Sydney Festival Reconciliation Action Plan

INNOVATE RECONCILIATION ACTION PLAN 2015–2017

Darren Edwards, Taree Sansbury & Thomas E S Kelly in Long Grass, Sydney Festival 2015.

Photo Jamie Williams.

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ACKNOWLEDGEMENT OF COUNTRY

Sydney Festival would like to acknowledge the Traditional Owners of the land on which the Festival takes place, and pay respect to the 29 clans of the Eora Nation. We acknowledge that this land falls within the boundaries of the Metropolitan Local Aboriginal Land Council. We would also like to acknowledge our Darug neighbours in Parramatta. We pay respect to Elders both past and present, and all Aboriginal and Torres Strait Islander peoples whichever Aboriginal and Torres Strait Islander nation they come from.

INTRODUCTION Originally launched in 2013, our RAP outlines our commitment towards improving outcomes for Aboriginal and Torres Strait Islander peoples by creating and fostering an organisational environment that cherishes respect, creates opportunity and builds cultural awareness.

Sydney Festival recognises that Sydney is a vast, complex and exuberant city of cultural contrasts and social diversity, that Sydney’s Aboriginal and Torres Strait Islander heritage and contemporary cultures lie deep within the city’s identity and are key to an enlightened and progressive festival.

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Uncle Max Eulo performing the smoking ceremony for Festival First Night 2011, Sydney Festival.

Photo Prudence Upton.

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A MESSAGE FROM THE EXECUTIVE DIRECTOR Having successfully launched and implemented our first Reconciliation Action Plan we are pleased to follow up with this in our second RAP. We set ourselves specific goals in 2013/14 and we are pleased to report the vast majority were achieved, but there is still so much more we can do. We’ve learnt a lot in the first 12 month period, and both our successes and mistakes informed our strategy for this next stage of our plan.

The Sydney Festival Reconciliation Action Plan remains our organisation's commitment to ensure that we keep moving forward on this vital issue for our nation. We are committed to working towards improving outcomes for Aboriginal and Torres Strait Islander Australians by creating and fostering an organisational environment that cherishes respect, creates opportunity and builds cultural awareness.

We have set ourselves new measurable goals, at the same time as maintaining ongoing successful initiatives and we look forward to the successes of this plan as part of the ongoing journey for this organisation and our community.

CHRIS TOOHER EXECUTIVE DIRECTOR

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Kev Carmody, Sydney Festival 2008.

Photo Prudence Upton.

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OUR VISION FOR RECONCILIATION Sydney Festival’s vision for reconciliation is to formally and informally engage with Aboriginal and Torres Strait Islander artists and communities and to positively contribute to improving outcomes for Aboriginal and Torres Strait Islander peoples.

WE DO THIS BY COMMITTING TO: • displaying respect to Aboriginal and Torres Strait Islander peoples and cultures • offering employment opportunities to Aboriginal and Torres Strait Islander peoples • offering development and presentation opportunities to Aboriginal and Torres Strait Islander artists and arts workers • building cultural awareness and understanding among our staff, stakeholders and audiences of the diversity of Aboriginal and Torres Strait Islander histories, achievements and cultures.

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OUR BUSINESS The biggest event in the city’s cultural calendar, Sydney Festival is a unique and playful celebration of Sydney in summer.

Every January it transforms our city with a kaleidoscopic program of performance, art and big ideas.

Our free and ticketed events cover a multitude of genres and have ranged from burlesque circus to rap and from Russian theatre to traditional Aboriginal and Torres Strait Islander arts practice.

For four decades the Festival has brought to Sydney outstanding artists like Björk, Brian Wilson, David Byrne, Elvis Costello, Grace Jones, Geoffrey Gurrumul Yunupingu, Robert Lepage, Sir Ian McKellen, Archie Roach and Peter Sellars alongside some of the world's great companies – Wayne McGregor's Random Dance, Cheek

by Jowl, Royal Shakespeare Company, and the Schaubühne Berlin to name only a few – to share the Festival with the most exciting artists and companies in Australia.

Travelling Colony

by Brook Andrew, Festival First Night, Sydney Festival 2012.

Photo Daniel Boud.

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Aboriginal and Torres Strait Islander art and cultures have always held a special place within the Sydney Festival program.

Over the years, the Festival has celebrated and profiled the talents of respected artists, leaders and companies, including Ilbijerri Theatre Company, Black Arm Band, Marrugeku, The Pigram Brothers, Archie Roach, Wesley Enoch, Geoffrey Gurrumul Yunupingu, Kev Carmody, Rhoda Roberts, Richard Bell, Gerry Bostock, Kelton Pell, Brook Andrew, Frank Yaama, Dan Sultan, Dr Anita Heiss, Professor Larissa Behrendt, Mark Howett, Rachel Perkins, the Hon. Linda Burney, Uncle Jack Charles, Stephen Page, Bart Willoughby, Gary Foley, Professor Shane Houston, Ernie Dingo, Ursula Yovich, Last Kinection, Emma Donovan, Trevor Jamieson, Roger Knox and many more.

In 2012, Sydney Festival heralded a significant shift in its commitment to its programming of contemporary Aboriginal and Torres Strait Islander work by presenting Black Capital, a groundbreaking contemporary program of diverse Aboriginal and Torres Strait Islander works and ideas, emerging as one of the Festival’s most ambitious projects ever –

in scale, scope and in its transformative potential and momentum. During the three year development period leading to the presentation of Black Capital, Sydney Festival launched longer term strategies to encourage productive partnerships with Aboriginal and Torres Strait Islander artists and organisations: to develop new Aboriginal and Torres Strait Islander audiences; to commission new work; and to discover and present emerging and established Aboriginal and Torres Strait Islander artists and their work.

Our first Reconciliation Action Plan (RAP) in 2013 provided us with clear objectives to support this strategy and develop employment opportunities for Aboriginal and Torres Strait Islander people across all facets of the Festival. We develop these ideas in this our second RAP and the Festival continues to consult with local organisations such as Sydney’s Metropolitan Local Aboriginal Land Council, the City of Sydney Aboriginal and Torres Strait Islander Advisory Panel and specific project-based reference groups.

Sydney Festival has a full time equivalent of 50–60 staff in any given year. Currently there are no fulltime staff who identify themselves as Aboriginal or Torres Strait Islander. The team curates, plans and presents the annual three week program of events focused on venues and audiences in Sydney and Parramatta. The organisational structure of the permanent team promotes good communication, effective ownership by staff members over their areas of responsibility, active support among team members and a flexible and questioning environment where open discussion is encouraged.

Sydney Festival's audacious contemporary programming position is at the forefront of arts practice in Australia and up there as one of the most wonderful festivals in the world. Sydney Festival relies on a mix of government funding; corporate, media and production partnerships; as well as philanthropic giving. Accessibility is central to the Sydney Festival ethos, which is reflected in a commitment to free events, geographic reach to Parramatta and Western Sydney audiences, disability access and the Festival’s ongoing commitment to a Reconciliation Action Plan.

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OUR RECONCILIATION JOURNEY Daniel Boyd's artwork projected onto The Domain canopy, Symphony in The Domain, Sydney Festival 2014. Photo Jamie Williams.

In July 2013, Sydney Festival launched its first Reconciliation Action Plan (RAP). Sydney Festival’s vision for reconciliation is to formally and informally engage with Aboriginal and Torres Strait Islander artists and communities and contribute to positive outcomes for Aboriginal and Torres Strait Islander peoples.

This relates to our core business objectives of consolidating our position in the ‘arts’ space by presenting high calibre unique arts projects and developing organisational capacity by ensuring we have a work environment that attracts the best employees.

The Festival’s reconciliation journey is being driven by a dedicated RAP Working Group with representatives from each department.

Led by the Executive Director, the Working Group includes the Festival Director, Head of Programming, Head of Production, Head of Marketing and Customer Service, Sponsorship Manager, Accountant and the Producer of Major Outdoor Events (RAP Champion). The Working Group meets quarterly and consults with our Aboriginal

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and Torres Strait Islander business and arts partners regularly for guidance and advice. We are very grateful for the ongoing guidance we receive from the Metropolitan Local Aboriginal Land Council, the City of Sydney Aboriginal and Torres Strait Islander Advisor Panel and respected community leaders. Their advice, insight and patience were invaluable during the development and implementation of our first RAP. To help us tackle the challenges ahead, we will be appointing an external Aboriginal or Torres Strait Islander representative to the RAP Working Group.

Aboriginal and Torres Strait Islander artists were also integrated into many other Festival programs including: as part of About an Hour we presented Marrugeku’s Gudirr Gudirr, a solo dance piece by Dalisa Pigram with visuals by Vernon Ah Kee; City of Sydney’s Lawn Library in the Festival Village featured workshops and storytelling by Matt Doyle; and both Domain concerts featured projections of Daniel Boyd’s exquisite History is Made at Night. In addition to the artistic achievements the Festival is proud of the organisational outcomes from the first year of the RAP. Notable achievements include; Development of a Welcome To Country Aboriginal and Torres Strait Islander art and protocol document that was endorsed by the culture has always held a special place within MLALC, Cultural Awareness Training for all the Sydney Festival program. Over the years, the staff at The National Centre of Indigenous Festival has celebrated and profiled the talents Excellence, attendance at the Supply Nation of respected artists, leaders and companies.

Expo, formal acknowledgements at all As we develop ideas, the Festival consults major events and in leading publications, with local organisations such as Sydney’s staff event to celebrated NAIDOC Week, we Metropolitan Local Aboriginal Land Council, revised and released our Human Resources the City of Sydney Aboriginal and Torres Strait Policy and secured funding and placements Islander Advisory Panel and specific projectfor two paid Aboriginal and Torres Strait based reference groups. In 2014 we were Islander internships. The Music Programming proud to initiate, co-commission and produce Internship was supported by APRA’s Song Black Diggers in partnership with Queensland Cycles Program and the Programming Intern Theatre Company. Further to this, the Festival (Theatre and Dance) position was supported was thrilled to present The Shadow King with

by Arts NSW. a cast including Tom E. Lewis, Jimi Bani, Jada Alberts, Selwyn Burns, Frances Djulibing, Overall it was a successful start to our Rarriwuy Hick, Damion Hunter, Kamahi Djordon reconciliation journey but not without King, Natasha Wanganeen and Bart Willoughby. challenges. As highlighted in our annual review, the targets relating to employment

proved most difficult to address. Insufficient progress was made on longer term internship support and the development of fulltime employment opportunities. In 2014, Black Diggers helped us build strong relationships within the community including the Babana Men’s Group, the Indigenous Liaison Officers at the Australian War Memorial, the Aboriginal and Torres Strait Islander Veterans and Services Association, individual returned service men, historians and others. While we are proud of the ongoing success of this production, it also highlighted the employment challenges the Festival faces ahead. While we are making important changes within our organisation, we have not yet found a way to quantify the considerable investment and employment opportunities we generate by commissioning and/or presenting new works like Black Capital, I am Eora, Long Grass, Blak Cabaret and Black Diggers. These projects have significant short term employment and long term career development outcomes and we have not yet found a way to measure and report these important achievements. We are a three week festival that collaborates with artists to develop and present ephemeral moments, so reporting on these requires us to redefine the parameters and in some cases rethink the language we use. For example, in an industry built on a foundation of transient employment opportunities and non-linear career paths, what is the purpose

of quantitative fulltime employment data?

We must first understand and support career development across the arts sector, these challenges cannot be solved in isolation.

We need to ask some difficult questions and find which areas should be the focus for our limited resources. Black Diggers employed over ten Aboriginal and Torres Strait Islander artists and has toured the nation. It is already credited as a landmark production in Australian theatre, has generated hundreds of news articles, talks and discussions about Aboriginal and Torres Strait narratives and our national identity, and is a significant launch pad for many of the young performers’ careers. While we are immensely proud of our role instigating and commissioning this work, we do not have any way of reporting or tracking these achievements. One could argue that the employment achievements of the Black Diggers project is significantly greater than what could have been achieved by adding one fulltime position to our core staff, yet the quantitative nature of the RAP’s reporting process means that we have report no significant contribution to Aboriginal and Torres Strait Islander employment because we don’t employ these artists directly.

The challenge of reporting and tracking employment progress gets even more complicated when we try and compare yearon-year growth. A project like Black Diggers

took three years to develop, and we do not regularly undertake works of this scale.

What is the value of comparing employment data from last year to this year when our cycle of commissioning and development is inconsistent, and how do we extrapolate this trajectory and establish targets? These projects do not provide fulltime employment opportunities and more often than not, Aboriginal and Torres Strait Islander artists and staff are engaged by third parties.

Insufficient progress and unanswered questions like those mentioned above are the key reason why we have decided to focus on employment in our next RAP. While we continue to implement aspects of the RAP to improve organisational culture, we must not lose sight of our core purpose and the area in which we can contribute the most to reconciliation – as a meeting place of ideas and stories. Through commissioning, presentation and conflation of ideas, the Festival has its greatest opportunity to instigate change. Sometimes this takes the form of a provocation and others times artist help us shine a light on hidden truths. Embedding cultural respect, strengthening relationships and developing opportunities for Aboriginal and Torres Strait Islander people within our organisation will fundamentally improve the way in which we go about being a better meeting place.

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RELATIONSHIPS Sydney Festival is one of Sydney’s most important global meeting places. We want all citizens to participate in, have access to, and feel genuine ownership of, their Sydney Festival. Long-range strategic and respectful partnerships between Aboriginal and Torres Strait Islander peoples and other Australians are essential to the festival’s relevance in contemporary Australia, its aim to increase participation of Aboriginal and Torres Strait Islander content and audiences, and its ability to leave a lasting cultural legacy on which to build.

Roger Knox, Sydney Festival 2015.

Photo Jamie Williams.

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FOCUS AREA Develop deeper, sustainable and more meaningful relationships with Aboriginal and Torres Strait Islander leaders, artists and communities.

ACTION

RESPONSIBILITY

TIMELINE

MEASURABLE TARGET

1.1 Sydney Festival RAP Working Group will actively monitor the RAP development, implementation of actions including tracking progress and reporting

Executive Director

July 2015 2016, 2017

Ensure the RAP Working Group continues to comprise of key members of Sydney Festival staff drawn from each department Working Group meets quarterly to monitor the development and implementation of Sydney Festivals RAP Identify and recruit at least one Aboriginal and/or Torres Strait Islander person to be a part of Sydney Festivals RAP Working Group Organise at least one internal event to celebrate National Reconciliation Week Register all Sydney Festival NRW events on Reconciliation Australia’s NRW website to capture participation and support of this significant event

March, June, September, December 2015, 2016, 2017 June 2015

1.2 Provide opportunities for Aboriginal and Torres Strait Islander employees and other employees to build strong relationships by celebrating National Reconciliation Week (NRW) 1.3 Meet with key Aboriginal and/ or Torres Strait Islander partners/ organisations to explore more meaningful ways to develop and strengthen ongoing relationships

1.4 Continue to strengthen relationships and meet with key Sydney Aboriginal and Torres Strait Islander business and community leaders to advise of future Sydney Festival programs 1.5. Develop and maintain Aboriginal and Torres Strait Islander contact database

RAP Working Group / Accountant

27 May – 3 June 2015, 2016, 2017

Executive Director / Head of Programming

July 2015 & July 2016

Festival Director / Head of Programming

September 2015 & September 2016

Head of Programming & Head of Marketing and Customer Service

July 2015, 2016 & 2017 July 2015, 2016 & 2017 July 2015, 2016 & 2017

1.6 Promote Reconciliation Action Plan

Head of Marketing and Customer Service

July 2015 July 2015 July 2015

Identify and develop a list of key local Aboriginal and/or Torres Strait Islander organisations/peoples that Sydney Festival could build relationships and partnership with Organise regular meetings between Sydney Festival and relevant media and arts organisations including: Gadigal Information Services, NCIE, NITV, Sydney Opera House Homeground Strengthen our existing relationships with the Traditional Owners of the country on which the Festival takes place Provide a presentation of 2016 & 2017 festival program to City of Sydney Aboriginal and Torres Strait Islander Advisory Panel and Metropolitan Local Aboriginal Land Council before public launch

ENTA Database regularly updated and ready for Sydney Festival invitation list mail-out each October Identify and include Aboriginal and Torres Strait Islander leaders and key community figures in VIP database Database of audiences to previous Aboriginal and Torres Strait Islander events to be regularly updated to help with direct promotion of future Aboriginal and Torres Strait Islander events.

Promotion of RAP through relevant marketing and communication streams Make the Annual RAP Review document available online and to partner organisations RAP vision included in all Festival Corporate Partnerships credential presentations

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RESPECT It is important Sydney Festival respects Aboriginal and Torres Strait Islander peoples, their cultures, lands and histories to maintain its profile as a cultural leader locally, nationally and internationally. By acknowledging the enormous contributions Australia’s first peoples have made to this country and by fostering a sustainable and progressive platform for future Aboriginal and Torres Strait Islander stories, engagement and employment, Sydney Festival will be able to accurately reflect its time and place in contemporary society.

Thomas E S Kelly & Katina Olsen in Long Grass, Sydney Festival 2015.

Photo Jamie Williams.

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FOCUS AREA Publicly demonstrate the Festival’s recognition and appreciation of Aboriginal and Torres Strait Islander arts and cultural practice and create and promote Sydney Festival as a culturally safe working environment for Aboriginal and Torres Strait Islander peoples.

ACTION

RESPONSIBILITY

2.1 Sydney Festival will continue Head of Programming to acknowledge and respect Aboriginal and Torres Strait Islander peoples cultures by continuing to provide a Welcome to Country, Acknowledgement of Country and other cultural protocols at Sydney Festival events

TIMELINE

MEASURABLE TARGET

October 2015 & October 2016

Review, refresh and distribute Sydney Festival’s current cultural protocols document Acknowledgement of Country to be included in the Sydney Festival 2016 & 2017 brochures Investigate Sydney Festival to include an Acknowledgement of Australia’s First Peoples within employees signature block Develop a reference library for all staff of key documents, films and websites for protocol and process referencing Identify and distribute relevant literature that extends staff learning beyond the foundations established by the Australia Council Indigenous protocol guides.

Invite a Traditional Owner to provide a Welcome to Country at the commencement of significant events hosted by the Sydney Festival Develop and pilot a cultural learning strategy for Sydney Festival. In particular provide opportunities for RAP Working Group members, RAP Champions, HR Managers and other key members of leadership within the organisation.

Cultural Awareness training made available annually for all permanent staff Upon staff induction, all new employees will be introduced to Sydney Festivals RAP and commitment to reconciliation.

All new full time employees will also be required to complete Reconciliation Australia’s “Share Our Pride” (http://www. shareourpride.org.au/) online cultural module as a part of their induction process.

Each permanent staff member provided with an opportunity to attend at least one Aboriginal and/or Torres Strait Islander event annually with special focus NAIDOC Week, The Apology anniversary and Sorry Day. Promotion of Aboriginal and Torres Strait Islander events and news to Sydney Festival staff and supporters through Festival e-news, website and social media Include Aboriginal or Torres Strait Islander artwork in Sydney Festival office by sourcing and rotating artwork from Art Bank Display the Aboriginal flag and Torres Strait Islander flag in reception on significant Aboriginal and Torres Strait Islander events/dates Investigate the opportunity to purchase and display an Acknowledgement of Country plaque upon entry of Sydney Festival office Promote current and upcoming Aboriginal and Torres Strait Islander events and programs internally to all Festival staff and when appropriate on Sydney Festival's Social Media platforms Provide staff with background of previous work by Aboriginal and/or Torres Strait Islander artists participating in the Festival Clippings from Aboriginal and Torres Strait Islander media will be included in the daily media updates to Sydney Festival employees Subscribe to Aboriginal and Torres Strait Islander online resources, for example, The Black Book

July 2015 September 2015

October and January 2015, 2016, 2017 2.2 Provide the opportunity for all employees to engage, respect and understand Aboriginal and Torres Strait Islander cultures histories and achievements through participating in Cultural Awareness Training

Executive Director

July 2016

2.3 Encourage Sydney Festival staff to engage with or attend significant Aboriginal and Torres Strait Islander activities and events that celebrate Aboriginal and Torres Strait Islander cultures, histories and achievements

Working Group / Sponsorship Manager

July 2015 & July 2016

2.4 Create a culturally safe workplace environment by promoting Aboriginal and Torres Strait Islander cultures within Sydney Festival office

Working Group / Sponsorship Manager, Head of Marketing and Customer Service & Producer of Major Outdoor Events.

July 2015, 2016 & 2017

July 2015

May, June & July 2015, 2016, 2017 September 2015

September 2015,16 & 2017 July 2015, 2016 & 2017

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OPPORTUNITIES Opportunities for Aboriginal and Torres Strait Islander individuals, organisations and communities are important to the program and staff development of Sydney Festival if it is to maintain its profile as a progressive, inclusive and socially responsible arts organisation.

The growth of a valuable network of Aboriginal and Torres Strait Islander arts and corporate professionals will bring new perspectives and awareness of creative and business opportunities and workplace satisfaction.

Kamahi Djordan King & Nikki Ashby in Blak Cabaret, Sydney Festival 2015.

Photo Prudence Upton.

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FOCUS AREA Identify and provide employment and relationship opportunities for Aboriginal and Torres Strait Islander peoples across all Festival departments and develop career pathways for emerging artists and arts workers.

ACTION

RESPONSIBILITY

3.1 Investigate the opportunity to Executive Director increase Aboriginal and Torres Strait and RAP Working Islander employment opportunities Group in Sydney Festival

TIMELINE

MEASURABLE TARGET

July 2016

Review HR policies and procedures to ensure barriers to Aboriginal and Torres Strait Islander employees are able to be addressed Engage with Aboriginal and/or Torres Strait Islander employees to consult on employment strategies and professional development opportunities Develop an Aboriginal and Torres Strait Islander employment and retention strategy and framework for Sydney Festival Organise to meet with two Aboriginal and/or Torres Strait Islander employment agencies, (such as Career Trackers) to discuss opportunities to increase employment within Sydney Festival Integrate culturally sensitive recruitment, contract process and workplace culture into employment strategy outline Make a submission to Arts NSW as part of the NSW Aboriginal Arts and Cultural Strategy with a particular focus on Direction 4 of the original strategy (Jobs).

Advertise employment opportunities at the Festival via Aboriginal and Torres Strait Islander media channels Explore avenues to secure ongoing funding to support an Early Careers program for Aboriginal and Torres Strait Islander peoples Develop partnerships with Aboriginal and Torres Strait Islander contacts in key NSW tertiary institutes to discuss potential career pathways/ programs that Sydney Festival can offer to Aboriginal and Torres Strait Islander students Following the Sydney Festival Governance Review, identify opportunities to recruit an Aboriginal and/or Torres Strait Islander person to be a part of Sydney Festival Board Invite two corporate partners with Aboriginal and Torres Strait Islander employment strategies to present a case study to Heads of Departments and the RAP Working Group relating to their development and implementation of their strategy Identify four Arts organisations with a commitment to Reconciliation to discuss development of a peer support network to share experiences, knowledge and opportunities to secure longer term employment outcomes for Aboriginal and Torres Strait Islander arts-workers and artists Attend at least one Media RAP Ring meeting

July 2015 July 2017 July 2016

July 2015 July 2015

July 2015 3.2 Investigate the opportunity to increase professional development opportunities for Aboriginal and Torres Strait Islander employees within Sydney Festival

RAP Working Group / Producer of Major Outdoor Events

July 2016

3.3 Increase Aboriginal and Torres Strait Islander representation on Sydney Festival’s Board 3.4 Align partnerships with other corporate and government organisations with RAPs or who a focus on Reconciliation

Executive Director and Board

July 2015

Producer of Major Outdoor Events

April 2016

September 2015

3.5 Explore the opportunity for Sydney Festival employees to work in partnership with local Aboriginal and Torres Strait Islander organisations 3.6 Explore the opportunity to increase supplier diversity within Sydney Festival

Producer of Major Outdoor Events

July 2015 & July 2016

Develop and pilot a secondment/volunteering program for Sydney Festival employees to participate in with local Aboriginal and/or Torres Strait Islander organisations

Executive Director and Heads of Departments

July 2015 & July 2016

3.7 Network with Aboriginal and Torres Strait Islander arts sector and support the vision of contemporary Aboriginal and Torres Strait Islander artists

All Programming Staff

August 2015 & August 2016

3.8 Sydney Festival will continue to support an Aboriginal and Torres Strait Islander Charity

Working Group/ Accountant

July 2015 & July 2016

Create and distribute a list of local Aboriginal and Torres Strait Islander business/suppliers that Sydney Festival employees could procure goods and/or services from Each department to identify at least one Supply Nation certified organisation that could supply a product or service that their department currently procures from other sources. If viable the department should shift procurement over to the certified organisation as soon as possible.

Review procurement policies and barriers to Aboriginal and Torres Strait Islander businesses Up to date listings of Aboriginal and Torres Strait Islander businesses to be included in the Sydney Festival Artist Pack Identify works from Aboriginal and Torres Strait Islander artists that could be included in the 2016 and 2017 Sydney Festival Attend pitches, developments and performances of new Aboriginal and Torres Strait Islander works to support the vision of contemporary Aboriginal and Torres Strait Islander artists by aiding long term production plans, explore development and presentation opportunities and provide constructive feedback Promote and support talks and profile opportunities for Aboriginal and Torres Strait Islander artists involved in Sydney Festival projects Implement a staff project to support Sydney Festival's endorsed charity the Aboriginal Literacy Foundation

September 2015, 2016, 2017

Provide the opportunity for employees to volunteer at Aboriginal Literacy Foundation

December 2015

July 2016 September 2015, 2016 & 2017

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TRACKING AND PROGRESS ACTION

RESPONSIBILITY

TIMELINE

MEASURABLE TARGET

4.1 Report achievements, challenges and learnings to Reconciliation Australia for inclusion in the RAP Impact Measurement Report

Producer, Major Outdoor Events

August 2015, 2016 & 2017

4.2 Review, refresh and update a new RAP for Sydney Festival

Producer, Major Outdoor Events

May 2017

Complete and submit the RAP Impact Questionnaire to Reconciliation Australia annually Investigate opportunities to publically report on RAP achievements, learnings and challenges Complete an annual review and develop strategies for future RAP based on learnings and achievements from previous RAP Submit draft RAP to Reconciliation Australia for feedback and formal endorsement

CONTACT Vernon Guest Producer, Major Outdoor Events +61 2 8248 6500 vernon.guest@sydneyfestival.org.au

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Radical Son (David Leha), Kaleena Briggs & Nardi Simpson, Sydney Festival Launch 2012. Photo Prudence Upton.

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Level 5, 10 Hickson Road The Rocks NSW 2000 Australia T +61 2 8248 6500 F +61 2 8248 6599 E mail@sydneyfestival.org.au sydneyfestival.org.au

Cover: Jen Anderson & Archie Roach in Archie Roach: Creation, Sydney Festival 2015. Photo Jamie Williams.