Dance board criteria in 2011

The dance board is using uniform selection criteria across the Projects, Fellowships and Artform Development categories in 2011.

Your application will be considered within the context of the purpose of the category in which you have applied. You should ensure that you understand the purpose and breadth of each category and ensure that your activity is well suited.

Applicants should respond to all selection criteria, as well as possible. The ability to respond strongly to all criteria will increase your percentage score which is used to rank applications for funding.

The dance board is utilising five criteria to which everyone must respond.

The interpretation of these criteria below includes both a definition of the criterion and a series of questions that applicants and board members can use to help identify to what degree an application has responded to each criteria.

1. Artistic innovation with a creative rationale

This criterion is designed to tease out the quality of the underlying creative foundation and originality of the proposed activity. It is not about the company or the artist but rather about a clear rationale for the project and its activities. Artistic innovation is linked to the way that artists develop, expand or refine their area of practice.

What are the creative aims of the project? Do the artists acknowledge the context in which they create work? Are the artistic motivations clearly articulated? Is the reason how and why this project is being done clear? If relevant, has the artist provided a robust and insightful methodology of investigation; provided details of choreographic vocabulary, a research technique, or outlined details of their collaborative process or partnership? Is the creative and artistic significance of the project for the artist and the artists’ work articulated?

2. Artistic or professional skills appropriate to the activity

This criterion assesses the creative ability of the artists in relation to the proposed activity and their artistic practice. Applications will be assessed on the skills gathered for the project rather than a judgment of the regard for particular artists. Board members use attendance at performances, company history, support material, and the biographies within the application to assess against this criterion.

Do the artists outline the skills required for this project? Are there appropriate processes for skilling-up, mentoring or training if there is an absence of these skills? Is dramaturgy, project assistance or technical support required? Are the right people doing the right jobs? Are the roles and responsibilities of the team outlined in the project? Are the skills identified relevant to this particular type of activity?

3. The benefit of the activity and audience development potential

This criterion is used to assess:

The benefit of the project for the artists, the dance sector, the community and the wider public. Applicants should clearly articulate the benefit - the significance of the activity or project at this point in time.

What kind of impact will this activity have locally, nationally or internationally? Is this activity important and beneficial at this point in time? Are the outcomes of this project clearly articulated? Does the project consider its context within the community, the public and Australian dance?

Who is the intended audience is and what is the potential for audience development. Processes and techniques of developing new and existing audiences for dance should be outlined and considered. Projects do not need to be all encompassing and accessible to all audiences but consideration of audience engagement or participation is valued. For proposals that do not have an immediate public outcome, an outline of future developments and modes of distribution is important.

Have the artists identified their audiences? Do the artists understand and respond to their audience? What techniques are used to reach new, old or existing audiences? How will the work be promoted? Is there potential for audience development?  Have the artists identified potential markets for their work? How do they intend to develop these markets?

4. Contribution to the cultural diversity of Australian dance

The dance board is committed to supporting and promoting a diverse dance sector that reflects and celebrates Australia’s cultural diversity. This criterion is looking at cultural diversity only i.e. in relation to cultural heritage, not diversity in its wider sense. This means that diversity in ages, socio –economic factors, gender, sexuality, etc. do not play a part in applicants addressing this particular criterion.

In what way is this project representative of the cultural diversity of Australia? What are the cultures being represented? How are the needs of this culture met and how will this be articulated in the project? Have appropriate cultural protocols been followed? How will this project engage with the artists, activity or audiences it attracts, reflects or represents?  How have the artists reflected cultural diversity in their content? Have measures been taken to address cultural diversity through marketing and accessibility considerations? Is the application looking to develop culturally diverse audiences?

For further information regarding the cultural diversity criterion please refer to these links: Cultural Diversity Dance Policy and Arts In a multicultural Australia.

5. Good planning and effective use of resources

This criterion aims to draw out the applicant’s capability to plan, resource and evaluate their activity. This criterion is mainly practical and has a focus on logistics, financial and human resources, project management, effective budgeting, appropriate partners and supporters, effective cultural protocols and community liaison. Evidence is necessary for this criterion and the budget, letters of support, venue and partnership correspondence will be carefully considered. Effective evaluation is an important part of every project and competitive proposals will articulate relevant and strategic project, financial and artistic evaluation strategies and consultation.

Does the project make sense? Is the project realistic, manageable and achievable considering the level of activity? Are the roles and responsibilities of the team clear? Have the artists sought appropriate sources of income, support or partnership? Is the project viable? Is the budget clear? Have partners confirmed their interest and communicated the value of this project? Have appropriate cultural and community protocols been observed? Is the timeline appropriate? Have all partners, artists, venues and team confirmed their participation? Have all potential resources been identified and used?