How can we grow the Creative Industries Sector in South Australia?

Now Closed

This online engagement was hosted on YourSAy from 4 October 2019 to 28 February 2020. Find out more about the consultation process. Below is a record of the engagement.

The Creative Industries sector includes the following sub-sectors:

  • Advertising
  • Broadcasting: TV and Radio
  • Craft
  • Design: Architecture, Fashion, Graphic and Web
  • Festivals
  • Literature and Publishing
  • Music 
  • Performing Arts
  • Screen Production: TV, Film, post production, digital and visual effects (PDV) and Game Development
  • Visual Arts and Photography

Read the Creative Industries Discussion Paper and let us know what we can do to grow the sector in South Australia by commenting in the box below.

Comments closed

Luke Penman

28 Feb 2020

I realise this is very lengthy - a properly-formatted version is available at https://playpauseplay.com/wp-content/uploads/PPP-Submission-to-YourSAy-Future-Of-Creative-Industries.pdf

To Whom It May Concern,
I write in response to the YourSAy discussion titled How can we grow the creative industries in South Australia?
I’ve never written a submission to these sorts of things before, and, I assume neither have many in the local contemporary music sector. Most of us are swamped by the mammoth task we’ve chosen to undertake and don’t have time for such things. But, I’ve got a lot to say about this particular topic - and how a government willing to invest in the local industry can help it grow immensely - so let’s give it a whirl.
About me
My name is Luke Penman. I have been a part of the local music industry in South Australia since I fell in love with my first local band at 17 - more than half my life ago.
Since then, I’ve dabbled in artist management, blogging and podcasting about the local industry, as well as working in community radio, running gigs, launching my own internet radio station and more.
I’ve sold t-shirts at the merch desk of dozens of shows across Adelaide, MC’d stages at showcases and festivals, and produced my own local music events.
I was selected to attend the JB Seed Artist Management workshop in 2009, and have attended numerous music industry conferences including Fuse Festival in Adelaide, Perth’s One Movement, BigSound in Brisbane and SXSW in Adelaide’s sister city of Austin, Texas.
I have worked in event ticketing admin at BASS and the Adelaide Festival, and worked at community radio station Radio Adelaide for a number of years, presenting on-air, interviewing hundreds of local artists and coordinating a team of dedicated music library volunteers and presenters.
I’ve presented keynotes, sat on panels, spoken to music business students, and worked on a handful of projects for Music SA, including completing the first Live Music Census in 2015.
In 2018 I re-launched my independent brand play / pause / play as an internet radio station dedicated to Adelaide’s live music scene, playing 100% Australian music with a strong focus on artists based in South Australia and artists touring here soon. I achieved this with the financial support of hundreds of crowdfunding supporters, as well as establishing partnerships with the City of Adelaide and various live music venues. play / pause / play has seen some success, with more than 3,500 downloads of the play / pause / play radio app, 4,500+ followers on social media and nearly 1,000 mailing list subscribers.
I have seen the gaps in the local industry where small changes could have massive results, and it’s this vision I’ll detail within this letter.
Defining the local music industry
First we need to clarify which part of “the music industry” I’m talking about.
I’ve been a part of many discussions and workshops about “the music industry” and what often starts with legitimate discussions from my particular niche - whether discussing liquor licensing or planning and development approvals, or the difficulty of South Australian artists to have their music heard - inevitably winds up incorporating discussions on the needs of the Adelaide Symphony Orchestra, the Elder Conservatorium, the Adelaide Festival Centre and other larger and significantly better-resourced organisations.
I value those organisations and respect their needs, but their needs are so vastly different from those in the local contemporary music sector that the voices of those in the local music community - every time the local music community - typically made up of musicians, their friends and fans, and people who run venues that emerging local talent performing their own music - are soon drowned out and forgotten.

So I’m here to talk about a particular niche, and I’m going to give it the incredibly boring name of the Local Contemporary Original Recorded and Live Music Sector. Let’s call it CORaL for short.
This is the sector that gave us the names that are so regularly referred to as great South Australian musicians - Sia Furler, Jimmy Barnes and Cold Chisel, The Angels and Paul Kelly [although they all found most of their success after leaving the state.]
It’s also the sector that has given us artists like the Hilltop Hoods, The Mark Of Cain, Testeagles and The Superjesus.
More recently, the CORaL sector has supported the rise of artists like Tkay Maidza, Bad//Dreems and West Thebarton, with emerging artists like George Alice, Jess Day, Stellie, Towns and Teenage Joans all building audiences over the past 12 months or so.
It’s this sector of the music industry that most people want to be a part of, and the lack of opportunities locally is a massive driver for young people leaving South Australia.
And it’s in this sector where there is massive opportunity for economic growth in South Australia.
It’s a “Feeder Industry”
The beauty of the local CORaL sector is that it gives emerging practitioners an opportunity to experiment and, in many instances, get paid for their work. This includes musicians, as well as graphic designers and visual artists, fashion designers and costumers, videographers, web developers, event producers, radio presenters, journalists and other content creators and so much more. Indeed, the majority of Contemporary Music grant funding distributed through the Music Development Office winds up going to these interconnected industries.
Again - these are industries that people want to be a part of, and they are all connected to music. By supporting the local CORaL sector, you are inherently supporting those sectors as well.
Grant Funding
The main manner in which the State Government supports the local CORaL sector is through grant funding. There is currently four main grant funding streams for the local CORaL sector, each with its own areas for investigation:
Contemporary Music Grant Program
The last time that funding for the Contemporary Music Grant Program was increased was in 2013, when the State Government committed to increase the funding available in line with CPI each year.
After the initial spike to catch the fund up to where it would have been if this had been the case since the fund’s creation in 1992, the amount available through the CMGP appears to remain at around a total of $300,000 per annum.
While the fund’s creation through the South Australian Gaming Machines Act 1992 promises $500,000 per annum for contemporary music, and the amendment passed in mid-2013 intended to keep the funding up with CPI, the additional funding - now close to $1million, assuming 2.5% CPI increase each year - doesn’t seem to have been made available through the CMGP. Those funds, presumably, are being spent on targeted initiatives such as Organisation Funding, The Live Music Events Fund and the Stigwood Fellowship.
One need only to take a brief glance at the annual reports from the Music Development Office to see the same recipient names reappear multiple times. Whilst some in the CORaL sector are quick to label this phenomenon as proof of some “inner circle”, I think the truth is far more simple: there are amazing people in South Australia doing amazing things, they deserve funding and have proven their success repeatedly, and there simply isn’t enough funding to cover everyone. Indeed, the strength of the projects being funded show that the funding is doing exactly what it should, and helping build a stronger industry. But if we can’t invest in the next generation too, then there is a problem.
The overall pool of funding available needs to be increased, and limits within each category must be lifted in order to help the sector grow.
There is also a tendency to part-fund projects through this funding, partially to make up for the lack of total funding available. While it’s hard to argue against the philosophy of “something is better than nothing”, the truth is that this often creates more problems than it solves, forcing applicants to try and live up to their promises with far smaller resources. This funding is also available only for “projects”, and will not fund ongoing initiatives, which makes it difficult to plan long-term. Ongoing funding is handled by Organisation Funding.
Organisation Funding
The the general public, Organisation Funding exists as little more than a mention on a website with a generic email address to contact. While I have attempted to enquire about organisational funding, I haven’t had much response. It’s my understanding that there is a small group of organisations that receive funding through this channel and that in order to add anyone else to the list, an existing organisation would have to miss out, which would be devastating to them and their staff.
Unlike the CMGP, there doesn’t seem to be any publicly-available reports regarding who has received this funding over the past few years.
While I am certain that 100% of the recipients are worthy organisations doing incredible work, the lack of clarity around the process means it may prevent other organisations from growing and contributing more to the CORaL sector.
If there are other organisations that have the capacity to achieve the State Government’s goals in this space and yet not enough funding in this pool to invest in them, this pool must also be increased.

The Live Music Events Fund
The Live Music Events Fund provides funding for the annual Umbrella: Winter City Sounds festival, and has provided funding for Unsound as well as the AIR Awards and Indiecon conference. This fund is said to exist to help support new events and festivals in their early years in order to help establish an audience, but could be hampered by too-stringent criteria. In the time since this fund has existed, both A Day Of Clarity and Scouted have received funding through the CMGP, reducing the amount of funding available for other projects despite being major events that should be supported by precisely the sort of fund as the Live Music Events Fund.
While the pool of funding for the Live Music Events Fund seems significant - indeed, more than the entire CMGP pool - the criteria seems to be set with a particular type of project in mind, potentially causing other worthy projects to not receive vital investment.
Emerging events like Woolly Mammoth Festival and Swirl Fest have shown some success and could very easily grow with support, but may well cease if that support isn’t provided.
Robert Stigwood Fellowship
The Robert Stigwood Fellowship provides funding and mentorship to a handful of selected artists and industry practitioners each year. The program has seen some strong success, though many of the recipients have moved out of South Australia or ceased making music, showing that we still need to invest in a stronger local industry to give our artists a more solid home base.
The local media landscape and audience development
Current policy [ie. through the Stigwood Fellowship] seems to be focused on getting South Australian artists onto triple j. Certainly, triple j is the backbone of the entire Australian music industry, and a vital step for any artist, but relying on a single media outlet which has no office or staff in South Australia, and has a legislated requirement to also focus on other states with larger populations and stronger local industry, is poor policy - and overlooks opportunities for growing the local music economy ourselves. Certainly, if we continue to fail to grow local support for local artists, we can only expect our best and brightest to continue to leave the state.
Ultimately, my argument is based on one simple premise: that getting people out to gigs is good for the local economy, and by growing that industry, other interconnected industries will also benefit, creating local jobs that people actually want, and giving people a reason to stay in SA.
This behaviour is a cultural one, but we need local people driving that culture locally. Without a sustainable local music media, that culture dissipates and people become more likely to stay at home and consume content created overseas, sending money overseas instead of keeping it local.
In the past, our local music media - primarily Rip It Up and DB Magazines - were supported by advertising. With the advent of social media, that advertising money started getting spent on advertising via companies based overseas - generally Facebook and Instagram [which is owned by Facebook]. While this can be effective in some instances, it has essentially killed off the opportunity for cultural leaders and tastemakers to make a living from their cultural leadership, resulting in dwindling audience numbers and a recession in the overall local music economy.
At present, the key pillars of our local music media landscape are our community radio stations - Fresh 92.7, which focuses specifically on electronic music, as well as Radio Adelaide and Three D, which are more eclectic.
These stations all do incredible work driving the culture forward, but in a more-cluttered media landscape, need support to keep doing it and to grow.
We need podcasts about local music, we need video content about local music, we need to reach audiences where they are, and these community radio stations are already multi-disciplinary, but they will struggle to work strategically if they aren’t supported enough.
We need to invest in a stronger local music media landscape, through a combination of funding and partnerships to ensure that South Australians are exposed to South Australian artists.
Doing so will get more people out to gigs, provide a stronger support base for CORaL artists and see money flow into those complimentary industries.
There’s a lot missing from the South Australian music industry that exists in other states. More small and medium festivals, publicity and marketing companies, professional merchandise and logistics companies, major record labels and publishers and more. While having those things here is an important goal, the only thing that will make them sustainable is by building stronger audiences for the CORaL sector.
The #1 driver of audiences buying tickets to a live music event is that they are familiar with the artist. If South Australian audiences aren’t being exposed to South Australian artists, they won’t buy tickets or stream their music and the CORaL sector suffers. But by ensuring that local audiences are exposed to local music, making it easier for people to access local music and to know what events are happening, we can grow the sector. I’ve already proven this - in my May 2019 listener survey, 25% of listeners said that they’d bought a ticket to a gig performed by an artist that they’d first discovered through play / pause / play. A full 80% of listeners had taken an action including purchasing an artist’s merchandise or purchasing or streaming their music. We already have the artists, we just need to make it easy for audiences to discover them, and the industry takes care of the rest.
There is room for massive growth within the CORaL sector in South Australia, but it will take investment and commitment from a government with the vision to make it happen.
Solutions
Grant funding
The total pool of funding available available in the Contemporary Music Grant Program must be increased. The amounts offered no longer cover as much as they used to.
Similarly, the maximum amount in each category must be increased. Most categories have a maximum limit of $5,000 or $10,000 and, again, that amount of money doesn’t buy what it used to - particularly when it comes to artist performance fees for an event, now that artists barely derive any income from recorded music sales. This limits the ability for local producers to put on exciting events.
Increase flexibility by allowing applications year-round.
Increase the total pool of funding available to Organisation Funding, and review eligibility to include music media organisations.
Establish partnerships with the Music Development Office that will supply a certain amount of funding to approved media outlets for any announcements, including grant funding rounds, Stigwood Fellowship applications, workshops and other opportunities. These partnerships can also provide ongoing promotional support for Stigwood Fellows and grant recipients.
Establish multi-year funding for local music media for ongoing projects [eg. radio show focused on local music, digital web video series of performances and interviews with local artists, etc] to provide wages over a defined period of time with a view to establish other sustainable partnerships and revenue streams by the end of the term.
Incorporate a requirement for a certain percentage of any funding received for marketing purposes to be spent on local media.
Government Policy
Institute policy that any government music-related announcement will include advertising with some local media.
Establish policy that the SA Tourism Commission will use South Australian music in all campaigns, and pay appropriate market rates for doing so.
Industry policies and initiatives
Engaging younger audiences
Much of the industry is built on running events in pubs and venues that drive a large amount of their revenue from sales of liquor. It’s not easy to run a profitable event for people under 18, but we simply must engage young people in order to build a sustainable industry. Support is required to find solutions to ensure that events can be successful without relying on liquor sales or driving up ticket prices to the point of unaffordability for the target audience.
Engaging international students
The population of greater Adelaide has changed significantly over the past 10 years or so. While the population of the City of Adelaide has remained relatively flat, around 50% of the City’s residents identify as Culturally and Linguistically Diverse [CALD]. Despite this, the vast majority of events are still aimed at caucasian audiences. We need to reach out to the diverse communities that make up the rich tapestry of South Australia in order to engage them in the local music scene.
Should you wish to discuss these suggestions or require more information, I can be contacted at penman@playpauseplay.com
Regards,
Luke Penman

Kate Larsen

25 Feb 2020

What do I see as the greatest opportunities for economic growth for our sector?
- Long-term, strategic and bipartisan growth plan backed up by substantive, indexed investment – informed by the needs and ambitions of the State’s creative industries.
- A growth plan that recognises the role of First Nations’ culture and creativity, which is developed and led in collaboration with First Nations Elders, creatives and communities (both through the significant work undertaken in 2012 as part of the Arts South Australia Aboriginal Arts Strategic Plan and through ongoing, meaningful, community-led engagement).
- A growth plan that acknowledges that First Nations arts practice and culture are fundamental to the future for the creative industries in South Australia, and resources them accordingly.
- Continuing (and growing) support for First Nations arts centres in regional and remote communities, where art production can be “the main source of commercial income”.
- Capitalising on federal funding for the new South Australia-based program for emerging First Nations musicians by creating genuine pathways into the Australian music industry.
- Implementing a plan to reinstate (and increase) the State Government’s previous level of investment in the arts, in order to ensure to provide a sustainable base on which sector can thrive and grow.
- More secure, longer-term funding opportunities that allow arts and cultural organisations to transition to more diverse income streams, rather than fail from not having the time to implement those changes effectively.
- Dedicated funding and support to ensure all of South Australia’s creative endeavours are able to be realised (particularly from those who have traditionally been silenced, hidden or marginalised), including the continuation of the Richard Llewellyn Arts and Disability Trust, the introduction of similarly targeted programs for other marginalised communities, and associated awareness raising and logistical activity to encourage and support people to apply by identifying and removing the barriers that prevent them from doing so.
- Streamlining the red-tape associated with grant applications and acquittals to allow artists and organisations to focus on the work and its outcomes.
- Re-investing in grants for individual practitioners to support sustainable careers, including making a long-term commitment to the additional $1million in annual funding promised for independent artists introduced after the last election.
- Re-investing in indexation or growth increases in order to maintain the value and impact of funding.
- Re-investing in international exchange models (such as the Asialink Arts partnership defunded in 2018).
- Investing in work that is innovative, brave and risk-taking.
- Providing opportunities for creative practitioners to participate in affordable and relevant opportunities for professional development, peer-led support and mentorships at every stage of their careers.
- Provision of business skills training opportunities for creative industry professionals (including finance, funding, marketing, market development, etc).
- Recognising the opportunities but also the challenges that digital technologies present in terms of making and delivering work, marketing and communication, community-building, access and evaluation – matching the cost of digital programming on organisations or practitioners with little or no history in the digital space with the skills, financial and resource costs of working in digital technologies.
- Developing pro-active government procurement procedures that prioritise SA-made/based products and practitioners, and that use government-owned/managed spaces to showcase SA arts, craft, culture and creative products.

What are the challenges or obstacles to growth?
- The 2018 State Budget announcements exposed SA’s creative industries to a period of uncertainty, instability, negative readjustment and grief. The longer-term impact of this truncated investment in is likely to include SA organisations reducing their size, programs, engagement and reach, and/or creative practitioners leaving the State (or the sector altogether).
- Lack of visibility and valuing of arts and culture from State and Federal government (including the recent removal of ‘arts’ from the titles of their respective portfolios).
- Division of State arts and cultural organisations across three government departments.
- Lack of investment in the SA Arts Plan and Growth State recommendations.
- Lack of communication about additional $1million funding for independent artists introduced after the last election (which has led to low application rates).

Kate Larsen > Kate Larsen

25 Feb 2020

More/updates at: https://larsenkeys.com.au/2020/02/25/growth-state-a-draft-response/

Michelle Skye

31 Jan 2020

Something to consider could be utilising people from a few of the mentioned industries to educate “youths”about positive social media consulting use.

Understand that you are 100% in control of the image you post on your socials and what is the message you are sending versus the message you are sending.
Also effects on industry, business opportunities and how they may be perceived by colleagues and potential employers.

How to field negativity but be true to yourself and highlight social responsibilities.

I’m 35 and have utilised it for work over the last 10 years in lots of temp positions but my daughter is fourteen and the naivety she has is astounding.

John Szach

28 Jan 2020

There have been numerous discussions and surveys regarding storage of radioactive waste in South Australia. I believe there is a opportunity for the Creative Industries Sector to create a procedure to handle, transport and store the waste. The radioactive waste would include low level, mid level and high level. I was on the recent Nuclear Waste Storage Facility Citizens Jury and believe it is possible to create a facility that would benefit the State both financially and environmentally. I have a plan that I believe the public would embrace. I would be most interested in your feed back.

Brian Musch

13 Jan 2020

Support the Bush Buskateers. A travelling stage show, show casing local Australian Artists and performing an important mental health and environmental stage show. The Bush Buskateers stage show has a message of hope for an international audience. developing since 1995 known and loved nationally. Well worth some investment. Born in S.A. Developed nationally Launched and backed by S.A would be nice.

Kyle Barnes

14 Nov 2019

I would like to see better promotion of South Australian talent in mainstream media. Like visual artists exhibitions, music talent, designers, science and technology, films and theatre productions. We get so much coverage of our sports teams and people which is great but lack in most other areas. A start could be promoting S. A. made films including short fims and shown in major cinemas and /or outdoor cinema events. I would also like to see films that Media students from tertiary, secondary, primary and even hobbyists make to be shown in public. This will give a sense of achievement, goals to aim for and new talent will be found from directors, screen writers, actors etc.

Government Agency

Creative Industries > Kyle Barnes

15 Nov 2019

Hi Kyle,

Thank you for your input, which we will take into consideration when developing our Sector Plan. You're right that we do have a plethora of amazing artists in SA that we should ensure are celebrated.

If you would like to provide any further feedback, you are welcome to complete the online survey (link is in the 'Get Involved' tab) we’d love to hear more from you about how we can support our creative industries to grow.

We have also announced a series of industry round tables (have a look on the 'Industry Roundtables' tab), and it would be great to hear more about your ideas.

Kind regards,

The Creative Industries Team

Ania Karzek

08 Nov 2019

Being the festival state, we should grow an annual festival to support creatives of all kinds to come together to showcase and converge. SXSW (Austin, TX) provides an exceptionally effective model. Given we are a sister city to Austin, we may be in a position to negotiate the possibility of leveraging their already massive brand with a spin-off like SXSA.

Government Agency

Creative Industries > Ania Karzek

15 Nov 2019

Hi Ania,

Thank you for your idea, which we will take into consideration when developing our Sector Plan. You're right that our festivals are a strength that we should look at ways to leverage.

If you would like to provide any further feedback, you are welcome to complete the online survey (link is in the 'Get Involved' tab) we’d love to hear more from you about how we can support our creative industries to grow.

We have also announced a series of industry round tables (have a look on the 'Industry Roundtables' tab), and it would be great to hear more about your ideas.

Kind regards,

The Creative Industries Team

Phill Mueller

01 Nov 2019

Number one priority is to reduce power costs to all industry by 20%. It is one of the biggest overhead costs for any business.
Cut red tape. There's always too many obstacles to start any business.

Government Agency

Creative Industries > Phill Mueller

01 Nov 2019

Hi Phill,

Thank you for your input, which we will take into consideration when developing our Sector Plan.

If you would like to provide any further feedback, you are welcome to complete the online survey (link is in the 'Get Involved' tab) we’d love to hear more from you about how we can support our creative industries to grow.

We have also announced a series of industry round tables (have a look on the 'Industry Roundtables' tab), and it would be great to hear more about your ideas.

Kind regards,

The Creative Industries Team

Peter Sandercock

31 Oct 2019

How about a series of annual literature awards - awarded to either residents of SA or for books on subjects substantially about SA. They could include fields of literature such as children's, teenager, crime/mystery, historical, sci-fi and fantasy.

Government Agency

Creative Industries > Peter Sandercock

01 Nov 2019

Hi Peter,

Really interesting idea, which we will take into consideration when developing our Sector Plan. Thank you so much.

If you would like to provide any further feedback, you are welcome to complete the online survey (link is in the 'Get Involved' tab) we’d love to hear more from you about how we can support our creative industries to grow.

We have also announced a series of industry round tables (have a look on the 'Industry Roundtables' tab), and it would be great to hear more about your ideas.

Kind regards,

The Creative Industries Team

Government Agency

Creative Industries > Peter Sandercock

05 Nov 2019

Hi Peter,

To add to your comment, I thought it may be useful for you to have some information about the awards and grants that are currently available for writers in SA.

Depending on what kind of activity a writer may want to undertake (eg. professional development or project), and their stage of career, the following Independent Makers and Presenters categories could be appropriate:

Project Grants
https://dpc.sa.gov.au/responsibilities/arts-and-culture/grants/independent-makers-and-presenters/project-grants

Individual Development
https://dpc.sa.gov.au/responsibilities/arts-and-culture/grants/independent-makers-and-presenters/individual-development

Emerging Artist Development
https://dpc.sa.gov.au/responsibilities/arts-and-culture/grants/independent-makers-and-presenters/emerging-artist-development

Fellowship
https://dpc.sa.gov.au/responsibilities/arts-and-culture/grants/independent-makers-and-presenters/fellowships

AFAL is now managed by the State Library. Nominations and entries for 2020 closed earlier this year. See https://www.slsa.sa.gov.au/adelaide-festival-awards-for-literature.

Hope this helps.

Kind regards,

The Creative Industries Team

David Apps

31 Oct 2019

I have been really excited by a program called Blender recently. It is an opensource project to create a piece of 3d design software and is available to anyone for free. I have been using it to promote techno shows and make videoclips but visited the library the other day to check out their 3d printing facilities. It is one of the most liberating and open forms of artistic expression I have encountered over many years of dabbling in every creative field. On top of that it is completely free with a large community of people recording tutorials on how to use the software on youtube. In this digital era I think it would be good to give the upcoming generation a good foundation in this program as it can result in animations, music video clips or 3d printing. This could help our movie scene but also help to market music, advertise small business and create products. I would like to see government investment into teaching 3d design to the youth but also more advanced 3d printing in Adelaide. I would like to be able to go to a place that 3d prints metal and talk to the people there and come up with a product that can be sold online like an Australian version of Shapeways. More and more this is going to influence how things are manufactured and it is an industry Adelaide can compete in. It would also be fun to have more places that can be booked out like the library's 3d printing services. There might not be a market for it yet but after time a motion capture room that can be booked out for free might be useful so people can record and take home movements they can then map to a 3d model. I also think that great videoclips are one of the best ways to market our local music scene. I would like to see a cost benefit analysis of how the music scene is being supported. I personally think that lots of bands given a smaller amount of money who then go through a few day program like NIES only for music marketing and videoclip creation might have better results than more money spent on a smaller number of musicians.

Government Agency

Creative Industries > David Apps

01 Nov 2019

Hi David,

Really interesting ideas, which we will take into consideration when developing our Sector Plan. Thank you so much.

If you would like to provide any further feedback, you are welcome to complete the online survey (link is in the 'Get Involved' tab) we’d love to hear more from you about how we can support our creative industries to grow.

We have also announced a series of industry round tables (have a look on the 'Industry Roundtables' tab), and it would be great to hear more about your ideas.

Kind regards,

The Creative Industries Team

Daisy Clover

31 Oct 2019

If you read the reviews of SA written book Scapegoat by Ava Keyes. Note how the Senior Professionals of local and international organisations acknowledge it as an innovative, inventive, creative contribution to help prevent long-term mental health problems. This highlights the concept is a world first, possible potential for mass consumption. South Australian Creative Industries perhaps Screen, TV, Film, Game Development benefit to collaborate or further develop this leading niche solution as creating it will fill an emerging gap in an area of international demand and need. The marketability is it is a solution hidden in plain sight and if created in an entertaining and palatable format will do well internationally and grow South Australia’s creative industry. I suggest SA creatives turn the children’s picture book Scapegoat into the useful, educational, mental health resource, “need of the hour” new product.

Government Agency

Creative Industries > Daisy Clover

01 Nov 2019

Hi Daisy,

Thank you for your input, which we will take into consideration when developing our Sector Plan.

If you would like to provide any further feedback, you are welcome to complete the online survey (link is in the 'Get Involved' tab) we’d love to hear more from you about how we can support our creative industries to grow.

We have also announced a series of industry round tables (have a look on the 'Industry Roundtables' tab), and it would be great to hear more about your ideas.

Kind regards,

The Creative Industries Team

Craig Walter

23 Oct 2019

For startups and various ventures a Entrepreneurial Bank is required. Instead of sending our innovations to overseas interests we keep them here. This is just like the Swedish entrepreneurial bank AKA the Royal Family that backs its innovations. Another area with long term implications is to develop (has been done actually) a translation system that connects to a Minority Language Library system that not only supports indigenous languages but also opens the gateways to other countries and cultures as part of a cooperative world not a dog eat dog world.

Government Agency

Creative Industries > Craig Walter

25 Oct 2019

Hi Craig,

Really interesting ideas, which we will take into consideration when developing our Sector Plan. Thank you so much.

If you would like to provide any further feedback, you are welcome to complete the online survey (link is in the 'Get Involved' tab) we’d love to hear more from you about how we can support our creative industries to grow.

We will also shortly be promoting a series of industry round tables, and it would be great to hear more about your ideas.

Kind regards,

The Creative Industries Team

Valeria Alonso

07 Oct 2019

I'm so thrilled for the fantastic work to help grow the creative industries sector in South Australia!

One of the "opportunities" I would like to point out on this paper , is the introductions of languages in the arts. Investing on "languages productions": eg languages theater productions, language plays, film & television, music- investing on languages choirs for the community and in education. In South Australia, "languages" are part of ACARA (Australian Curriculum) which mean 1 in every child is learning a language through education. But, what are we doing with those languages to motivate children and encourage job opportunities by having a language?

this is why we need to introducing "languages" in the arts, because it can bring can bring an economic growth for job opportunities, tourism & international collaborations.

If we want to promote diversity in Australia or overseas opportunities - we need to start looking in implementing "languages" in our creative industries!

Government Agency

Creative Industries > Valeria Alonso

08 Oct 2019

Hi Valeria,

Thank you for your insightful comment, which we will take into consideration when developing our Sector Plan.

If you would like to provide any further feedback, you are welcome to complete the online survey (link is in the 'Get Involved' tab) we’d love to hear more from you about how we can support our creative industries to grow.