STRATEGIC PLAN 2020 2023 - PENRITH PERFORMING & VISUAL ARTS The Joan
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STRATEGIC PLAN 2020 – 2023 PENRITH PERFORMING & VISUAL ARTS The Joan | Penrith Regional Gallery, Home of The Lewers Bequest | Penrith Conservatorium | Q Theatre
Penrith Performing & Visual Arts acknowledges the unique status of Aboriginal and Torres Strait Islander people as the original custodians of lands and waters, including the land and waters of Western Sydney. This Strategic Plan Outline was originally based on the National business plan framework for arts organisations, Sydney, Australia Council for the Arts, 2010. It has since been adapted for client use by Merryn Carter. Copyright under Creative Commons: http:// creativecommons.org/licenses/by-nc-sa/2.5/au/
CONTENTS
Vision and Purpose 4
Executive Summary 5
Context 6
Goals and KPIs 13
Strategies 14
Artistic Plan (summary) 15
Creation, Capacity Building
and Sharing 18
Marketing Plan (summary) 23
Additional Plans 29
Further Detail 30
Image (left): Daisy Moon Was Born This Way,
Q Theatre Production, Photography by Katy Green
Loughrey
Image (right): St Marys Kid, Q Theatre, Photography
by Christina Mishell
STRATEGIC PLAN 2020 – 2023 2
STRATEGIC PLAN 2020 – 2023 3
PENRITH PERFORMING & VISUAL ARTS
The Joan | Penrith Regional Gallery, Home of The Lewers Bequest | Penrith Conservatorium | Q Theatre
VISION MISSION
Penrith Performing & Visual Arts will To nurture, make and share great art for all.
be a dynamic force in the creative • We champion creativity and value artistic risk taking and we honour the role of the artist
evolution of the Penrith region. in society to reflect, celebrate and reveal truths.
• We celebrate the centrality of life-long learning to our programs and its importance to
our community.
• We respect diverse peoples, practices and cultures and acknowledge that we operate
on unceded First Nations land.
• We exercise an agile and responsive professionalism, valuing the assets which we hold
in trust from the community and their role in shaping our shared identity and our future.
Image (left): Pip and Pop’s Magic Moment in tactile
exhibition at Penrith Regional Gallery, Home of The
Lewers Bequest. Courtesy of the artist. Photography
by silversalt
Image (right): The Big Blue, Q Theatre's 2020 Originate
Project, Photography by Christina Mishell
STRATEGIC PLAN 2020 – 2023 4
EXECUTIVE SUMMARY
This plan shapes our actions as a mature express that which is beyond words as In this plan we will both celebrate our
multi-arts organisation operating across well as inspire us to a more engaged assets and engage our community more
two sites in a fast- developing city and a and optimistic humanity. deeply with the programs we present
troubled 21st century world grappling with within them, and operate beyond their
The focal point of our lens is the artist,
climate change and a polarised political confines, in community, on tour and in
particularly the professional, but never to
climate outpaced by technological the digital world.
the exclusion of the creativity inherent in
change.
us all and the importance of participatory Our aim is to ensure that Penrith is
It sets out those actions we will take practices. Our delivery is through three established locally, regionally and
to shape the future utilising our assets: overlapping streams: capacity building, nationally as a vibrant city known for
human, physical and, most critically, creation and sharing. its creativity and that PP&VA sits at the
creative. heart of that identity.
Our programs are shaped by our places
We have adopted an artistic lens to aid – the region we operate in as well as the
us, Memory + Hope. Through this lens people. They are shaped by the purpose-
we acknowledge the legacies that bind built specialist or adapted heritage
us, our responsibilities to the Collections properties that we manage. And they are “And particularly out here it’s
and places we manage in trust for current shaped by the audiences for and with important. For many years I
and future communities, the importance whom we create. But our imaginations
of training and skill-sharing in shaping operate beyond the limitations of our lived in the city and we had
current and future stories, the role of the spaces, they are our springboard rather many theatres that were only
arts to reflect deep human concerns and than the limit of our operations.
20 minutes away so I find it
really good to have the same
sort of theatre here.”
Image (right): Photography by Alana Dimou Focus group attendee
STRATEGIC PLAN 2020 – 2023 5
CONTEXT
HISTORY however, such as climate (particularly
in Penrith, annually reported as the
PP&VA was established in 2006, bringing hottest city on Earth during its summer
together three separate entities (Penrith temperature record-breaking highs) as
Regional Gallery, Railway Street Theatre well as changing social mores and rapidly
(Q Theatre Company lineage) and the Joan developing technology, will be critical to
Sutherland PAC including Penrith Con) and the success and relevance of our programs
their histories under one management and into the future. Changes in our region (in
governance structure. demographics and development) and in
Together PP&VA is the holder of a our communities (in diversity, education,
compelling cultural legacy that extends aspiration and economic standing) require
beyond our component parts and the similar responses.
inspiration of their predecessors. These With this plan we will be more than the
important legacies live on through the sum of our parts. We will be the creative
Collection, the sites, past programs and lens for Memory + Hope through which
productions as well as their ongoing new Australian stories are developed
impacts. Increasing access to and and told through music, the visual arts
participation in the arts for locals and and theatre. We will be the proud
greater Western Sydney drove our presenting partner for the best in
establishment and continues to drive professional touring works, the host of
us – in ensuring that we act as a catalyst community companies and the incubator
to creativity, a home for shared cultural for artists to tell future stories. This plan
experiences across art forms, as a skills places our audiences at the heart of
builder and facilitator as well as a host and everything we do, acknowledging our
partner. Responses to global changes, shared creative journey.
STRATEGIC PLAN 2020 – 2023 6
Internal Situation opportunity also reduces in-house about our programming.) Cross-platform
availabilities; a balance is required so as not programming aligned with matching
Over the past three years we have
to compromise our artistic responsibilities timelines could enhance cross marketing
increased staff resourcing, building our
and programming plan. Research between The Joan and the Gallery. Many of
service capacity and resulting in increased demonstrates we have deep relationships these opportunities have been addressed
audience development, improved with our audiences; they love us and are in this Plan, initially by adopting consistent
professional capability, better service to ambassadorial, these are all strengths. language across all program areas.
hirers, and a healthier work environment
(avoiding excessive overtime and TOiL). Areas we have identified for improvement
include increasing agility; improving our
Penrith Regional Gallery is focussing ability to change perspectives; improving
on increasing Collection-based shows, priority-setting and strengthening
implementing longer planning timelines relationships between staff based at
and slower exhibition cycles, with a The Joan and the Gallery. We need to
growing focus on community participation manage audience expectations better,
opportunities particularly through an and to integrate Cafe at Lewers more into
increased number of events and activities Gallery activities. A major weakness for
(variously related to site, Collection and the Gallery is the lack of digitisation of
“Brilliant program! Thank
exhibition program as well as art form). the Collection: this is a priority for action. you for the opportunity to
Audience research shows a recent The Acquisitions Policy needs review
increase in first time visitors to the Gallery, and we need a de-accession policy. We
participate; Fantastic four
and holiday workshops offered are often need to develop a strategy to address the weeks. Sorry to see it end.
full. We need to offer more classes to outstanding copyright issue on the Bequest.
meet demand. Best thing, hearing the boys
We could tell our stories better, to
External hires of The Joan have increased, enhance the brand. (We note from the
rave about it!”
which whilst increasing audience audience research that the brand is all Home schoolers program participant
STRATEGIC PLAN 2020 – 2023 7
External Situation region’s ‘dormitory suburbs’ role decrease,
becoming a more integrated, whole-of-life
Recent and ongoing demographic shifts in
location.
our region include more younger families
and more active, engaged older people The new Sydney Coliseum in Rooty Hill,
living in PP&VA’s catchment areas, resulting while not a direct competitor in terms of
in increased demand for both day-time its programming, will attract audience
and night-time entertainment activities. members from our market, resulting in
Economically the situation is challenging, less disposable ‘entertainment’ cash to
however: salaries and wages are stagnant; spend with us. On our doorstep, Penrith
mortgages are increasing; retail sales are Panthers are continuing to expand their
flat or decreasing. Business sponsorship offer and role in the leisure market.
opportunities have decreased. Local Developing audience loyalty will be
Council funding for PP&VA has increased, important for retention. Federal arts
however, as it has for the arts nationally.1 funding has decreased in recent years,
There is noticeable growth in local with no increase in sight. State funding is
employment in the health, education static. Artists are impacted: there are fewer
and government sectors, and Sydney’s artist led initiatives and less independent
second airport is planned to be operating capacity. Artists need our support now
in the region by 2026. This growing but more than ever; our responsibility and
not yet fully present trend will see the significance to them has increased.
Image: Audience at Q Theatre’s The Ugliest Duckling Pink Carpet Opening held at The Joan.
Photography by Teniola Komolafe
1. As a proportion of total arts funding nationally, the federal government now contributes 39.0 per cent, down from
45.7 per cent, state and territory governments contribute 34.8 per cent, up from 31.9 per cent, and local governments
contribute 26.2 per cent, up from 22.4 per cent. Source: The Big Picture: Public Expenditure on Artistic, Cultural and
Creative Activity in Australia, Insight Report One, A New Approach 2019
STRATEGIC PLAN 2020 – 2023 8
MARKETS Engagement can come in the form Our audiences range across all ages and
of a child’s first musical experience, backgrounds, with many different drivers
Offering a diverse blend of performing performing on our main stages in dance for attendance.
and visual arts, learning opportunities school concerts and festivals; adult
and spaces in which to experience the dance or drawing classes, private tuition COMPETITORS
arts for enjoyment, edification and leisure, for fun or at the highest level in a chosen While we have clearly defined and well-
PP&VA occupies a unique place in the instrument, and masterclasses in the known local competitors, our biggest
community: with programs for everyone visual arts for artists and art enthusiasts. competitor in these busy times is anything
from the very young to the elderly; Our stages offer performances of theatre, that places a demand on our audiences’
music and cross-artform work from leisure time. Perhaps more so than
from those curious about creativity, to
community performers to acclaimed financial pressures, as it’s widely accepted
established artists of the highest calibre.
global artists and companies; and our that our audiences will spend money on
We are an organisation borne of the Galleries feature self-curated shows other entertainment such as sport, arena
human experience – a tapestry of stories reflecting our stories alongside some of concerts, international musicals and
and experiences, crafted by artists, Australia’s most eminent artists in touring travel, with overseas trips and cruises now
brought to life in our spaces and shared exhibitions, as well as those created cheaper than ever.
through partnerships.
with audiences.
Crucially, competition comes from social
We offer places for creative exchange and
media, television, movies and streaming
enjoyment of the arts. Spaces for creative
services, as well as activities people
leisure. Support for creative development.
undertake to facilitate wellbeing and
“We have left you a drawing Pathways for artists; journeys for
balance in their lives: exercise, sleep,
audiences; and a place to socialise and
in the studio space, it’s such connect with other people and ideas.
grocery shopping, meal planning,
meditation, spending time with and caring
a feel good experience.” Our market crosses leisure, entertainment, for families – there is a lot of work involved
Visitor feedback learning, education, culture and creativity. in being a balanced human these days.
STRATEGIC PLAN 2020 – 2023 9The arts can be part of that, provided
we offer a compelling (and easy) enough
reason to make time for our activities.
The value, novelty and virtue of enforced
screen-free time is supplemented by
shareability: stories to take to friends
and families, and content for social
media feeds.
Our offer isn’t a one-size-fits-all, however,
it’s unique in that it happens in real time
and connects people in that time and
place – something social media struggles
to achieve, despite trying hard. This
connection is special to the arts. There’s
an element of risk and vulnerability in
performance – something we rarely see
on our screens. There’s expression, beauty
and storytelling across all artforms. The
natural beauty of the Gallery gardens – a
living work of art. The Lewers family history
that brought about the Gallery. These are
all unique value propositions that enable us
to stand out amongst a competitive field.
Image: Art workshop for kids held at Penrith Regional
Gallery, Home of The Lewers Bequest. Photography
by Rabbit Hole
STRATEGIC PLAN 2020 – 2023 10STRATEGIC PLAN 2020 – 2023 11
In addition, we can see our offer being a Community Hub in Springwood) provide
“Nothing I like more than the
part of an individual’s personal brand – more. (18% of survey respondents attend
the ‘who I am’. An opportunity presents events in the Blue Mountains 3 or 4 times next morning you get up and
in this world of wellness and personal a year or more; only 5% attend events you are still thinking about the
development for the arts and creativity in Parramatta that often.) As mentioned
to take its place; in our case, in a local above, it is likely that Sydney Coliseum story. I (don’t) need a particular
context, and to help quieten the noisy in Rooty Hill will attract some of our positive or negative emotion
outside world; offering a place to reflect, audiences’ entertainment spending.
a space to relax and revive, stories to Results from the focus group stage of but I guess admiration for the
help make sense of this world and feel the recent audience research show that production. I always want to
connected to our fellow human beings. people see our programming diversity as
The work won’t always be for everyone very attractive (‘something for everyone’).
feel that, and go, ‘wow that
– but everyone will feel welcome, and Awareness and attendance at the more was so well done’ and then if
part of something worthwhile. This is an recent comedy programming is building
intangible offer, special to the arts, and our it is a sad thing to go, ‘I really
new audiences and adding to this brand
blend is unique to PP&VA. strength (focus group participants said properly felt sad, that was
‘I couldn’t believe you had Ross Noble at
Recent audience research has shown great’ or ‘OMG that made me
that opportunities in Parramatta The Joan!’), increasing our resilience in
(including Riverside Theatre) provide less the face of competition. We need so angry that was well done’…
competition than previously thought, to continue to build awareness and And it lingers.”
while opportunities in the Blue Mountains enhance the brand amongst key
Focus group attendee
(including Blue Mountains Theatre and potential audience segments.
Image: La Stupenda held at The Joan. Photography
by Rowan Bate
STRATEGIC PLAN 2020 – 2023 12GOALS AND KPIs
GOALS KPIs
1. Will be a leading advocate # MPs + Councillors attending
for arts and creativity in the region # meetings with MPs
# strategic partnerships/relationships
# % likely audience recommendation
# digital reach
2. Will be a catalyst for creation # commissions p.a.
– making, learning and capacity building # artists engaged
# artistic spend
# new works
# participants in workshops, classes etc
3. Will deliver great audience experiences # audience members
that enrich and extend the human condition # audience frequency
# % audience recommendation
# return
4. Will be open and welcoming creative environments annual survey – % degree to which people felt welcome and comfortable
5. Will be sustainable and responsible # funding/earned and contributed ratios
# % retained earnings
# staff retention rate
# AICD Board compliance
Notes to Goals and definitions Image: The Ugliest Duckling, Q Theatre
By region – we refer primarily to Penrith LGA but also more broadly to our catchment area and Greater Western Sydney. Production, Photography by Teniola Komolafe
STRATEGIC PLAN 2020 – 2023 13STRATEGIES
1. D
evelop and proactively manage relationships with strategically important organisations and individuals.
2. Commission and facilitate development of new work.
3. Review, audit and reposition Learning/Education Programs to focus on this plan’s new goals.
4. Program cooperatively, proactively, and over the longer term.
5. Ensure adequate and appropriate space.
6. Finalise and formalise our Accessibility, Sustainability and Reconciliation Action Plans.
STRATEGIC PLAN 2020 – 2023 14ARTISTIC PLAN (SUMMARY)
Whilst our adopted lens is Memory + Capacity-building includes a breadth Sharing this aspect of our work focusses
Hope, our intertwined and overlapping of activity across formal learning and on public outcomes and audience
areas of activity are capacity-building, informal and artist-led explorations opportunities. Whilst it clearly includes our
creation and sharing. and engagements (participation and exhibition and season programs (including
learning) as well as initiatives focussed Q Theatre productions), it extends also
Through Memory we acknowledge the on developing practitioners, both early to the online discourse and content that
importance of what has gone before in and mid-career (sector development). we generate around capacity building
shaping the present and the future – and and creation, to formal publications and
the creative potential held within our core Creation encompasses our research, to those events and activities we offer
programs, their combined histories, our curatorial explorations, creative that enable audiences’ opportunities
sites and the Collections we manage. development investments, artistic to go deeper, including participatory
commissions, new work production experiences that also build cultural
In Hope we have a lens for interpreting (which may result from any combination confidence and capacity. Our ongoing
these assets and interpreting the present of the above) and exhibition development focus is on audience development –
as well as imaging the future in service as well as projects that are a combination remaining responsive to local needs and
of a better world. The complexity of of these component parts and build realities as well as striving to embrace
human experience and creative capacity through community participation underrepresented sectors.
endeavour straddles this ongoing or artist development. We accept that
duality of perspective. we create in order to share the outcomes
publicly, but that in some instances
our early research and development
processes may reveal the investment is
not well suited to our sharing framework
but remains no less valid.
STRATEGIC PLAN 2020 – 2023 15share build
capacity
create
present workshops
exhibit lessons
facilitate others ensembles
show mentorships
publish talks
discuss maker spaces
curate
produce
creative development
commission
research
STRATEGIC PLAN 2020 – 2023 16STRATEGIC PLAN 2020 – 2023 17
CREATION, CAPACITY BUILDING AND SHARING
A GUIDE TO HOW WE DO WHAT WE DO
CREATION Step Two: Focuses on relevance and “While I was over the moon
resonance. It asks residents how this
Deep Dive Residency work might connect to community and to see a story that is
These residencies are curated by PP&VA audience. Example: Playwright Tasnim particular to my home and
Directors and at times in collaboration with Hossain wrote the first draft of a new play
a committee of community leaders. The after spending time with a community its differentness, this is a show
residency may include work on site or be program run by Penrith City Council in the that is not exclusive… Overall
by association. Residencies are hosted community of Kingswood. Tasnim will now
over a period of six to twenty-four months workshop the script with a team of creatives it was warm in its spirit, in its
and are administered across three stages. and share the work with a small invited story and in experience and
The objective of Deep Dive Residencies audience of community.
is to create high quality new work which
I left the theatre feeling like
Step Three: Focuses on rendering and
can be produced by Penrith Performing execution. It acknowledges that the the lights in Penrith twinkled
& Visual Arts. Outcomes may look like developing work is suitable for a public
a rehearsal-ready draft of a new play,
a little brighter that night.”
presentation. Example: Following a first
composition of a new classical score or draft commission in 2017 and a small Brianna McCarthy reviews Yellow Yellow
series of works for exhibition. Sometimes Blue a Q Theatre commission
presentation in Penrith Regional Gallery,
by Noëlle Janaczewska for Playwave
Step One: Focuses on research and Noëlle Janaczewska was commissioned
inquiry. It’s a first draft, early visions over 2018 to write a second and rehearsal
and discussion phase. Example: Writer ready draft of her new play ‘Yellow Yellow
Nicholas Christo and Composer Paul Smith Sometimes Blue’ inspired by research
are currently working alongside a group conducted into the legacy and Collection
of community choirs and a young artist of Penrith Regional Gallery.
ensemble to develop the concept for a new
Image: Yellow Yellow Sometimes Blue, Q Theatre
musical about the community of St Marys. Production. Photography by Teniola Komolafe
STRATEGIC PLAN 2020 – 2023 18Drop In Residency Major Work Tour
These residencies are short term These projects are curated by PP&VA While touring is not a primary objective
opportunities curated through a mix of Directors and are delivered by a team of of all projects produced by PP&VA, our
open call outs and targeted invitations. leading professional artists. Major Works considered creative development process
The purpose of these residencies is to are most commonly grown from our has demonstrated the capacity to create
ensure artists not currently on the radar Residency and Workshop activities and new work which resonates with the
have opportunities to connect with our involve public sharing as a key feature. programming of other artist and cultural
program. They are low investment, high Outcomes may look like a new exhibition, organisations. Touring is an area we are
risk windows that help artists move theatre production or contemporary interested in developing further and are
through our programming. On occasion music concert. making inroads across 2020 – 2023.
a Drop In Residency may turn out to be
Example: Following a series of development Example: Q Theatre’s production of
Stage one of a Deep Dive.
outcomes such as Q Theatre and Bathurst The Ugliest Duckling following initial
Example: Monika Pieprzyk and Bernadette Memorial Entertainment Centre’s Routes presentation at The Joan and transfer
Fam were supported to explore the creation regional playwriting program and a short to Casula Powerhouse will tour in 2021.
of a new cross-cultural autobiographical presentation at KXT, in 2020 Q Theatre will Confirmed partners include Parramatta
work, Here/There, which will go on to co-produce Miranda Gott’s play ‘Kangaroo’ Riverside and the Central Coast.
be presented as part of Griffin Theatre alongside BMEC and Lingua Franca. In 2016
Companies Batch Festival, 2020. Hayley Megan French’s Summer Studio “She never expected a life like
residency formed the basis of her later
exhibition in Lewers House, The Red House. this. So far away from everything
she knows. And yet, that’s where
her loved ones are.”
Dialogue extract from The Village, a
Q Theatre commission by Tasnim Hossain
STRATEGIC PLAN 2020 – 2023 19CAPACITY BUILDING “I use it (the Gallery) in many
Drop In Workshop different ways… to try and
These workshops are one off get the kids used to going to
opportunities, facilitated by professional
galleries – which is a nightmare
artists. Example: Taikoz drumming school
holiday workshop hosted by Penrith because they are 6 and 4 – it
Conservatorium, 2019. gives us an opportunity to go
Deep Dive Workshop in see things, talk about them,
These are ongoing workshop and then they can play in the
opportunities. Participants enroll in a
series or term of classes facilitated by a garden and have something
professional artist. Example: Wednesday to eat as well. I come here by
drawing classes run for young people aged
5 – 8 at Penrith Regional Gallery, 2020.
myself to do work in the garden,
Workshop Project
or to take a break and have
These are public outcomes or sharing
coffee. For me it serves a lot
events that have grown out of Workshop of different purposes…”
activities. While they include creation Focus group participant
as an outcome, capacity building is the
primary objective. Example: Q Theatre’s Image: Pip and Pop’s Magic Moment in tactile
exhibition at Penrith Regional Gallery, Home of The
young artist (18 – 26) ensemble creating and Lewers Bequest. Courtesy of the artist. Photography
presenting a new work for public audiences. by silversalt
STRATEGIC PLAN 2020 – 2023 20SHARING
Core Events
Our Presentation and Exhibition programs
respond to site as well as demographic
and audience demands. We present
through partnerships, deals and risk
shares as well as investing in an artistic
program carefully curated to ensure
quality presentations that appeal
across demographic segments (e.g.
kids and families, drama, classical and
contemporary music, installation based
exhibitions, object and artist based
exhibitions).
Above all these programs ensure access
to cultural experiences for our regional
audiences and acknowledge that without
our direct action and investment such
opportunities would not be available,
and further, that there is a lack of
commerciality due to relative cost versus
audience size and payment capacity.
STRATEGIC PLAN 2020 – 2023 21Our Curated Program Curated/Co-Curated exhibitions – Going Deeper Program
includes specific seasons thematic curatorial explorations through
This series of events sits alongside our
object, commission and loan.
Subscription Season – of around 12 sharing program and may take the form
events across music and drama including This program runs alongside our hosted of: Q&As, panels, talks, workshops,
matinees, with between one and three program of community and commercial pop up events, screenings, commissions
performances in Penrith. performances at The Joan. The Gallery /loans, installations, drop in maker spaces,
does not currently have capacity to competitions, interviews, meet and greets
Morning Melodies Season – a low priced, program outside of its curated program. etc.
high quality monthly concert including a
morning tea featuring quality variety acts Each provides an opportunity to engage
with nostalgic flavour. with our sharing program but this
engagement may be either explicit or
Kids and Families Season – up to eight
merely incidental. Many are stand-alone
events in school holidays or term times
events that do not require a ticket, or
with early evening shows designed to be
are activation events on site that can be
enjoyed by young people and their carers.
visited or happened upon. This program
Collection exhibitions – regular “I have nothing to do with commenced in 2019, deepens in 2020
exhibitions in Ancher House and also in and is growing in response to audience
the other gallery spaces which explore
the art world whatsoever demand. Where applicable these are
aspects of our Collection. – I work on the railway – listed elsewhere as Drop In Workshops.
Touring exhibitions – exhibitions from but I love bringing my
other regional galleries, major institutions
and through visual arts touring agencies
granddaughters along to
which hold particular potential and art galleries, museums etc.” Image: Year 8 Lantern Installation for Night
Garden held at Penrith Regional Gallery, Home
interest for our audiences.
Focus group attendee of The Lewers Bequest
STRATEGIC PLAN 2020 – 2023 22MARKETING PLAN (SUMMARY)
PREAMBLE PP&VA BRAND – RECOGNISING CONTEXT
Art is the expression of the human
THE CREATIVE IN PENRITH PP&VA goals for 2020 – 2023 are
condition; and the human condition is The PP&VA Brand recognises the arts, underscored by our need to focus on the
central to everything we do at PP&VA. but also acknowledges that at the root human experience. Our world is changing
of personal connection to the arts is rapidly, and with much uncertainty around
All marketing plans need to be human
creativity. us, people are looking for ways in which to
focused. Our 2020-2023 Strategic Plan
contribute to their own wellbeing and that
has been informed by audience research For PP&VA, this means acknowledging
of their communities.
undertaken in 2019, and while we have that creative connection throughout our
a core artistic focus, we operate with an community. As an entity established The recent bushfire crisis across Australia
audience lens. to offer a cultural centre for the is a case in point. Artists are leading
entertainment, enjoyment and education the way when it comes to recovery and
When we talk about art, we mean art in all
of our local community, it is our connection with community. Examples
its forms – creativity in individuals, creative
responsibility to remain relevant and include comedian Celeste Barber’s
learning, arts education, the performing
responsive to our audience. An ongoing massive crowd funding mobilisation,
arts, visual arts, literary arts, media, music
program of audience research, and the raising over $50million, the nine-hour
and everything in between. We mean that
agility to respond to findings and to long Bushfire Relief concert held on 16
art is for everyone and that we produce
program with audience in mind will inform February 2020, featuring high profile
and present the arts at a professional
this connection. headline artists alongside emerging and
level as well as recognising an element
independents; auctions such as Authors
of creativity in everybody.
for Fireys; and many artists giving personal
donations, from P!nk to Bette Midler,
Nicole Kidman and many more. It is the
artists who will not only tell our stories but
Image: Audience viewing Raquel Ormella's Wealth for toil #1 2014. nylon, acrylic and glitter on hessian 325 x 260 cm
QUT Art Collection at Penrith Regional Gallery, Home of The Lewers Bequest at I hope you get this: Raquel Ormella will support community in recovery during
exhibition. Purchased 2017 © the artist. Photography by silversalt times of crisis.
STRATEGIC PLAN 2020 – 2023 23It is a time where stories are more
important than ever. Balancing time
for taking care of the physical and
emotional self needs to be carved out
against obligations. Despair needs to
be countered by hope. Powerlessness
and fear – whether driven by politics or
circumstance – can be brought back to
balance (even if briefly) through the arts.
In 2019 the ABC’s Australia Talks2 study
revealed climate change as the leading
worry; 72 per cent of respondents said it
would affect their lives. Older Australians
tend to be more optimistic about
Australia’s future (64% of Australians
aged 75 and over), whereas only 40%
of the younger cohort (18-24) share this
confidence. Our ongoing Arts + Science
programming directly explores and
responds to these concerns.
2 https://australiatalks.abc.net.au/
STRATEGIC PLAN 2020 – 2023 24AUDIENCE PERCEPTIONS The experiences our audiences have with GENERAL MARKETING
us have profound impacts (around one ACTIVITY
From the Audience Research conducted third say their attendance experience
in 2019 we are aware that we have a makes them feel more connected, This Marketing plan section outlines
very loyal and committed audience. and more positive about the future), Goals, Strategies and Actions that
We wish to safeguard and maintain this, with just under half agreeing they love respond to the PP&VA Strategic Plan.
and build upon it carefully by offering highly charged emotional experiences, Under this plan sits a detailed set of
the best experiences we can, based on and don’t mind if it’s confronting. Just tactical marketing approaches tailored
the information we’ve gathered through under half also agree that events they’ve for seasons, shows, exhibitions and
this process. We can be confident in our attended made them feel really proud activities. These include a marketing mix
approach in many areas – and aware of of the Penrith region – illustrating that encompassing digital and social channels,
areas for improvement. Our audience Penrith Performing & Visual Arts’ program print and digital collateral; advertising
has expressed a willingness and desire really does contribute to civic pride. (print, digital, social, Google AdWords),
to learn more about the work presented, This is something we value highly and PR and editorial, networks, physical
and has identified a need to reflect – will cherish and preserve, checking in on display and signage, word of mouth and
particularly after seeing performances sentiment on an annual basis to check other avenues depending on suitability
at The Joan. To address these needs how we are tracking. for the product, and available budget.
our organisation needs to work together This activity is tracked on a weekly basis
on welcoming strategies, programming through a Work-in-Progress document
enhancements and communication. and additional strategy outlines where
required. It covers all PP&VA activity:
Joan programming, New Work, learning
(Studio Q, Penrith Con, Joan and Gallery
learning programs), venue hires, public
Image: Audience engagement with artist Victoria Garcia's work UNITY (2017). Pigment ink printed on cotton linen
programs, and PP&VA brand activity.
Textile panels, (130cm x 250cm), at Penrith Regional Gallery, Home of The Lewers Bequest at The Ideal Home
exhibition, Photography by silversalt
STRATEGIC PLAN 2020 – 2023 25STRATEGIC PLAN 2020 – 2023 26
STRATEGIC PLAN 2020 – 2023 27
MARKETING GOALS Being a catalyst for creation while not
the core work of the Marketing
As the Marketing function sits across the Department, is nevertheless informed
whole organisation, this plan responds to by our understanding of our audiences;
all five of the Goals articulated in the 2020 their stories and our desire to always
– 2023 Strategic Plan (Advocacy, Creation, be relevant.
Audience, Welcome, Responsibility);
with a key focus on – and specific Goals Being sustainable and responsible
and Strategies against: also underpins our activity.
ADVOCATING FOR ARTS AND Our primary aim against these goals is to
go deeper in terms of engagement and
CREATIVITY IN THE REGION
enrichment of the audience experience.
DELIVERING GREAT AUDIENCE At the same time, we need to maintain and
EXPERIENCES wherever possible increase our audience,
and build relationships that help grow
and appreciation of the arts at all levels. This
OFFERING OPEN AND WELCOMING has a multiplier effect: appreciation of the
CREATIVE ENVIRONMENTS arts at a community level boosts the health
of the arts ecology, resulting in greater
audience engagement and grassroots
advocacy, which in turn can help drive a
political (often local to begin with) agenda
for greater support of the arts.
Image (left): Studio Q Access Ensemble 2019, Studio
Q Showcase 2019, Photography by Teniola Komolafe
Image (right): Black Birds, Q Theatre Production,
Photography by Joshua Bentley
STRATEGIC PLAN 2020 – 2023 28ADDITIONAL PLANS
Fundamental to the delivery of this PP&VA operates inclusive programs and experienced elsewhere in Sydney. This
Strategic Plan sits a suite of plans which accessible spaces where everyone can plan outlines the actions we are taking,
supports and informs our creative and participate and plan to take, to reduce negative
audience-focused activity: environmental impacts and work toward
Reconciliation Action Plan. This
a more sustainable future.
Financial Plan, which articulates and includes our Statement of Recognition
identifies our financial position, including and acknowledgement that we work on A Risk Management Plan is based on a
income projections across grants and contested land. We acknowledge the framework that seeks to rate, minimise
funding, contributed and earned income; many millennia of cultural activity in this and increase preparedness for the
and expense projections including region that pre-dates our facilities and are identified risks. We then tie policy and
operating expenses, marketing, salaries, committed to telling deeper and more process to the framework for ongoing
cost of goods, creative development and visible stories of pre-colonial cultures, and review and continuous improvement.
programming. increasing engagement with First Nations
More detailed Project Plans and
organisations and community groups to
Management Plan, outlining our a Marketing Plan have also been
guide our activities.
organisational structure, the role of Board developed to support the delivery
and governance, and succession plan. Sustainability Action Plan, of this Strategic Plan.
acknowledging our position at the
Accessibility Action Plan, detailing
foot of the Greater Blue Mountains
our active engagement in addressing
UNESCO World Heritage area, and the
accessibility through programs, facilities
western edge of the Sydney basin with
and services. We are committed to
a topography that leads to consistently
supporting people with disability to
higher temperatures than those
live full and active lives, ensuring that
STRATEGIC PLAN 2020 – 2023 29FURTHER DETAIL
If you would like further detail on any
of the plans or information contained
in this abridged Strategic Plan, please
contact PP&VA CEO, Hania Radvan:
hania.radvan@penrith.city
Image: Richard Goodwin’s Neutral Habitation, 2018,
sculptural installation in the gallery garden as part of
The Ideal Home exhibition at Penrith Regional Gallery,
Home of The Lewers Bequest. Courtesy of the artist
and Australian Galleries. Photography by silversalt
Image (Back Cover): Bathory Begins, Q Theatre and
ATYP coproduction, Photography by Tracey Schramm
STRATEGIC PLAN 2020 – 2023 30GOVERNMENT PARTNERS SPONSORS AND PARTNERS Nick Croft, Piano Tuner Red Cross Australia Nugan Estate
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