set aside for new public art projects, with the allocation able to be accumulated across financial years to allow for larger and more significant works to be implemented.

7.3. Asset Related Implications

7.3.1. All new public art projects funded by the city would become new assets owned by the City of Hobart.

7.3.2. These would be managed and maintained as part of the current Public Art maintenance and cleansing regime.

7.3.3. All new public art projects funded by private developer contributions and located within private developments, would remain the asset of the private property owner.

7.3.4. All new public art projects potentially funded by the Public Art Developer Contribution Fund - that are placed in City of Hobart public space - would be an asset owned and maintained by the City of Hobart.

8. Legal, Risk and Legislative Considerations

8.1. The establishment of a mandatory requirement for developer contributions to public art in the city may be contested by developers undertaking major projects in the City of Hobart.

8.1.1. It is noted that City of Hobart staff have met with developers and the Property Council flagging that a Public Art Developer Contribution program could be under consideration in the future.

8.1.2. The City of Hobart’s planning officers would develop the appropriate amendments to the planning scheme, following the process set out in the Land Use Planning and Approvals Act (1993).

8.1.2.1. This process incorporates opportunities for public comment and representations, which must be considered by council.

8.2. With a more significant budget available for public art, there would be an increased maintenance and cleansing load on the City of Hobart to care for the new works.

8.2.1. Over the last two years, the Public Art team has been developing a more robust process for managing maintenance and cleansing of public art in line with a budget dedicated to any specialised maintenance or cleansing requirements.

8.2.1.1. This process would continue to develop to meet the increased ambition and output of the public art program.

9. Environmental Considerations

9.1. The vision, guiding principles and Directions set out within the Public Art Framework relate to a number of the UN Sustainable Development Goals:

· Goal 3: Good Health and Well-Being

· Goal 7: Affordable and Clean Energy

· Goal 8: Decent Work and Economic Growth

· Goal 9: Industry, Innovation and Infrastructure

· Goal 10: Reduced inequalities

· Goal 11: Sustainable Cities and Communities

· Goal 12: Responsible Production and Consumption

· Goal 13: Climate Action.

9.1.2. The work of the Public Art program could connect with and achieve these goals through processes, project types and the conceptual or material content of any one artwork.

9.1.3. As relevant, specific processes (such as material selection or disposal), may be set out in a Public Art Operations Manual which is being developed as an internal reference for the Public Art team.

10. Social and Customer Considerations

10.1. The Vision for the Framework places an emphasis on accessible, meaningful experiences for residents and visitors.

Our public art program reflects Hobart's unique landscape and identity, through innovative, publicly accessible works of art. The program provides opportunities for diverse creative practitioners to develop meaningful experiences for residents and visitors.

10.2. The guiding principles for the new Framework – Excellence, Courage and Connection - directly address the need for public artworks to be accessible and allow members of the public to connect with the work.

10.3. Each of the stated Directions for the proposed Framework have been developed with the intention to commission artworks that engage with, include and respond to Hobart’s diverse community:

· INTERACTIVE: Active engagement and interface
Art that requires community participation to activate the work.

· INCLUSIVE: Art for and by everyone

Art for diverse audiences by a diverse range of artistic practitioners or community members.

· EXPRESSIVE: City as a platform for creative expression
The city as a place where people can express themselves, their ideas, their politics, through the presentation of public art.

· QUINTESSENTIAL: Sense of place and identity

Building a rich and nuanced identity for the city through site specific public art.

· EXPERIMENTAL: On the edge

Supporting a broader range of artistic practitioners to try out ideas within the city and in doing so, build ownership and capacity within artists.

10.4. The Framework acknowledges a commitment to working with and respecting Tasmanian Aboriginal people and their culture in the following ways:

· Formal acknowledgement of country at the beginning of the Framework

· Reference within the curatorial Directions, particularly “Quintessential; Sense of place and identity.”

· Establishment of a “Tasmanian Aboriginal Public Art” project type, which recognises the unique consultation, approval and communications processes required for working with the Tasmanian Aboriginal community.

10.5. The project types and processes matrix included in the document clearly identifies the importance of community engagement for specific project types, such as “Place Making.”

10.6. The “How to get involved” section within the Framework has been added in response to public feedback on the document and offers first steps for members of the community, community organisations or other external parties interested in making or commissioning public art in the city.

10.7. The document acknowledges the importance of connecting with broader, global thinking in development through reference to the United Nations Sustainable Development Goals.

11. Marketing and Media

11.1. The City of Hobart Communications and Marketing team prepared a communications plan for the public consultation stage of the project, using the City’s Your Say community engagement site, facebook, instagram and distribution through City of Hobart networks.

12. Community and Stakeholder Engagement

12.1. Consultation was undertaken at a number of different stages throughout the process of developing the proposed Framework.

12.2. A series of round table discussions for internal and external stakeholders was part of the development of the draft Framework. Three sessions were run:

· Public Art Advisory Panel – our expert peer panel drawn from Tasmanian Museum and Art Gallery, UTAS, Bett Gallery and Contemporary Art Tasmania (30 October 2018)

· External stakeholders – representing Arts Tasmania, Salamanca Arts Centre, MONA, Constance ARI, and individual artists (31 October 2018)

· Internal stakeholders – representing all divisions of the City of Hobart and different aspects of the City’s work from planning to on the ground City project implementation (31 October 2018).

12.3. An Elected Representative workshop was held on 26 March 2019 to obtain feedback on the Draft Framework.

12.4. The work was presented to the Executive Leadership Team, in order to obtain direction on how to progress with the funding models for the public art program.

12.5. Following Council approval to go out to public consultation (15 April 2019) a Draft Public Art Framework was advertised for public comment on 16 April 2019 for 6 weeks, with feedback gathered via a survey on Yoursay. Results from the public consultation are as per the attached Public Art Framework Public Consultation results (Attachment D), detailing actions which have become amendments to the Framework.

12.5.1. In summary, the results of the survey are as follows:

· 28 responses were received from the public

· 26 of these responders were either very happy or somewhat happy with the principles, directions and processes proposed in the draft framework, while 2 were unhappy

· 13 of those responders were already aware that a draft framework was being prepared

· 11 respondents work in the arts

· 16 respondents would like to be directly involved in the making of temporary or permanent public art

· 5 respondents were writing on behalf of an organisation

· 21 of the 28 respondents live in Hobart.

12.5.2. Comments on the Framework were predominantly positive or constructively critical, with a selection as follows:

· “The directions are terrific.”

· “A thoughtful document that will result in tangible and ethical results for the Hobart community.”

· “The document is very comprehensive and gives a clear overview of the different approaches to and types of projects that might arise.”

· “The document is very comprehensive for those already engaged in some way in public art or contemporary art, but might be a bit wordy and overwhelming for those not already engaged or used to documents such as these.”

· “The document desperately needs an Executive Summary to provide a concise overview of the proposed process for commissioning, producing and representing public art. Only then will it be accessible and suitable for public consultation.”

· “This emphasis on process rather than outcome seems to be a shift, but is positive to hear that support for experimentation is part of your plan moving forward. I am interested to see how this translates through grant recipients.”

· Would have liked to see concepts of "excellence" removed - as this is a very contested term - possibly replaced with a concept of relevance both to the practitioner and community.

12.5.3. The key actions taken from the analysis of the results, including comments (and fed back into adjustments to the report) were:

· Addition of an executive summary

· Further clarity provided, within the Framework, about why this document is titled a Framework and what other documents might follow

· Resolution of the fine detail of the Processes and Project types matrix in section 2, to include correct City of Hobart teams/team names

· Further clarification of what “excellence” means in the context of this Framework

· Addition of a “How to get involved” diagram within Section 2 of the Framework, for artists, developers or other external bodies wishing to participate in the making of or commissioning of public art

· Further clarification of the strategies recommended for furthering the “Experimental” direction.

12.6. A number of prominent Hobart developers (or people with influence over major developments) were consulted regarding the recommendation to progress the introduction of a for Art scheme for the city of Hobart.

12.6.1. The following were consulted in separate face to face meetings or provided correspondence on the proposal:

· Brian Wightman (Property Council, Executive Director Tasmanian Division)

· Robert Rockerfeller (Nekon)

· Angelina Kalis (Kalis Property)

· Leigh Carmichael (Dark Lab)

· Tim Lucas (Sultan Holdings)

· Jennifer Nichols (representing the Hobart Chapter of the Australian Institute of Architects)

· Members of the Australian Institute of Architects (lunchtime presentation)

12.6.2. Brian Wightman, Executive Director of the Tasmanian Division of the Property Council, was supportive of Hobart’s public art program, the proposed Public Art Framework and the recommendation to explore options for a per cent for art scheme for private development. His key concern was to understand the likely value for developers of this scheme.

12.6.3. While all of the developers acknowledged the importance of public artwork, almost all tended to be against a mandatory requirement of a contribution towards art, with some quoted (shown with quote marks) or paraphrased comments on the proposal as follows:

· I’m not against it, but why should it only be developers that contribute to public art in the city? Shouldn’t it be a levy on everyone’s rates?

· I’m fully in support of a for art scheme for new developments, but in the Hobart context, this will have a noticeable impact on profit margins.

· Better to encourage developers to contribute to a fund, to do larger projects of greater significance to the city, rather than to have smaller artworks on developer sites.

· I’d prefer to have any artwork funded by our business on our sites (rather than in public space in the same precinct).

· We would like to negotiate with Council on a case by case basis about the inclusion of public art in our developments.

· We want to retain control over our developments.

· Perhaps there can be a way to work with developers in relation to their property portfolios instead of individual developments.

· “I support the intent of the draft framework and agree public art is a valuable link in the chain for continuous improvement in the sense of place, amenity and attraction of the city… However my support does not extend to the simplistic idea that developers with projects above a certain value in specific locations are required to make contributions for public art. Such a proposal diminishes and undervalues the complexities of preparing, lodging and building projects that offer very long term serious benefits to the city and the concept (which I presume it derives from), that it is only a small added cost burden is out of context, naïve and incorrect.”

· The framework fails to acknowledge the importance of other work that developers fund, for public benefit, such as the archiving and public display of archeological investigations.

· “If Council decided still to impose a Public Art contribution levy or something similar as a developer we would not provide public art in our buildings or on our sites. The long term maintenance obligations are simply impossible to cost or determine. That then begs the question if developers elect to pass on this contribution how much of the funds would be lost on the management, establishment and maintenance of the public art actually delivered. What age of the fund actually collected would be delivered to public art.”

· I like the idea that with a % contribution like this, we will be able to see the benefit as we experience the city.

12.7. The draft Framework was also presented to the following City of Hobart teams for discussion and comment:

· City Placemaking

· Planning

· Parks and recreation

· Bushland and reserves

· Community Life Division

· Community Participation (particularly looking at proposed methodologies for working with members of the Tasmanian Aboriginal community).

13. Delegation

13.1. This matter is delegated to the Council.

As signatory to this report, I certify that, pursuant to Section 55(1) of the Local Government Act 1993, I hold no interest, as referred to in Section 49 of the Local Government Act 1993, in matters contained in this report.

Jane Castle

Cultural Programs Coordinator

Kimbra Parker

Manager Inclusive, Resilient and Creative Communities

Tim Short

Director Community Life

Date: 5 September 2019

File Reference: F19/37398; 19/44-0001

Attachment a: Public Art Framework ⇩

Attachment b: Signal Box Examples ⇩

Attachment c: Signal Box Top Hats ⇩

Attachment d: Public Consultation Results ⇩

Item No. 6.2

Agenda (Open Portion)

Community, Culture and Events Committee Meeting

Page 96

11/9/2019

REPORT TITLE: Draft Capital City Strategic Plan 2019-29 - Community Engagement

REPORT PROVIDED BY: Senior Advisor Strategic Planning

Manager Economic Development, Engagement and Strategy

Director Community Life

1. Report Purpose and Community Benefit

1.1. The purpose of this report is to present Council with findings from the community and stakeholder engagement process for the draft Capital City Strategic Plan and seek endorsement of the final document.

2. Report Summary

2.1. The draft strategic plan was open for community and stakeholder engagement from 18 June 2019 to 9 July 2019 (21 days).

2.1.1. The draft was provided on Your Say Hobart, and community members could comment as an individual and/or as a representative of an organisation. They could also comment via email or written submission.

2.1.2. The opportunity to read the draft and comment was promoted using a number of methods including Facebook, email and hard copies placed in the Customer Service Centre and Mathers House.

2.1.3. Members of the vision community panel were contacted directly and invited to provide comment through the Your Say survey or by email; as were the Access Advisory Group, Hobart Bicycle Advisory Committee, the Community Sector Reference Group and the Council of Hobart Community Associations.

2.1.4. The project team also attended meetings of the City of Hobart Youth Action Squad and the Hobart Older Persons’ Reference Group to provide an opportunity for the groups to ask questions about the plan and provide feedback.

2.1.5. Correspondence was also sent to organisations who had been identified as having an interest in the future development and growth of Hobart, for example the State Government, local members of government, neighbouring councils and other organisations such as Metro, LGAT, UTAS and the RACT.

2.2. In total 33 submissions were received during the engagement period, 31 of which were via the Your Say survey. Two submissions were received by letter.

2.3. Overall the submissions show a high level of support and agreement that the plan will deliver on the key priorities for Hobart over the next 10 years and that it reflects the community vision. Thirteen of the respondents indicated that they had participated in the project to create the vision (42 per cent). This vision participation ranged from filling in a survey to being a member of the community panel or an expert contributor. A summary and discussion of the responses is provided in Attachment A.

2.4. In addition to community engagement a peer review of the plan was undertaken with a key objective to ensure it reflects the elements of identity and aspiration outlined in the community vision, identity statements and pillars, as well as the overall intent of the vision.

2.5. The draft strategic plan was subsequently updated to respond to engagement findings and the peer review. The plan is provided at Attachment B to this report.

2.5.1. A summarised, at a glance, version of the plan has also been developed that provides a snapshot of the plan for ease of use by the community, council and officers. A copy is provided at Attachment C.

3. Recommendation

That the Council adopt the City of Hobart Capital City Strategic Plan 2019-29 marked as Attachment B to this report.

4. Background

4.1. Section 66 of the Local Government Act 1993 requires that all councils prepare a 10-year strategic plan for their municipal area. The Act also requires that the plan be reviewed at least every four years (section 70E).

4.1.1. In preparing the strategic plan, the Act requires that Council is to consult with the community and any other bodies or authorities it considers appropriate.

4.2. At its meeting held on 17 June 2019 the Council resolved inter alia:

“That: 1. The Council endorse the draft Capital City Strategic Plan 2019-29 and it be released for community and stakeholder engagement for a period of 21 days.

2. A further report be provided detailing the outcome of the community and stakeholder engagement, and the final document for approval.”

4.3. Further to this the Council also resolved on 17 June 2019 inter alia:

“That: 2. The City of Hobart:

(iv) Include acknowledgement of the declaration of a climate and biodiversity emergency in the Council's new Strategic Plan.”

4.3.1. The draft strategic plan was subsequently updated before community engagement to include this acknowledgement.

Community engagement

4.4. Community and stakeholder engagement was undertaken from 18 June 2019 to 9 July 2019 (21 days).

4.4.1. The opportunity to read the draft strategic plan and provide comments was promoted via:

· Facebook

· Email to:

- Your Say Hobart registrants

- Members of the vision community panel

- Stakeholders, participants and contributors to the vision engagement

- Council of Hobart Community Associations

- Hobart community associations and advisory committees

- Internally to all staff.

4.4.2. The project team also attended meetings of the City of Hobart Youth Action Squad and the Hobart Older Persons’ Reference Group to provide an opportunity for the groups to ask questions about the plan and provide feedback.

4.4.3. Correspondence was also sent to organisations who had been identified as having an interest the future development and growth of Hobart, for example the State Government, local members, neighbouring councils and other organisations such as Metro, LGAT, UTAS and the RACT

4.4.4. Feedback on the draft strategic plan was received in the following ways:

· Your Say Hobart – 31 responses to the short survey and 80 people visited the draft strategic plan page.

· Feedback via letter was received from the Minister for State Growth and the Council of Hobart Community Associations. A copy of the letter from the Minister is provided at Attachment D.

· Staff survey – 13 response from members of staff through a short internal survey.

4.4.5. A number of respondents provided considered and thoughtful commentary. Others used the survey as an opportunity to express their opinion on single issues such as the cable car, building heights and the UTAS relocation into the city centre.

4.4.6. While the overall number of responses is relatively low this was somewhat expected due to the long-term, high-level nature of the document and also the extensive engagement that had already been undertaken as part of the community vision project.

4.5. Overall the community engagement submissions show a high level of support and agreement that the plan will deliver on the key priorities for Hobart over the next 10 years and that it reflects the community vision.

4.5.1. Thirteen of the respondents indicated that they had participated in the project to create the vision (42 per cent). This vision participation ranged from filling in a survey to being a member of the community panel or an expert contributor. A summary and discussion of the responses is provided in Attachment A.

4.6. The feedback received has been considered and analysed. Of the submissions received there were a number of reasonably clear themes/concerns that emerged. These included transport, the economy and development and planning.

4.6.1. A number of changes were made to the plan in line with the criteria listed in 4.9 below. While the results of the survey show disagreement on whether some of the pillars will deliver on the respondents priorities for Hobart over the next 10 years (average 10.3 per cent) the respondents provided no explanation or feedback as a reason for their selection or raised issues that will be addressed through the plan. Due to this lack of detail, the number of submissions and overall support for the plan indicated in the survey results no changes were made based specifically on the submissions of those expressing dissatisfaction.

Peer review

4.7. In addition to the community engagement a peer review of the draft strategic plan was undertaken. The person commissioned for the review had previously peer reviewed the community vision. The objectives of the review were to:

· Ensure the draft plan 2019-29 reflects the elements of identity and aspiration outlined in the community vision, identity statements and pillars, as well as the overall intent of the vision.

· Ensure the plan reflects engagement input from elected members, ELT and staff.

· Ensure the plan guides the City’s core business and establishes 10-year ambitions.

· Ensure it is easy to read, plain English is used and there is minimal jargon.

The reviewer was also provided with the community engagement results.

4.7.2. The peer review suggested a number of changes which included three appendices for a glossary, statistical sources and a list of strategies, plans and frameworks that support the implementation. The review found that:

· the alignment of the plan with the community vision is strong and is visually clear and evident in the structure of the plan

· it is a coherent document with each part flowing logically

· it is clear that the Council has responded to its commitment to demonstrate long-term commitment to and strong governance of the vison

· the strategic plan is a corporate document….the move from an aspirational vision to an operational plan has been skilfully managed

· the plan has a 10 year life…it’s a significant program of work

· it is difficult to determine if the plan is achievable as appropriate levels of resources and other matters come into consideration

· some of the broader strategies will pose challenges for measurement.

Draft strategic plan

4.8. The project team also took the opportunity to review the plan again and some minor changes have been made to wording, the order of some of the strategies and the layout.

4.9. Following the analysis of the engagement findings and the peer review the draft plan was subsequently updated based on the following criteria:

· Suggestions regarding improvements to the readability of the document and aid better understanding of the strategic plan and the planning and reporting framework.

· Suggestions that would enhance a particular statement or section without changing its overall meaning, or the meaning of the document as a whole. This also included identified gaps.

· Where several submissions reflected a broader theme.

4.10. The final plan is provided as Attachment B to this report. The strategies highlighted in yellow are new strategies that have been included. In total there are six additional strategies, one was suggested by the peer review and the other five were gaps identified during community engagement.

4.10.1. Other key changes to the document are the inclusion of three appendices for a glossary, statistical sources and a list of strategies, plans and frameworks that support the implementation of the strategic plan.

4.10.2. A summarised, at a glance, version of the plan has been developed. It provides a snapshot of the plan for ease of use by the community, council and officers. A copy is provided at Attachment C. It is intended that a similar document will be prepared for the community vision.

5. Proposal and Implementation

5.1. The final City of Hobart Capital City Strategic Plan 2019-29 represents a thorough process to plan for the future of Hobart. The process started with the review of the Hobart 2025 and the extensive research and engagement which led to the creation of the community vision, Hobart: A community vision for our island capital. This strategic plan puts the vision to work and is a vital document for council and officers to ensure that the aspirations expressed by the community in the vision are met.

5.1.1. The next stage is implementing this plan and developing a new strategic reporting and measurement system which will ensure the City’s performance and community outcomes are tracked and measured.

5.2. It is proposed that the Council approve the City of Hobart Capital City Strategic Plan 2019-29.

6. Strategic Planning and Policy Considerations

6.1. The review of the Capital City Strategic Plan 2015-25 addresses the City’s commitment to use the vision to develop its strategic planning and following it through and aligns with the following identity statements and pillars of Hobart: A community vision for our island capital:

“Identity Statement 7 – how we engage in civic life.

7.3 – Government is a big force in city life and we want it to reflect and reinforce what we value about Hobart.

Pillar 8 – Governance and Civic Involvement

8.5 – We communicate and engage.

8.6 – We are involved in civic life”

6.2. The review of the Capital City Strategic Plan 2015-25 is strongly aligned with the following goals and strategic objectives from the 2015 plan:

“Goal 5 - Governance

Strategic Objective 5.1 – The organisation is relevant to the community and provides good governance and transparent decision-making.

5.1.4 - Measure performance and outcomes of Council activities.

Strategic Objective 5.4 - An engaged civic culture where people feel part of decision-making.

5.4.1 - Implement best practice community engagement (IAP2) across the organisation

5.4.3 - Further enhance engagement activities with the community.”

6.3. The City’s work is guided by its Planning and Reporting Framework of which the strategic plan is the primary planning document. The strategic plan outlines the outcomes the City is aiming to achieve over a 10 year period, in response to the community vision and other requirements or priorities.

6.3.1. The strategic plan informs planning for the City and is used by officers to develop the annual plan and divisional and unit plans. In turn this planning ensures that the strategies identified in the strategic plan are put into action through operations and programs and initiatives.

6.3.2. City services and programs must align with the outcomes and strategies in the strategic plan. In addition, resourcing and informing strategies, frameworks and action plans and other corporate documents must also be aligned with the strategic plan.

7. Financial Implications

7.1. Funding Source and Impact on Current Year Operating Result

7.1.1. Allowance has been made for printed copies of the strategic plan in the 2019-20 financial year.

7.2. Impact on Future Years’ Financial Result

7.2.1. Not applicable.

8. Legal, Risk and Legislative Considerations

8.1. Section 66 of the Local Government Act 1993 requires Council to prepare a strategic plan for the municipal area for at least a 10-year period. In preparing the strategic plan councils are to consult with the community and any authorities and bodies it considers appropriate. The strategic plan must be reviewed every four years (s.70E LGA 1993).

8.2. Failure to understand and respond to the community’s vision for the future is listed as a risk in the Strategic Risk and Resilience Register. The risk rating is classified as high and the treatment plan includes the following actions:

· Revision of the Strategic Plan in response to the vision.

· Develop a performance measurement system consistent with the vision and strategic plan.

9. Environmental Considerations

9.1. The strategic plan includes acknowledgement of the global climate and biodiversity emergency and provides the scope for the City to be leader in reducing environmental impacts and supports sustainable decision-making.

10. Social and Customer Considerations

10.1. This statutory review of the strategic plan has provided a unique opportunity to respond to the community vision and demonstrate to the community the City’s commitment to the vision.

11. Marketing and Media

11.1. A media release will be issued following the adoption of the strategic plan by the Council and an item included on the City’s Facebook page.

12. Community and Stakeholder Engagement

12.1. Community engagement on the draft Strategic Plan was held from 18 June to 9 July 2019 (21 days).

12.1.1. The engagement was conducted in line with the Community Engagement Framework and a number of tools were used to promote the engagement.

12.1.2. Further details and a summary of the community engagement results can be found in Attachment A.

13. Delegation

13.1. This matter is delegated to the Council.

Paula Gudgeon

Senior Advisor Strategic Planning

Luke Doyle

Manager Economic Development, Engagement and Strategy

Tim Short

Director Community Life

Date: 4 September 2019

File Reference: F19/116222; 17/198

Attachment a: Summary of Survey Responses ⇩

Attachment b: Draft Capital City Strategic Plan 2019-29 ⇩

Attachment c: Strategic Plan at a glance ⇩

Attachment d: Letter from Minister for State Growth ⇩

Item No. 6.3

Agenda (Open Portion)

Community, Culture and Events Committee Meeting

Page 161

11/9/2019

REPORT TITLE: City of Hobart Grants Program - Annual Program 2019 Recommendations

REPORT PROVIDED BY: Community Activation and Grants Co-ordinator

Manager Activation Programs and Tourism

Director Community Life

1. Report Purpose and Community Benefit

1.1. This report seeks approval of the recommendations for the Creative Hobart Major Cultural Organisations and Event Partnerships grants under the 2019-20 City of Hobart Grants Program for August 2019.

1.2. The objective of the grants program is to encourage and support community and cultural organisations as well as small businesses and accredited schools to develop and deliver Hobart-based events, projects and activities that have community, cultural, urban sustainability, or economic outcomes that align with the City’s Vision and Strategic Plan.

2. Report Summary

2.1. This round of the City of Hobart Annual Grants Program contained three grants categories:

1. Creative Hobart Major Cultural Organisations

2. Event Partnership

3. Community Christmas Carols.

2.2. The round opened in 15 June and closed 23 July 2019.

2.3. Assessment panels comprising of City officers and external subject matter experts assessed each stream against set criteria.

2.4. Two applications were received in the Major Cultural Organisation category.

2.4.1. Of these both were deemed eligible for assessment.

2.4.2. Both are recommended for partial funding to a total value of $40,000.

2.4.3. The two organisations recommended for grants funding are the Theatre Royal and Salamanca Arts Centre.

2.5. A total of nine (9) applications were received in the Event Partnership category.

2.5.1. Of these all were deemed eligible for assessment.

2.5.2. Six (6) are recommended for funding to a total value of $300,000.

2.5.3. The applicants recommended for funding are as follows:

EP1901	Festival of Voices
EP1907	Vibrance Festival 2020
EP1908	Australian Antarctic Festival 2020
EP1911	Beaker Street, Sci. Art. Tas.
EP1909	Open House Hobart
EP1910	TMAG Children Festival

2.6. The recommended funding allocations are provided at Attachments A and B to this report.

2.7. The recommended funding amount is within the current budget allocations for these programs.

3. Recommendation

That:

1. The Council approve the recommended level of funding to the respective applicants for assistance under the 2019-20 City of Hobart Grants Program, marked as Attachments A and B to this report, under the streams of Creative Hobart Major Cultural Organisations and Event Partnerships.

2. The Council note the projects not recommended for funding from this round of the City of Hobart Grants Program as detailed in Attachments A and B to this report.

3. The value of the combined recommended projects is noted as:

· $40,000 for Creative Hobart Major Cultural Organisations, and

· $300,000 for Event Partnerships.

4. There are no unallocated funds remaining from either grant streams within the 2019-20 financial year.

5. The funding for the grants be attributed to the Activation and Events Budget Function in the 2019-20 Annual Plan.

6. All funding applicants be advised accordingly.

7. The total grant provision be recorded in the ‘Grants, Assistance and Benefits provided’ section of the City of Hobart’s Annual Report.

8. The provision of triennial funding agreements for Event Partnerships be removed from the policy, taking effect from the 2020-21 financial year.

4. Background

4.1. This round of the City of Hobart Annual Grants Program contained three grants:

1. Creative Hobart Major Cultural Organisations

2. Event Partnership

3. Community Christmas Carols.

4.2. The round was advertised in August 2019 through the Mercury newspaper. It was also promoted through a broad range of community and cultural networks (online and broadcast) and previous applicants were contacted via email.

4.3. Grant information is made available on the City of Hobart website which provides online access to the application form, guidelines, and copies of relevant City of Hobart strategies that applications should respond to.

4.4. Two public information sessions were held on 25 June 2019 in the Elizabeth Street Conference Room at 1 pm and 5.30 pm.

4.5. The application period closed on 22 July 2019.

Creative Hobart Major Cultural Organisation Grant

4.6. The Creative Hobart Major Cultural Organisations category is open to applicants once a year with applications opening in June. Applicants can apply for any amount over $10,000 for annual or triennial agreements.

4.7. This program is designed to support administrative and operational capacity of large cultural organisations that operate within the city, and through specific criteria there are only four organisations that are eligible to apply :

1. Theatre Royal

2. Tasmanian Symphony Orchestra

3. Tasmanian Museum and Art Gallery

4. Salamanca Arts Centre.

4.8. In the 2019-20 financial year $100,000 is allocated to the Creative Hobart Major Cultural Organisations, however, $60,000 was already committed to previous triennial funding agreements, leaving $40,000 available for this round.

Event Partnership Grant

4.9. The Event Partnership category is open to applicants once a year, opening in June. Applicants can apply for any amount from $20,000 for annual or triennial agreements.

4.10. In the 2019-20 financial year $300,000 is allocated to the Events Partnership category.

4.11. The following table provides a comparison between the 2018-19 and 2019-20 years:

EVENTS PARTNERSHIP	18 - 19	19 - 20
Applications Received	14	10
Applications Assessed	12	9
Applications Supported	5	6
Total Available	$270,000	$300,000
Total Requested	$920,709	$461,668
Total Allocated	$270000	$300,000
Highest funded assessment against criteria	81%	85%
Lowest Funded assessment against criteria	66%	72%

Community Christmas Carols category

4.12. The authority to approve the Community Christmas Carols grants recommendations was delegated to the General Manager at the Council meeting held on 21 January 2019 (File Ref: F18/125072; 18/279).

Assessment Panels

4.13. Assessment panels were established for each grant category

4.13.1. The Major Cultural Organisations Grants Assessment Panel consisted of the following:

1. Tim Short, Director Community Life

2. Jane Castle, Cultural Programs Coordinator, Community and Cultural Programs, Community Life

3. Convener: Tony Bonney, Community Activation and Grants Coordinator, Activation Programs and Tourism, Community Life

4. Maria Lurighi, Experiences and Partnerships Director, MONA

5. Assessment support was provided by Aaron Jensen, Community Grants Officer, Activation Programs and Tourism, Community Life.

4.13.2. The Event Partnership Grants Assessment Panel consisted of the following:

1. Iris Goetzki, Manager Activation Programs and Tourism, Community Life

2. Trish Stagg, Senior Advisor City Marketing and Sponsorships, Economic Development, Engagement and Strategy, Community Life Division

3. Tony Bonney (Convenor), Community Activation and Grants Coordinator, Activation Programs and Tourism, Community Life

4. Fiona Barber, Manager Better Business, Tourism Tasmania

5. Magdalena Lane, Institute Advancement Manager, Menzies Institute for Medical Research

6. Assessment support was provided by Aaron Jensen, Community Grants Officer, Activation Programs and Tourism, Community Life as well as Skye Targett, Production Coordinator Community Events, Activation Programs and Tourism, Community Life.

Assessment Criteria

4.14. Applications were assessed under the Council policy ‘Applications for Grants - Community and Marketing’ which was approved at the Council meeting held on 18 June 2019.

4.15. All assessments were carried out on a points-scored basis against all criteria. Some applicants may have rated highly against specific criteria such as alignment with strategies or community benefit, but rated lower against criteria such as overall quality and capacity, and as in previous rounds, the applications recommended for funding were those that scored the highest points overall.

4.16. Each application in the Major Cultural Organisations category was assessed on its individual merit and its capacity to:

· Enhance the image of the City amongst residents and visitors as a vibrant place to live and work

· Support and enhance the City’s image as a leader in culture and the arts, as the capital city of Tasmania, and as a significant regional city of Australia and the Asia Pacific

· Demonstrate wide community interaction by the organisation (through attendance or other statistics)

· Align with the Social Inclusion Strategy by:

o demonstrating how local communities and individuals are involved in the development and implementation of appropriate portions of the organisation’s annual public program, and

o ensuring the program is accessible to people attending and/or participating.

· Demonstrate that suitably qualified and experienced people manage the organisation (management and Board)

· Demonstrate that the organisation is financially viable through the provision of audited accounts

· Work with the City to achieve at least eight of the nine objectives of the City’s Creative Hobart Strategy

4.17. Each application in the Events Partnership grant program was assessed on its individual merit and its capacity to:

4.17.1. Community participation

· Supports and enhances the cultural life of Hobart and acknowledges and celebrates its cultural diversity

· Involves local communities, Tasmanian and Hobart based organisations and individuals, including creative and event or festival related professionals and providers, in the development, implementation and delivery of the festival or event

· Allocation of at least 50% of this grant to the development and presentation of Tasmanian artistic content within the festival program for events identifying as Arts Festivals

· Encourages local communities into the City of Hobart area.

4.17.2. Vibrancy

· Produces innovative, high quality, creative festival and event outcomes

· Enhances the image of the City both nationally and internationally, as a vibrant place to live, work and visit.

4.17.3. Economic benefit

· Delivers measurable economic and media and promotional yield outcomes

· Drives intrastate, interstate and international visitation including during shoulder and low visitation seasons.

4.17.4. Aligns with and supports relevant Council strategies

· Aligns with, and supports relevant Future Directions as outlined in the

o Capital City Strategic Plan 2015-2025

o Supports and delivers relevant outcome areas of the City of Hobart’s cultural strategy - Creative Hobart

o Supports and delivers relevant outcome areas of the Council’s Economic Development activities.

4.18. Should elected members wish to discuss the merits of any particular application, they are invited to contact the Director Community Life. There will also be more detailed information on how each organisation rated against the criteria provided under separate cover on the Closed Aldermanic hub.

Major Cultural Organisations Grant Applications

4.19. There is annually $100,000 committed to this program, however of this amount there is currently $60,000 committed to triennial funding agreements with the Tasmanian Symphony Orchestra ($25,000 per annum since 2017) and the Tasmanian Museum and Art Gallery ($35,000 per annum since 2017).

4.19.1. These standing agreements expire in 2020.

4.19.2. $40,000 is available for the remaining two organisations that meet the eligibility criteria of this program.

4.20. The two applications received for the Major Cultural Organisation category requested a total amount of $60,000.

4.21. Both applications are recommended for part-funding, totalling $40,000. The recommended funding utilises all funds available in this round.

4.22. The applications recommended for support have a total anticipated presentation of 500 activities or events offered throughout the year. This includes six major festivals.

4.23. The assessment panel acknowledged the important contribution both organisations make to the delivery and presence of cultural and community activity in the City.

4.23.1. Both applications were noted for their alignment to the City’s social inclusion strategy as well as Tasmanian Aboriginal consultation and inclusion in the proposed annual programs.

4.24. While triennial funding was an opportunity for the applicants, it was not a recommended offer as the panel felt that there is a greater and more equitable opportunity to assess all eligible organisations in the 2020 round of this program when the category has no standing commitments in place.

Event Partnerships Grant Applications

4.25. There were nine (9) eligible applications received for the Event Partnership grant program requesting a total amount of $461,668 for an available pool of $300,000 funding.

4.26. Six applications are being recommended for partial funding to the total value of $300,000, noting:

· no application received its full request

· any reduction in the requested amount was assessed against budgets provided

· all applications recommended for support rated between 89% and 70% against the criteria.

4.27. The applications that are being recommended for support have a total economic impact in excess of $1,920,000 leveraged off the investment of the City. This equates to a return of $6.43 for every dollar that the city invests.

4.28. The applications recommended for support have a total anticipated participation rate (volunteers, artists, participants and audiences) of 126,870 people. This equates to an investment of $2.36 per participant

4.29. Three applications are not recommended for support at this stage and will be directed to more suitable City of Hobart grants opportunities.

4.29.1. Unsuccessful applications all rated below 60% against the criteria.

4.30. The panel recognised applications that reflected true partnerships between the City and other stakeholders and has recommended support for events that have the ability to attract diverse audiences into the city from intra and interstate.

4.31. Similarly the panel felt that the recommended applications will add to the overall activation of the city and reflect the diverse character of Hobart.

4.32. All of the recommended events show a strong alignment to the City’s social inclusion policies, priority areas and vision as well as the meaningful inclusion of Tasmanian Aboriginal recognition.

Assessment Outcomes

4.33. The following table outlines the recommendations for funding in the Major Cultural Organisation category :

Applicant

$ Request

$ Approved

Total Score

(/200)

Score %

CHMCO1901

Salamanca Arts Centre

$ 30,000

$ 25,000

152

76%

CHMCO1903

Theatre Royal Management Board

$ 30,000

$ 15,000

144

72%

4.34. The following table outlines the recommendations for the Event Partnership category:

ID	Applicant	$ Request	$ Approved	Total Score (/124)	Score %
EP1901	Festival of Voices	$ 95,000	$ 85,000	106	85%
EP1907	Vibrance Festival 2020	$ 87,194	$ 70,000	106	85%
EP1908	Australian Antarctic Festival 2020	$ 100,000	$ 50,000	97	78%
EP1911	Beaker Street, Sci. Art. Tas.	$ 40,000	$ 35,000	96	77%
EP1909	Open House Hobart	$ 35,859	$ 30,000	93	74%
EP1910	TMAG Children Festival	$ 43,615	$ 30,000	90	72%
EP1906	Day on the Lawn	$ 20,000	Did not support	74	59%
EP1902	Tasmanian Wine Festival	$ 20,000	Did not support	69	55%
EP1905	Rufus Du Sol	$ 20,000	Did not support	67	54%

4.35. While triennial funding was available as an option for all Event Partnership applicants, it was not recommended for any of the assessed events as the panel felt that the option of triennial funding needed to be reviewed.

4.36. There was a concern expressed through the assessment process that triennial funding:

(i) has the potential to deplete the annual available pool of funding

(ii) could be used to underwrite organisational sustainability rather than grow innovation, community participation and or activation outcomes

(iii) creates some confusion with the City of Hobart Sponsorship program.

4.37. Consequently, it is a recommendation of this report that triennial funding no longer be offered as part of this grant program.

5. Proposal and Implementation

5.1. All applications were acknowledged upon receipt and all applicants will be advised of the Council’s decision and invited to contact staff for feedback on their applications if they wish.

5.2. Each successful applicant will be required to formally accept the City of Hobart’s assistance by signing an agreement that requires them to:

· agree to the conditions of the assistance

· provide any documentation necessary for compliance under the Goods and Services Tax (GST)

· detail the ways in which they will acknowledge the City of Hobart’s support

· provide an acquittal within 90 days after the completion of their project.

5.3. The projects recommended for full funding and partial funding from the August round of the City of Hobart Grants Program are detailed in Attachment A to this report.

5.3.1. All applicants recommended for partial funding have agreed to accept a part-funded offer if it was to be made.

5.4. The projects not recommended for funding are also detailed in Attachment A to this report.

5.5. All awarded grants will be noted in the City of Hobart’s Annual Report in accordance with the Council’s policy in respect to grants and benefits disclosure.

5.6. Unsuccessful applicants will be advised they can re-apply for future grant rounds.

5.7. The unsuccessful applicants will also be advised they can contact the Community Development Officer - Grants for feedback regarding their application, and to obtain assistance in developing their project in order to resubmit in a future grant round.

6. Strategic Planning and Policy Considerations

6.1. This item responds to Goals 1 and 4 of the Capital City Strategic Plan 2015-2025, namely:

“Economic Development, Vibrancy and Culture - City growth, vibrancy and culture comes when everyone participates in city life; and

Strong, Safe and Healthy Communities - Our communities are resilient, safe and enjoy healthy lifestyles.”

6.2. The provision of Community, Creative Hobart and Event grants aligns very strongly with both the Creative Hobart Strategy and the Social Inclusion Strategy 2014-2019.

6.3. The City of Hobart grants program aligns with the following identity statements and pillars of Hobart: A community vision for our island capital:

“Identity Statement 5 - how we live.

Pillar 2 - Community inclusion, participation and belonging

2.3 - We are connected…we create opportunities for new connections to develop.

2.5 - We are healthy, joyful and content…our natural and built spaces and facilities enable activity and support and enhance our health and wellbeing.

Pillar 3 - Creativity and culture

3.2 - We are a creative and cultural capital...we are home to some of Tasmania’s best-loved cultural institutions. We support them and invite others to enjoy them.

3.4 - We support our artists…we are a city that supports its writers, visual artists, filmmakers, performers, producers and venues.”

7. Financial Implications

7.1. Funding Source and Impact on Current Year Operating Result

7.1.1. There is $40,000 unallocated funds in the Major Cultural Organisations grants in the 2019-20 Annual Plan. It is recommended to grant the full allocation of $40,000.

7.1.2. There is $300,000 allocated in the Event Partnerships grants allocation of the Event activity in the 2019-20 Annual Plan. It is recommended to grant the full allocation of $300,000.

7.1.3. The total amount of funds recommended for Council approval through the 2019-20 Annual round of the City of Hobart Grants Program is $340,000.

7.2. Impact on Future Years’ Financial Result

7.2.1. There are no impacts on future year’s financial results. All applicants who receive a funding offer will be notified that an invoice or Recipient Created Tax Invoice (RCTI) must be submitted for payment before the end of the Financial Year.

7.3. Asset Related Implications

7.3.1. Not applicable.

8. Legal, Risk and Legislative Considerations

8.1. There are no legal, risk or legislative considerations as part of this report.

9. Environmental Considerations

9.1. The projects recommended through the City of Hobart Grants Program are required to, wherever possible, support the objectives of the City of Hobart Waste Management Strategy 2015-2030. In particular, applicants must outline their commitment to sustainable events, certified compostable food packaging and reducing waste to landfill.

10. Social and Customer Considerations

10.1. The projects recommended have been selected taking into account the widest community benefit.

10.2. The projects and activities recommended through the City of Hobart Grants Program should not be exclusive to a particular segment, but have broad appeal and can be attended by the general public. If the event is ticketed, tickets must be available to purchase by the general public.

10.3. The projects recommended through the City of Hobart Grants Program must not discriminate by way of race, religion, gender or sexual orientation in employment, marketing, advertising practices or within the event itself.

10.4. The Unit will work with officers and the community to maximise promotion of the projects.

10.5. Outside of section 6.0 and 10.1 (above) there are no other Social and Customer considerations as part of this report.

11. Marketing and Media

11.1. Each successful applicant will be provided with the Grant and Partnership Acknowledgement Guidelines and as part of the condition of funding are required to ensure recognition of the City’s support.

12. Community and Stakeholder Engagement

12.1. The Community Activation and Grants Coordinator, Community Grants Officer, Manager Activation Programs and Tourism, Manager Community and Culture, Director Community Life and the external panel members have been consulted in the preparation of this report.

13. Delegation

13.1. This matter is delegated to the Council.

Anthony Bonney

Community Activation and Grants Co-ordinator

Iris Goetzki

Manager Activation Programs and Tourism

Tim Short

Director Community Life

Date: 5 September 2019

File Reference: F19/116111

Attachment a: Event Partnerships ⇩

Attachment b: Creative Hobart Major Cultural Organisations ⇩

People	We value people – our community, our customers and colleagues.
Teamwork	We collaborate both within the organisation and with external stakeholders drawing on skills and expertise for the benefit of our community.
Focus and Direction	We have clear goals and plans to achieve sustainable social, environmental and economic outcomes for the Hobart community.
Creativity and Innovation	We embrace new approaches and continuously improve to achieve better outcomes for our community.
Accountability	We work to high ethical and professional standards and are accountable for delivering outcomes for our community.