Testing Grounds

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Testing Grounds

Testing Grounds

Since November 27th, 2016, Testing Grounds have been receiving live data from the website that provides valuable insight into how people are responding to the project and how this is reflected through the outputs of our creative programming.

1. How many projects have Testing Grounds accepted?

1. How many projects have Testing Grounds accepted?

Yes, Testing Grounds accepted the project 122

No, the project needs more development to meet selection criteria 16

Yes, but they decided not to use Testing Grounds 15

No, the project is inappropriate 11

The project is in review 4

No, the project required specific dates that were not available 4

This data is collected from every EOI that Testing Grounds have received so far.

 

In June we surpassed the projected number of EOI’s we would receive for the whole year.

The steady increase in the number of EOI’s we receive, and our healthy acceptance rate of EOI’s, demonstrates our commitment to initiating key actions of the Creative States strategy, which includes;

  • Backing creative talent by supporting creative development, research and experimentation and supporting creative practitioners who want to take a calculated risk.
  • Backing creative talent by providing vital space for development and 1:1 testing, which creates more opportunity for creative practitioners to create landmark works.
  • Backing creative talent by providing opportunities for creative and professional development through residencies and a creative development program.
  • Increasing participation and access by keeping the site free to use for creative projects made by independent creative practitioners.
  • Increasing participation and access by accepting EOI’s from creative practitioners at all levels of practice and by actively seeking EOI’s from people who live in the outer suburbs of Melbourne or regional areas of Victoria, with the aid of Municipal Associations Victoria, local councils, community groups and arts organisations.
  • Increasing participation and access by actively seeking to include creative practitioners of diverse gender, sexuality, ethnicity or cultural identity by consulting with community groups, organisations and creative practitioners.
  • Delivering wider economic and social impact by accepting all creative education-related EOI’s.
  • Strengthening the creative industries by accepting EOI’s from precinct partners and from creative organisations or companies who do not typically have access to the Arts Precinct, which encrouages a diversity of creative practices.
  • Strengthening the creative industries by accepting EOI’s from precinct partners and from creative organisations or companies who do not typically have access to the Arts Precinct, which will continue to activate the Arts Precinct as a co-working space where knowledge and resource sharing is encouraged.

 

 

2. Why does Testing Grounds accept a project?

Experimental 105

105

Access and Inclusion 29

29

Site-responsive 25

25

Education 25

25

No answer provided 21

21

Diversity of creative practice 21

21

Precinct partner 4

4

0

21

42

63

84

105

This data is collected from every EOI that Testing Grounds have received so far.

We review all EOI’s and select projects that are considered to be experimental, site-responsive or related to creative education. We value projects that provide access and are inclusive, reflecting a diversity of creative and cultural practices. We also accept projects form precinct partners when we believe it will help to strengthen our creative indsutry.

Where no answer is provided the EOI’s have no met any of the selction criteria.

3. Why do people want to use Testing Grounds?

Presentation of completed work 52

52

Event 33

33

Responding to Testing Grounds call out 32

32

Residency or development period 24

24

Education-related 18

18

Testing work in development 14

14

Other 7

7

0

10.4

20.8

31.2

41.6

52

This data is collected from every EOI that Testing Grounds have received so far.

 

 

The infrastructure is designed to support a variety of use from creative practitioners without a specification or prescription of utility. This encourages creative practitioners to tell Testing Grounds what the site should be used for, rather than Testing Grounds telling the creative practitioner what sort of art they should be making. Being site-responsive puts the creative practitioner in the position of being an auteur, increasing self-initiated experimentation and risk-taking that leads to learning. This innovative ideology demonstrates our commitment to backing creative talent by supporting creative development, research and experimentation and supporting creative practitioners who want to take a calculated risk.

Occasionally Testing Grounds calls out for specific projects or for special programming. In 2017, 29 people responded to Testing Grounds call-out for the presentation of completed work during Melbourne Fringe Festival.

4. What type of project does Testing Grounds program?

Exhibition 36

36

Artist-in-Residence 22

22

Performance 19

19

Interdisciplinary project 8

8

Event or Festival 8

8

Workshop 6

6

Live Music / Sound Art 6

6

Research project 3

3

Rehearsal / Development 3

3

0

7.2

14.4

21.6

28.8

36

This data is collected from every project agreement Testing Grounds has received so far.

 

Reviewed against graph 3 this data tells us if we are programming in response to how people want to use the site.

Exhibitions, performances, arts or community events, live music/sound art, and call-outs for special programing are more commonly presentations of completed work.

5. Who is using Testing Grounds?

5. Who is using Testing Grounds?

As an independent creative practitioner 88

On behalf of an institution, organisation or company 23

This data is collected from every project agreement that Testing Grounds have received so far.

 

 

The number of project agreements submitted by independent creative practitioners demonstrates Testing Grounds commitment to back creative talent. The number of project agreements submitted on behalf of companies and organisations demonstrates our commitment to resource share and provide co-working space, which will strengthen creative industries (and the Arts Precinct) by delivering wider economic and social impact.

6. How many independent creative practitioners received a fee or wage for their project?

6. How many independent creative practitioners received a fee or wage for their project?

No 36

Yes 18

This data is collected from every project acquittal that Testing Grounds have received so far.

 

Reviewed against graph 5, the number of institutions, organisations or companies who use the site is always higher than the number of people who received a fee or a wage for their work because there are fewer acquittals to collect live data from than there are project agreements. All companies or organisations who use Testing Grounds must pay their creative practitioners a reasonable fee or a wage for their work, which demonstrates our commitment to backing creative talent and delivering wider economic impact.

7. Gender: Access and Inclusion

7. Gender: Access and Inclusion

Female 61

Male 37

Non-binary/Gender fluid 5

Different identity 5

Trans male/trans man 1

Trans female/trans woman 1

No response 1

This data is collected from every project agreement that Testing Grounds have received so far.

 

The proportionally high number of females using the site demonstrates our commitment to increasing participation and access in the arts to groups of people who have historically been denied access and participation. We will continue to consult with community groups, organisations and creative practitioners to actively include creative practitioners of diverse gender, sexuality, ethnicity or cultural identity.

 

8. Cultural identities: Access and Inclusion

8. Cultural identities: Access and Inclusion

No answer provided 62

LGBTQI (Lesbian, Gay, Bisexual, Transgender, Queer, Intersex) 26

None of the above 16

Culturally and linguistically diverse 12

A person living with a disability 5

A person from regional or remotes communities 3

Aboriginal or Torres Straight Islander 2

This data is collected from every project agreement that Testing Grounds have received since 16th of June 2017.

We ask “does anyone in your project identify as the following groups?”. It helps us develop our own cultural competency and we so we can continue to improve inclusion, access and participation in the creative industries. It helps us understand the projects, communicate and effectively interact with the people involved in the projects we accept. 

We want to be aware of people’s world views and continue to promote positive attitudes towards culturally diverse knowledge and practices.

The answers people submit are kept confidential and are not used to discriminate against anyone. We do not ask people for their cultural identity when they submit an EOI because they will tell us in the EOI if it is important to their project.

 

9. Location: Access and Inclusion

9. Location: Access and Inclusion

International 6

Interstate 10

Local 164

This data is collected from every EOI that Testing Grounds have received so far.

 

Testing Grounds has been consulting with Municipal Associations Victoria, local councils, community groups and arts organisations to increase access and participation from people who live in the outer suburbs of Melbourne or regional areas of Victoria. We have also actively pursued relationships with creative organisations interstate to increase access for creative practitioners from all around the country.

The total number for ‘Local’ includes people from outer suburbs of Melbourne and regional areas of Victoria because no data has been collected on people’s postcodes until 16th June 2017.