Note that the information, views and recommendations in this document have been obtained under contract
from industry sources as part of Industry Advisory Arrangements; they may include data or information which
have not been otherwise verified, and they should not be interpreted as being the views, intentions or policy of
Skills Tasmania or the Tasmanian Government.
INDUSTRY
PROFILE
ARTS
TRAINING
DEMAND
Contents
Scope of Arts Training Demand Profile........................................................................... 2
Part 1 Industry background and directions................................................................... 7
Part 2 Skill shortages .................................................................................................. 33
Part 3 Industry demand for training ...........................................................................35
Part 4 Assessment of infrastructure needs .................................................................50
Part 5 Information on VET in schools, including Australian School-based
Apprenticeships ............................................................................................... 51
Part 6 Industry’s top priorities for the public training system.....................................53
Part 7 Higher education .............................................................................................. 60
Updated August 2007
Industry Training Demand Profile - Arts
Scope of Arts Training Demand Profile
Industry sectors and core occupations
This Training Demand Profile concerns the Tasmanian creative arts industries, which covers
the following sectors and occupations:
 Performing Arts
o Actors
o Dancers
o Theatre directors and producers
o Circus and Street performers
o Theatre production workers, such as set designers, carpenters, lighting and sound
technicians
o Venue Managers, marketers, box office staff & ushers
o Volunteer workers

Visual Arts, craft and design
o Designers
o Illustrators
o New Media Artists
o Painters, Printmakers & Mixed Media Artists
o Photographers
o Sculptors, ceramicists, metal workers
o Textile artists, Quilters, Weavers
o Jewellery makers
o Wood workers & furniture makers

Music
o
o
o
o
Musicians / singers
Sound technicians
Band / artist managers and marketers
Composers

Film, TV, radio and multimedia
o Film and television directors and producers
o Film and television production technicians – camera operators, film editors, sound
technicians
o Post production technicians, studio operations workers
o Animators
o Multimedia designers
o Computer game designers
o Computer graphic artists

Writing
o Novelists and playwrights
o Poets
o Scriptwriters
o Journalists
o Advertising copywriters
Updated August 2007
Page 2 of 61
Industry Training Demand Profile - Arts

Cultural festivals
o Creative Directors
o Event Managers
o Producers
o Safety Officers
o Marketers
o Box office
o Volunteer workers

Libraries
o Librarians
o Library Technicians
o Archivists

Museums / Cultural Heritage
o Curators
o Guides / cultural interpreters
o Conservators
o Installation technicians
o Support staff (shop assistants)
o Volunteer workers

Community Cultural Development
o Arts workers
o Youth workers
o Health and disability program workers
o Volunteer workers

Arts administration and support agencies
o Program managers
o Project officers
o Funding officers
o Industry development officers
Training Package coverage
CUV03: Visual Arts, Craft and Design Training Package
CUF01: Film, TV, Radio, Multimedia Industry Training Package
CUS01: Music Industry Training Package
CUL04: Museum and Library / Information Systems Training Package
CUE03: Entertainment Training Package
THT02: Tourism Training Package
Updated August 2007
Page 3 of 61
Industry Training Demand Profile - Arts
Qualifications and courses within Training Package(s)
The creative industries are covered by a range of Nationally Recognised Qualifications as set
out below. All the qualifications listed are endorsed for delivery in Tasmania. Courses marked
with an asterisk (*) are currently (2006) available through TAFE Tasmania or a Registered
Training Organisation.
CUV03 Visual Arts, Craft and Design Training Package
CUV10103 Certificate I in Visual Arts and Contemporary Craft
CUV20103 Certificate II in Visual Arts and Contemporary Craft
CUV30103 Certificate III in Visual Arts and Contemporary Craft
CUV40103 Certificate IV in Visual Arts and Contemporary Craft *
CUV10203 Certificate I in Aboriginal or Torres Strait Islander Cultural Arts
CUV20203 Certificate II in Aboriginal or Torres Strait Islander Cultural Arts
CUV30203 Certificate III in Aboriginal or Torres Strait Islander Cultural Arts *
CUV40203 Certificate IV in Aboriginal or Torres Strait Islander Cultural Arts
CUV20303 Certificate II in Opal Cutting and Polishing
CUV40603 Certificate IV in Opal Cutting and Polishing
CUV40303 Certificate IV in Design *
CUV30303 Certificate III in Design Fundamentals
CUV30403 Certificate III in Arts Administration
CUV40503 Certificate IV in Arts Administration *
CUV60103 Advanced Diploma of Arts Management
CUV40403 Certificate IV in Photo-imaging *
CUF01: Film, TV, Radio, Multimedia Industry Training Package
CUF20401 Certificate II in Broadcasting (Radio) *
CUF30301 Certificate III in Broadcasting (Radio)
CUF40601 Certificate IV in Broadcasting (Radio)
CUF30501 Certificate III in Broadcasting (Remote Area Operations)
CUF20501 Certificate II in Broadcasting (Television) *
CUF30401 Certificate III in Broadcasting (Television)
CUF40701 Certificate IV in Broadcasting (Television)
CUF50501 Diploma of Broadcasting
CUF60301 Advanced Diploma of Broadcasting
CUF50601 Diploma of Broadcast Engineering
CUF60401 Advanced Diploma of Broadcast Engineering
CUF20101 Certificate II in Costume
CUF40101 Certificate IV in Costume
CUF50101 Diploma of Costume
CUF10101 Certificate I in Multimedia *
CUF20601 Certificate II in Multimedia*
CUF30601 Certificate III in Multimedia *
CUF40801 Certificate IV in Multimedia *
CUF50701 Diploma of Multimedia
CUF60501 Advanced Diploma of Multimedia
CUF40203 Certificate IV in Make-up
CUF50203 Diploma of Make-up
CUF20301 Certificate II in Screen*
CUF30101 Certificate III in Screen*
CUF40401 Certificate IV in Screen *
CUF50401 Diploma of Screen *
Updated August 2007
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Industry Training Demand Profile - Arts
CUF60101 Advanced Diploma of Screen
CUF20201 Certificate II in Screen (Art and Construction)
CUF40301 Certificate IV in Screen (Art and Construction)
CUF50301 Diploma of Screen (Art and Construction)
CUF30201 Certificate III in Screen (Laboratory)
CUF40501 Certificate IV in Screen (Laboratory)
CUS01: Music Industry Training Package
CUS10101 Certificate I in Music Industry (Foundation)
CUS20101 Certificate II in Music Industry (Foundation) *
CUS30101 Certificate III in Music
CUS40101 Certificate IV in Music *
CUS50101 Diploma of Music
CUS60101 Advanced Diploma of Music
CUS30201 Certificate III in Music Industry (Technical Production)*
CUS40201 Certificate IV in Music Industry (Technical Production)*
CUS50201 Diploma of Music Industry (Technical Production) *
CUS60201 Advanced Diploma of Music Industry (Technical Production)
CUS30301 Certificate III in Music Industry (Business)
CUS40301 Certificate IV in Music Industry (Business)
CUS50301 Diploma of Music Industry (Business)
CUS60301 Advanced Diploma of Music Industry (Business)
CUL04: Museum and Library / Information Systems Training Package
CUL20104 Certificate II in Library/Information Services
CUL30104 Certificate III in Library/Information Services *
CUL40104 Certificate IV in Library/Information Services *
CUL50104 Diploma of Library/Information Services *
CUL60104 Advanced Diploma of Library/Information Services
CUL20204 Certificate II in Museum Practice
CUL30204 Certificate III in Museum Practice *
CUL40204 Certificate IV in Museum Practice *
CUL50204 Diploma of Museum Practice *
CUL60204 Advanced Diploma of Museum Practice
CUE03: Entertainment Training Package
CUE40203 Certificate IV in Costume for Performance
CUE50203 Diploma of Costume for Performance
CUE10103 Certificate I in Live Production, Theatre and Events*
CUE20103 Certificate II in Live Production, Theatre and Events*
CUE30103 Certificate III in Live Production, Theatre and Events (Construction and
Manufacturing)
CUE40103 Certificate IV in Live Production Theatre and Events (Construction and
Manufacturing)
CUE50103 Diploma of Live Production, Theatre and Events (Construction and Manufacturing)
CUE60103 Advanced Diploma of Design for Live Production, Theatre and Events
CUE30203 Certificate III in Live Production, Theatre and Events (Technical Operations) *
CUE40303 Certificate IV in Live Production, Theatre and Events (Technical Operations) *
CUE50303 Diploma of Live Production, Theatre and Events (Technical Production) *
CUE60203 Advanced Diploma of Live Production, Theatre and Events (Technical Production)
Updated August 2007
Page 5 of 61
Industry Training Demand Profile - Arts
CUE30303 Certificate III in Venues and Events (Customer Service)
CUE40403 Certificate IV in Venues and Events (Customer Service)
CUE50403 Diploma of Venues and Events
CUE60403 Advanced Diploma of Venues and Events
CUE60303 Advanced Diploma of Stage Management
THT02: Tourism Training Package
THT50202 Diploma of Event Management*
THT50203 Diploma of Event Management*
THT20498 Certificate II in Tourism (Guiding)*
THT30998 Certificate III in Tourism (Guiding)*
THT40398 Certificate IV in Tourism (Guiding)*
Accredited short courses
40380SA Creative Volunteering – No Limits*
Accredited Courses not currently endorsed for delivery in Tasmania that are applicable
to current skills shortages and training needs in the creative arts industries.
Circus Skills
21208VIC Certificate II in Circus Training (Basic) (accredited in Victoria)
21209VIC Certificate III in Circus Training (accredited in Victoria)
21304VIC Certificate IV in Circus Arts (accredited in Victoria)
21305VIC Diploma in Circus Arts (accredited in Victoria)
Community Cultural Development
90929NSW Certificate IV in Community Cultural Development (accredited in NSW)
91066NSW Certificate IV in Community Cultural Development (accredited in NSW)
91020NSW Diploma in Community Cultural Development (accredited in NSW)
Professional Writing
14780NT Certificate III in Creative Writing (accredited in Northern Territory)
40507SA Diploma in Arts (Professional Writing) (accredited in South Australia)
40506SA Advanced Diploma in Arts (Professional Writing) (accredited in South Australia)
21674VIC Certificate IV in Professional Writing and Editing (accredited in Victoria)
21675VIC Diploma in Professional Writing and Editing (accredited in Victoria)
Updated August 2007
Page 6 of 61
Industry Training Demand Profile - Arts
Part 1
Industry background and directions
Introduction
The Arts and Cultural Industries in Tasmania consist of a diverse range of sectors including:
 Performing Arts
 Visual Arts
 Music
 Film, Television, radio and multimedia
 Writing
 Cultural Festivals
 Libraries
 Museums & Cultural Heritage
 Community Cultural Development, and
 Arts support agencies
In Tasmania, the arts industries represent a diverse range of activities, which are all quite
labour intensive. The producers of arts products range from self-employed artists, micro and
small businesses through to larger enterprises such as the Tasmanian Symphony Orchestra,
public museums and government funded arts organisations. Characteristics of the industry
include:
 An emerging network of community based arts organisations engaging local artists and
enabling them to develop and exhibit their works.
 An increasing involvement of community service and government organisations such as
local councils and health service providers in utilising the arts for community building,
health, wellbeing and other social applications.
 A growing number of cultural festivals and events, ranging from small community
operated one day events through to longer high profile cultural showcases such as Ten
Days on the Island and Living Writers Week
 A government led focus to develop a professional base of nationally competitive
products
The arts are a relatively large sector in the community, engaging significant numbers of both
paid and volunteer workers. The Australian Bureau of Statistics (ABS) Survey of Leisure and
Cultural Workers 2004 revealed that in Tasmania, there were 18,900 paid workers and
54,800 volunteer workers participating in the arts sector, which represented 19.6% of the
State population. This participation rate is the second highest of all states in Australia
(second to the Australian Capital Territory, whose participation rate is 29.4%).
An indicator of community involvement in the arts is reflected in the annual statistics of
Tasmanian Regional Arts (TRA). The network has over 1,448 individual financial members,
26 affiliate arts councils and 20 organisational members (independent arts groups). In
2006, 185,201 people attended over 853 TRA activities, 1,613 people participated in
workshops and forums and 24,989 volunteer hours were contributed to arts activities.
Exact arts industry business and employment numbers are difficult to determine, due to the
high proportion of artists unable to support themselves from their principal artistic income
and find themselves in additional paid employment.
Updated August 2007
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Industry Training Demand Profile - Arts
These artists and volunteer workers are not captured in labour force surveys conducted by
the Australian Bureau of Statistics. It is only in more defined and structured service sectors
within the arts industries such as libraries, museums, cultural heritage that reliable
employment data can be obtained.
Arts@work, a division of Arts Tasmania, that develops employment and business
opportunities for artists has a database of artists, businesses organisations and institutions
that are involved in the arts, which in late 2006 had 4,229 listings. The database gives an
indication of the level of activity in the Tasmanian Arts sectors. The listed entities are divided
into the following areas:







Arts: 2760 listings
Businesses: 673 listings
Education: 98 listings
Government: 260 listings
Media: 156 listings
Not for Profit organisations: 113 listings
Venues: 169 listings.
Available labour force statistics from the last 4 years show minimal overall growth and even
some decline in the arts industries that are more easily identifiable and measurable.
Labour Force Statistics 03-06
Arts
Museums
Libraries
Radio and
Television
Services
Film and
Video
Services
1000
800
600
400
200
0
Nov-03
Nov-04
Nov-05
Aug-06
Australian Bureau of Statistics: Labour Force Australia, Detailed, Quarterly, 6291.0.55.003
(2003 – 2006)
The Arts industries have been recognised by government both for their economic value, by
way of cultural tourism and the local entertainment sector, as well as for their contribution to
building community unity and social capital.
The Cultural Industry Council was established by the Tasmanian Government in mid 2000,
and developed a cultural industry plan to develop the State’s arts industries with six key
goals:


A community motivated to engage with the arts
The recognition of Tasmania for excellence in arts practice
Updated August 2007
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Industry Training Demand Profile - Arts



Increased Aboriginal participation in contemporary and traditional art forms
Increased support for the arts infrastructure, recurrent spending and projects
Increased financial returns to artists, promoting financial independence where feasible,
and
 Evolution of a distinctive and authentic Tasmanian voice.
The responsibility for implementing the cultural industry plan has been given to the
Tasmanian Arts Advisory Board (TAAB), which provides policy and funding advice to the
Tasmanian Government. The TAAB has four focus areas, with similar economic and social
goals to those stated in the Cultural Industry Plan. These focus areas are:




To build Tasmania’s brand through the arts
To develop the potential and skills of our local artistic talent
To increase the cultural and economic value of the arts to the Tasmanian community
To increase participation in the arts and cultural activities.
The most significant factors currently affecting the development and growth potential of the
arts industries can be summarised as:



The impact of new digital technologies
A more business approach to arts activities to ensure their sustainability
The impact of the growth of tourism to Tasmania, particularly cultural based tourism,
which provides excellent business opportunities for artists, arts and cultural organisations
 The increased application of the arts in community development, health and well being
project work, which is becoming one of the main areas of employment growth in the
sector.
Most of the skills shortages and training needs explored in this report should be seen in the
context of the developmental aims of the cultural industry plan as well as the four abovementioned development opportunities, rather than in terms of traditional drivers of training
in conventional demand driven commodity, manufacturing or service industries.
In order to ascertain the current levels of skills shortages and training needs in the creative
industries, a survey that was sent to over 60 Arts organisations and stakeholders in the state
with 26 responses received. This was supplemented by in-depth interviews with industry
stakeholders and a stakeholder forum.
The survey identified several common training needs across different sectors, in particular
the need for better business management and administration skills particular to the arts
industries. Numerous suggestions were made about the need for more flexible training
options in the VET system such as short courses and workshops.
Level of business activity
 73.1 % of organisations indicated that their business was growing
 26.9 % of organisations indicated that their business was steady
 0% organisations indicated that their business was declining.
Updated August 2007
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Industry Training Demand Profile - Arts
No of Full-time Equivalent employees



53.8% - 1 to 5
15.4% - 6 to 19
30.8% - 20 plus
Industry Type
no. of responses
Visual Arts, craft and
design
16%
Performing Arts
19%
Music
9%
Arts support agencies
9%
Film, TV, radio and
multimedia
8%
Community Cultural
Development
11%
Museums & Cultural
Heritage
15%
Writing
5%
Cultural Festivals
6%
Libraries
2%
Industry type
A number of organisations
indicated involvement in more
than one industry type. In the
survey 46.2% of organisational
respondents indicated they
were involved in only one
industry category, 15.4% were
involved in 2 industry types,
7.7% in 3 industry types, 23.1%
in 4 industry types and 11.5%
in 5 or more industry types. This
confirms the integrated nature
of the arts industry and the
complexity of the tailoring of
training.
The low libraries figure is due to only one response from the umbrella organisation and
does not reflect the large number of libraries state wide.
Traditional Training
The survey found that workers in
the arts industries were well
educated.



77% of respondents indicated
that their employees were
qualified
with
University
degrees and diplomas,
54%
indicated
employees
had
qualifications,
that
VET
Traditional Forms of Training
no. of responses
Short courses on
demand
19%
In house training
7%
Adult ed courses
1%
On-the-job
24%
ABAF courses
1%
Specialist music
training
1%
University degree
or diploma
28%
TAFE / VET
qualification
19%
73% of respondents indicated
that less than 20% of their
training was met by the VET system and that their training needs were more likely met
through short courses, workshops, in-house and on the job training.
These findings indicate that workers in the creative industries are more predisposed to short
and flexible training, rather than pursue the completion of additional qualifications that take
several semesters of study.
Updated August 2007
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Industry Training Demand Profile - Arts
Skills Shortages

30.8% indicated they had skills shortages through not being able to fill vacant skilled
positions
 34.6% indicated they lacked skills among existing workers, and
 34.6% indicated they had no skills shortages at all.
Reasons given for not being able to fill positions were:







unable to attract skilled staff due to lower pay on offer in comparison to interstate,
(42.3% )
lack of appropriate training available in Tasmania (34.6%)
shortcomings of existing training programs (11.5%)
lack of funding for additional staff or to fill vacancies (19.2%)
inability to maintain ongoing work to keep artists in the state (3.8%)
lack of employment continuity (7.7%)
15.4% of respondents said they had no problems in attracting skilled staff
The economic reality of the arts industries is such that they are generally not a high income
earning sector of the economy. The Australia Council’s economic study of professional artists
in Australia “Don’t Give up Your Day Job” (2003) noted that most Australian artists cannot
make a living from their profession alone and often take up other forms of employment such
as teaching or hospitality industry jobs. Performers are also multi skilled and work across a
range of roles from acting to technical stage assistants to tourist guides due to the lack of
continuity in their respective work. This has implications for training as artists are time poor
and tend to be reluctant to commit time and financial resources to additional training. The
large number of volunteer workers scattered across different sectors of the arts are also
reluctant to commit to traditional forms of VET training for the same reasons.
The level of education amongst artists is higher than in the wider community, with 72%
having some post secondary education compared to 52% in the labour force as a whole.
Training levels for entry to the arts industry are relatively high and are based on the
development of skills and knowledge over the study period and beyond. The average time
spent obtaining basic post-secondary qualifications is 5 years, with writers and composers
being above this average. Creative artists have high tertiary training levels: 48%
compared with 13% in the general workforce (IBIS, 1998), a level that has been maintained
relatively well since that time.
The arts industries, both individuals and organisations are becoming more business aware
and starting to address the economic challenges of sustainability in an arts industry. One
significant development in the move towards sustainability is the work of the Australian
Business Arts Foundation (AbaF), a Commonwealth funded organisation that works with both
arts organisations and artists, business and the philanthropic sector to promote support for
the arts. AbaF has three (non-accredited) programs aimed at improving economic outcomes
for the arts, which are relevant to all sectors:

The Arts Connecting Communities Program, a series of workshops, seminars and
networking meetings to foster relationships between arts organisations, artists, businesses
and local councils
Updated August 2007
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Industry Training Demand Profile - Arts

Volunteering programs – Board bank and Advice bank, which match business community
volunteers wishing to share their expertise with arts organisations and artists, and
 Giving Programs – advice and workshops to assist practicing artists seek donations and
build relationships with donors.
Creative Volunteering is another significant business education initiative assisting the arts
industries.
It is a nationally accredited program that targets regionally based arts and collections
volunteers. Initiated by Regional Arts Australia the program began in 2001 and has funding
for limited delivery through Tasmanian Regional Arts until 2008. There are eight, one day
workshops in the course. Participants can gain a Statement of Attainment for the Course in
Creative Volunteering by satisfactory completion of the three core plus two elective modules
or if people do not wish to complete the whole course, they can gain Statements of
Attainment for individual modules.
Core modules:
 Carry out Business Planning
 Network within Communities
 Develop Funds and Resources.
Elective modules:
 Undertake Marketing
 Work with Collections
 Plan and Program Events
 Contribute to Effective Organisation Governance
 Cultivate Productive Relationships
The performing and visual arts sectors are characterised by ongoing artistic and creative
skills development through workshop programs that are either delivered through arts service
organisations such as arts@work or funded through grant programs such as the Regional
Arts Fund administered by Tasmanian Regional Arts and the Small Grants program
administered by Women Tasmania. It appears that workshops are driven by a combination
of community demand and grant availability.
Arts Tasmania has highlighted the need for mentorships for all arts industry sectors as an
effective means of progressing the industry and addressing skills needs in key areas such as
management, financial planning and resourcing. While workshops and mentoring do not fit
within VET funding, they can play an important part of addressing skills demands of the
visual arts and performing arts sectors.
Difficulty in implementing some formal arts training in Tasmania may be due to low
population numbers and perceived limited opportunities in the industry. The Tasmanian Arts
Advisory Board has suggested that multi-disciplined courses should be considered, due to
the considerable crossover between the skills employed in the performing and visual arts
and those in the film, TV and multimedia industries. Multi-disciplined courses incorporating
production elements of performing arts, film, television, radio, and multimedia, could provide
sufficient numbers of students to make the courses viable, and increase the scope of
graduates to be able to gain employment across these and other areas such as visual arts
and writing.
Updated August 2007
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Industry Training Demand Profile - Arts
Multimedia content development is currently one of the most significant opportunities for
growth in Tasmania. Training is required in this area to bring Tasmania into line with
opportunities available in other States. Animation is one particular application of
multimedia in which there is increasing employment opportunities.
1.1 Performing Arts
Industry trends
The performing arts sector covers a range of disciplines from actors, dancers, theatre
directors and producers to circus and street performers. Theatre production workers, such as
set designers, carpenters, lighting and sound technicians are also a large component of the
industry.
In 2006, Salamanca Arts Centre, a performing arts producer and presenter, conducted a
survey into the performing arts sector in Tasmania. Their results found:
 12 professional theatre companies
 24 amateur theatre companies
 17 presenter organisations ranging from established theatre venues, such as the Theatre
Royal in Hobart and Princess Theatre in Launceston and community arts centres to event
and festival organisations
 11 managed venues across Tasmania
 10 performance equipment hire companies
 7 professional event management / production companies.
The sector is remarkably active considering Tasmania’s small population and is generally
regarded as growing. This is due partly to the increasing number of cultural festivals and
the increased general interest in performing art forms, which drive the demand for
performance work. While performing companies are generally focused on local audiences,
professional Tasmanian based companies have a track record of touring work to both intra
and interstate markets.
Tasmania Performs is a new initiative that is seeking to develop an export market for
Tasmanian Producers. Arts Tasmania has initiated the program in partnership with the
Australia Council for the Arts. It is managed by Performing Lines and supported by
Tasmanian Regional Arts and Ten Days on the Island. Tasmania Performs is looking to grow
the professional performing arts sector in Tasmania through targeted product development
and facilitated state, national and international touring opportunities for Tasmanian
producers.
With Tasmania Performs having just emerged the sector continues to be characterised by
seasonal employment and short-term contracts. Having skills in more than one area is an
increasing requirement for employment in the area, due to the limited range of employment
opportunities. For example someone may be employed in a range of disciplines as an actor,
a stage technician and also as an acting teacher.
Formal training in performing arts practice and technical production is available through the
University of Tasmania - Academy of the Arts in Launceston. The absence of an equivalent
program in the south of the state has been highlighted as an area of need. Salamanca Arts
Centre provides and supports professional workshop-based training with visiting
professional performance artists.
Updated August 2007
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Industry Training Demand Profile - Arts
Short courses in performance have been supported through Is Theatre however this is not the
core activity of the theatre company. Salamanca Arts Centre (SAC) has been the key
provider of technical production training in the south of the state.
Their accredited training is run in partnership with TAFE and has the potential to expand into
delivering training in performance skills. SAC’s partnership with TAFE is an industry best
practice example of partnership and has the potential for replication in other arts sectors.
The Salamanca Performing Arts Certificate in Entertainment (SPACE) program is highly
regarded by the performing arts industry. This program is now delivered at Diploma level
and offers a performance stream.
Other skills development opportunities are either sector initiated and facilitated or have
been supported through arts funding agencies such as Arts Tasmania and the Regional Arts
Fund.
These opportunities are characterised by non-accredited short courses where the artists or
arts workers either travel interstate or an interstate professional is brought to Tasmania to
run a master class or workshop. An example of sector supported activity is the National
Circus Festival, held in Tasmania every two years, that incorporates one week of master
classes and workshops for circus professionals.
New businesses
The overall number of performing artists and support workers has remained static however
there are increasing opportunities for employment in this area. Tasmania Performs, Ten Days
on the Island and increasing recognition of the creative industries by tourism and local event
hosts are potential drivers for employment growth.
New technology
In the production area technology is rapidly changing and training providers need to be
aware of new technologies and adapt accordingly.
Strategic priorities/directions
The seasonal nature of the performing arts is currently a barrier for growth, however
employment continuity may be achieved through the re-training of performing arts
professionals in related disciplines and or management areas. VET training may have a role
in fulfilling demand for training.
A priority area for training is an increased demand for street performers due to an increase
of cultural content at community celebrations and festivals. The circus sector in Tasmania is
currently experiencing considerable growth, particularly in the area of youth circus.
There is currently a severe shortage of accredited circus trainers in Tasmania.
Formal accreditation is divided into two skills sets; circus performance skills and gymnastics
skills. No accredited circus performance skills are available in Tasmania. Students can either
attend the National Institute of Circus Arts in Melbourne or CircoArts in Christchurch, New
Zealand. Accreditation as a gymnastics trainer is a requirement of group insurance
obtained through the Tasmanian Gymnastics Association (TGA); the most affordable and
main avenue of insurance for gymnastics based circus activities in Tasmania. At present there
are very limited opportunities for this accredited training that is delivered only by the TGA.
Updated August 2007
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Industry Training Demand Profile - Arts
Diminishing areas/skills
The lack of employment opportunities and career development has a negative effect
overall, with many young people interested in the performing arts leaving for training
opportunities interstate such as those offered by the National Institute of Dramatic Art
(NIDA) and the Victorian College of the Arts (VCA) and not returning to Tasmania. The
closure of the dance course within the Centre for Performing Arts at Launceston has led to a
lack of tertiary training for dancers in the state.
1.2 Visual Arts
Industry trends
The visual arts include artists and craft practitioners producing works for sale, as well as
designers. The industry includes a broad range of occupations and media including design,
painting, drawing, sculpture, ceramics, textiles, jewellery, metalwork and photography.
Participation rates in Tasmania are higher than the national average in craft activities
generally – and in particular, furniture making and wood crafts in which the participation is
some 66% higher than the national average.
The level of entrepreneurship in this sector varies greatly, with some artists operating
private galleries and also selling works via well-designed websites. There are also many
artists who belong to community arts groups and exhibit works through community based
and operated galleries and art-spaces. There are a number of networks that are
collectively recognised as an industry structure. These include Contemporary Arts Services
Tasmania, Salamanca Arts Centre, and Tasmanian Regional Arts, The Design Centre, public
galleries operated by Burnie, Glenorchy and Devonport City Councils, university galleries
and two artist run initiatives. These support agencies enable artists to enter the field, gain
access to exhibition opportunities, training and grant programs.
The skill levels of visual arts practitioners are high, with a significant proportion of fine art
practitioners attaining postgraduate qualifications including Doctors of Philosophy. However,
the focus of the academic courses tends towards practical artform skills and theoretical
understanding and not on the development of basic business skills.
In the craft sector the growth of the Tasmanian Craft Fair over the past twenty years has
been a driver in the development of numerous small craft enterprises. Primarily these
practitioners access art form based TAFE training that does not include business
competencies. The acquiring of such skills would see more entrepreneurial sales of artwork
on a regular and profitable basis.
TAFE Tasmania’s contemporary Art, Craft and Design qualification is highly regarded and
has developed strong links with industry.
New businesses
Entry into the visual arts is not related to any market demand for art and craftwork, but
rather an individual desire to create as well as lifestyle choices. New business activity in this
sector can be identified on three levels:
 Young practitioners commencing work in a medium after completing their studies,
 Mature workers and retirees working in visual arts as a home based part time
occupation or mature studio based artist working fulltime and
 Artists from interstate moving to Tasmania
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New technology
The main technological developments affecting the visual arts are in new digital media,
which are creating opportunities for artists involved in digital imaging, such as film and
photo based work, computer game software design, online content, downloadable books,
magazines and cartoon strips.
Developments in the Internet, website design and electronic commerce are also enabling
artists to exhibit and sell work on-line, providing they have appropriate e-marketing skills to
be able to capitalise on the technology. Artists can use the Internet as a powerful marketing
tool to access new markets and client interest.
Strategic priorities/directions
The development of business skills is a priority for arts practitioners in the visual arts sector,
in line with the Cultural Industry Council’s goal of increasing financial returns and financial
independence for artists. Certificate IV, Diploma and Advanced Diploma qualifications in
Visual Arts, which incorporate business units in planning and marketing skills, will benefit
prospective artists undertaking formal training. Many artists have acquired their artistic
training, often informally, over many years and may be reluctant to engage in formal
business training. Short courses in business management are available within the Visual Arts
Training Package. The training of arts management professionals and project managers
would enable visual artists to concentrate on their creative endeavours and allow a
professional manager with an understanding of the art business to manage an artist’s
business and marketing development.
The sector has identified a need for the development of specialist Visual Art Curators able
to develop exhibitions for display in Tasmania and nationally. Contemporary Arts Services
Tasmania has an annual emerging curator program and has recently secured additional
support for new curators. Workshops in curatorial skills development will be presented to
encourage new entrants in to the curatorial field.
Diminishing areas/skills
Some crafts particularly in the traditional heritage area are experiencing a decline in
skilled craftspeople able to pass on skills. Leatherwork and metal casting are two such
areas, with production based in small enterprises. These crafts may be needed to take
advantage of increased demand for active cultural tourism experiences.
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1.3 Music
Industry trends
The Tasmanian music industry is both diverse and fragmented. The broad spectrum within
the industry sees young developing musicians and groups, established performers of
popular music, composers and performers of original material and the state supported
Tasmanian Symphony Orchestra. There has been a long-standing lack of popular music
industry infrastructure in Tasmania, through the absence of a commercial, mainstream music
recording industry (all business being conducted from the mainland). The small population
of Tasmania and small audience has restricted the number of recording studios, music venues
and performance opportunities, similarly experienced in the performing arts. Musicians
have largely had to move to the mainland in order to find career opportunities. The
emergence of new digital recording technologies and the Internet as a marketing tool have
opened up new opportunities and markets for Tasmanian musicians. While Tasmanian
musicians have been able to acquire considerable musical skills through formal or informal
training, there are relatively few music industry support professionals, such as managers and
marketers, which is a major barrier to further industry development.
The peak industry body for music is TasMusic, a membership based, not-for-profit
organisation supported through Government grants, commercial sponsors, membership fees,
program revenues and volunteer services. TasMusic works behind the scenes to lobby for
greater industry support and pursues long-term industry development strategies.
TasMusic also organizes the annual “Rock Challenge” rock band competition for high school
students and the “Amplified” music showcase; the latter a State Government initiative that
commenced in 2005.
TAFE Tasmania currently offers Certificate IV in Music and Certificate III, Certificate IV and
Diploma in Music Industry (Technical Production). Courses at Certificate II level are also
being offered in a number of colleges around the state. Musicians have also enrolled in the
Salamanca Performing Arts Certificate of Entertainment program to become technically
competent in audio, lighting and other aspects of stage craft.
The Tasmanian Symphony Orchestra (TSO) has been building a strong reputation, reflected
in a series of ARIA award nominations and an invitation to participate in Asia Orchestra
Week in Japan in 2005. The orchestra also plays at some regional centres and TSO
members form an integral part of the Tasmanian arts community, participating in teaching,
performance and new music activities in addition to their orchestral responsibilities. The
importance of the TSO as a local cultural icon is demonstrated by the fact that the
Tasmanian Government recently provided it with extra funding and chose not to downsize
the orchestra, following a recommendation from a Federal Government review of
orchestras.
The TSO has identified its own specific skills needs in the form of management skills and
ongoing artistic development and replacement of skilled classically trained musicians. The
development in fine music in Tasmania is well supported through the Conservatorium of
Music, the Academy of the Arts in Launceston, the Tasmanian Youth Orchestra and Musica
Viva’s education program which is being delivered into schools.
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New businesses
The impetus for entry to the music industry is largely driven by a desire by individuals to
create and perform music and is therefore entirely supply driven. One indicator of new
entries in the music industry is the annual “Rock Challenge” band competition organised by
TasMusic, which involves rock groups from various high schools and colleges.
New technology
There are several important developments in technology that have made music recording
and promotion far more accessible and give artists a greater control of their music and
business potential. These are new developments in digital recording and other computer
applications and the potential of the Internet as a marketing tool that gives musicians access
to a potential global market.
Advances in digital recording with such computer based programs such as “Garageband”
and “Cakewalk” enable musicians to create recordings of comparable quality to those
made in multi-track state of the art recording studios. This technology has not only cut the
costs of recording but also given musicians potentially unlimited access to studio technology,
which was previously very expensive. Personal computers have also enabled musicians to
produce quality CDs using compact disc burners and standard laser jet printers. The Internet
continues to have a significant influence on the marketing of popular music, the dissemination
of information and the formation of new trends.
Several years ago a personal website for a musician or group was considered to be a
cutting edge marketing tool and a means of establishing a presence in the market place.
The development of music sharing domains such as Myspace.com, garageband.com,
music.podshow.com and last.fm has drastically changed the entire music business. While it
can be said that musicians utilising such web domains now have potential access to a global
market without leaving home, there are a whole new set of challenges involved with
successfully utilising these technologies.
These challenges include specific marketing and technical skills to maximise the use of
myspace.com and similar domains as well as an awareness of intellectual property issues.
These developments now enable musicians to be independent of major recording companies
and take control of all aspects of career and business development.
Strategic priorities/directions
Priorities for training for the music industry should include assisting musicians to capitalise on
new technologies that can assist them in developing their music and their businesses. While
basic training in music and technical production skills are provided through Certificate III, IV
and Diploma programs, there currently there are no training opportunities for music industry
support professionals such as managers and marketers. Training needs to reflect the
changing face of the music industry, particularly the use of e-marketing in promoting musical
product and the associated intellectual property issues.
Musicians also require some training in basic business principles and practices and the
introduction of the Certificate IV or Diploma in Music Industry (Business) which has not been
available in Tasmania, would prepare young people for managerial and marketing work
and address the long standing shortage of music support professionals.
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Diminishing areas/skills
There is a lack of music support professionals, such as managers and marketers, to work with
musicians.
1.4 Film, Television, radio and multimedia
Industry trends
Tasmania has small, emerging film and television production and multimedia industries that
have definite potential for development as export industries. The film and television
industries consist of a number of small independent production companies that providing
content for existing television networks, undertake their own independent productions and
provide support services for productions outside of Tasmania. The local television industry
was affected by the creation of national television networks that transmit almost uniform
content across Australia leaving local stations with minimal production responsibility. Both
commercial television networks in Tasmania have restricted their local content to local news
bulletins, weekly recreational programs, sport broadcasting and local advertising.
Similarly the ABC utilises the same content nationally, with the exception of locally produced
news, the weekly current affairs program “Statewide”, some sport broadcasting and the
occasional locally produced series such as the “Collectibles” program.
However the television industry continues to provide local employment opportunities for film
and television production professionals.
In recent years there have been a number of successful independent productions that have
established Tasmania an excellent reputation for creative film making, in the areas of
documentary, short films and animation.
These include:
 Documentaries such as “Real Live Water Rats”, a four part series focusing on the
activities of Tasmanian Police’s Marine and Rescue Division, “Shacks”, a series focusing
on Tasmania’s unique coastal retreats and “The Oldest Living Tasmanian”, a
documentary about the Huon Pine and the history of its associated logging industry
 Short drama films such as “Dark Decisions” and “The Barn”
 Animated series such as “Hoota and Snoz”, “Ghostland” and “Dog and Cat News”.
Screen Tasmania, a division of the Department of Economic Development, is responsible for
developing the film industry in Tasmania and has a number of support programs and
initiatives in place which include:
 Entering into production partnerships with ABC and SBS television to link local film
makers with market opportunities
 Running a range of short courses and learning programs in partnership with the
Australian Film Television and Radio School and Wide Angle Tasmania in areas including
script development, screen business, cinematography, screen composition, sound and
television production.
 Holding a mentoring program for film makers.
 Providing funding for production, script development and professional development
opportunities.
 Organising film festivals that showcase local film productions such as the Antarctic Film
Festival and the Fractured Flicks travelling short film festival.
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Screen Tasmania is currently exploring future opportunities for Tasmanian film makers and
developing an Industry Plan for the next 5 years for growing the industry in the areas of
drama, documentary and animation.
The refurbishment of the Goodwood studios near Hobart in late 2005 has been a very
positive development for the Tasmanian film industry. The studios are currently being utilised
both as a production and training facility.
The basic training for film and television professionals is provided by vocational training,
with Certificate I and II courses offered in Media and Screen. Entry-level training through
VET in Schools for the film and television industry is provided by Rosny College, which offers
a broad range of Certificate I, II and III programs in film production. Launceston College
also offers Certificate II in Screen. TAFE Tasmania currently offers the Certificate IV in
Screen at its Launceston campus. There is no film production training held at University level.
The University of Tasmania offers a Bachelor of Arts (Media Studies) program, which has a
strong emphasis on journalism.
The Salamanca Performing Arts Certificate of Entertainment provides opportunities for
training that links to the performing arts, e.g. lighting, audio, technical skills, and stage and
production management. With increased hybridism across art form practice, these skills are
needed in Performing Arts, Film, TV and Video while technical skills are needed in Visual
Arts.
Wide Angle Tasmania is an educational, production and support organisation that offers
short courses in digital editing and camera techniques at beginner, intermediate and
advanced levels in partnership with Screen Tasmania. Wide Angle also promotes local
Tasmanian work, helping in the creation, production and screening of projects.
Screen Tasmania has identified a number of current skill shortages in the film and television
production industries in areas such as:







sound recording
film editing
directing and cinematography
film and television producers
scriptwriting and script and concept development,
e-marketing for film and multimedia, and
animation.
The success of Blue Rocket Productions is an excellent example of how small film production
companies can attain success in niche markets and is indicative of a growing and accessible
market for independent animated film productions and multimedia entertainment products.
The company has enjoyed considerable success in recent years, selling its animated
productions such as “Dog and Cat News”, “Hoota” and “Spikey Joe’s Truck” as well as a
range of animated mobile phone entertainment products and website content. Most recently
it sold “Pixel Pinkie”, a 26 part animated series to the Nine Network, which will commence in
March 2007. This production will require the company to employ 50 or more animators,
many of whom will require training. The company is considering the introduction of
traineeships to meet this skills demand.
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There is a small radio industry in Tasmania that could be best described as being a static or
contracting industry sector, with no particular skills shortages. There are a scattering of local
commercial stations in the larger cities such as Hobart, Launceston, Devonport and Burnie.
Nine of these stations are now members of the Macquarie Regional Network. This indicates
an increasingly networked commercial radio sector with programs and news bulletins often
sourced from interstate, leaving local advertising and local news as the main production
tasks for local stations. The ABC has a local radio presence in Hobart, Burnie and Launceston
and regularly conducts out side broadcasts state wide. The largest group of radio stations
in Tasmania belong to the not for profit sector, with fourteen members of Community
Broadcasters Association Australia in Tasmania. Of these four stations are based in Hobart,
three in Launceston and seven in regional Tasmania. These stations are characteristically
volunteer run with programming that focuses on particular community sectors, i.e. youth,
religious, general community including disadvantaged groups (migrant, disabilities).
Edge Radio is an independent community radio station based in Hobart and is Tasmania’s
only youth radio station.
Edge Radio engages over 100 volunteer presenters, producing more than 80 radio
programs every week. In addition to these programs, Edge Radio airs 5 hours of programs
produced by college students, providing training and radio experience for over 100 pretertiary students. To date, Edge Radio has created opportunities for over 500 station
volunteers. All training and development is delivered free of charge to our volunteers"
The stations offer short courses in production and presentation and opportunities for on-air
experience for volunteer presenters. The station partners with Colleges to embed training
services in School curriculum, and has student engagement projects with the University of
Tasmania’s Journalism and Media Studies course
Edge Radio is developing accredited training opportunities in 2007 through the Community
Broadcasting Association of Australia; who as a Registered Training Organisation, to deliver
the following courses on site (for a fee):
CUF20401
Certificate
CUF30301
Certificate
CUF40601
Certificate
TAA40104
Certificate
IV
Grants to cover training costs are
Foundation.
II
III
IV
in
in
in
Broadcasting
(Radio)
Broadcasting
(Radio)
Broadcasting
(Radio)
in
Training
and
Assessment
available through the Community Broadcasting
There is also a small emerging multimedia industry in Tasmania, which is taking advantage
of the increase in demand for digital content across a range of applications, including
educational, digital phone content, internet and website content.
New businesses
Recent developments such as the networking of commercial television and the outsourcing of
much production work previously done in-house has resulted in a growing number of small
independent production companies involved in motion picture production across Tasmania.
Screen Tasmania estimates that there are currently around 50 independent film production
companies.
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There is also a number of small, independent multimedia production companies scattered
around the state producing content for the Internet and mobile telephones, animation, digital
effects for film, games as well as being involved in high-end production.
Digital content is a global industry and there are larger Australian companies and small
companies specialising in niches pursuing both local and international work in the field.
Emerging technologies such as interactive television, broadband Internet, mobile telephones
and other wireless platforms offer new opportunities for multimedia firms.
New technology
The introduction of digital technology into film and television production and the rapid
development of this technology have made entry to the film and television industry far more
accessible than before. The relatively low cost of digital film cameras, computer editing
software and hardware has enabled new entrants to the industries to operate independent
of television networks and major production companies. Digital technology enables low
budget independently produced work of a high standard and has opened the market in an
unprecedented way.
Information and computer technology has also opened up new markets for filmmakers and
multimedia producers, as content can be marketed through the Internet or sent electronically
to clients anywhere in the world. Communication via the Internet also allows the sending of
content abroad through email of file transfer software with relative ease.
New technology has also created new demand for multimedia content such as digital phone
content, website development animation (electronic comics) and online games. There is also
a strong convergence of digital content including film, animation and electronic games.
Content may originate as a television series, develop into a feature film and later into an
electronic game. Convergence has major implications for future skills and future business
opportunities, with individuals increasingly working across a range of industries and market
segments.
Strategic priorities/directions
The Certificate and Diploma qualifications in Multimedia offered in Tasmania should be
continued to meet the large demand for animators and multimedia content.
The Diploma of Screen currently offered by Launceston TAFE should be retained as an entry
level qualification to meet the demand in film and television production for sound
technicians, cinematographers, producers and script writers. The Diploma could also be
offered in Hobart, where the facilities of Goodwood Studios could be further utilised.
Courses offered by the Australian Film, Television and Radio School (AFTRS), in partnership
with Screen Tasmania, are good professional development programs, which complement the
Diploma program.
Diminishing areas/skills
Screen Tasmania has identified the following areas of diminishing skills, also noting an
ageing workforce in the film and television production sector:
 sound recording
 film editing
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 directing and cinematography
 film and television production, and
 scriptwriting and script and concept development.
1.5 Writing
Industry trends
Writing is a small but important sector within the creative arts, with Tasmania having a
proportionally high number of authors (some 16% above national average) in a number of
areas, including literature (poetry, novel and drama), journalism and non-fiction and
technical writing. Tasmania has been long regarded as having produced many talented
writers who are recognised and respected locally, nationally and internationally. There are
a growing number of small independent publishers in the state. The Tasmanian literary
scene is showcased along with visiting writers in a high profile biannual event, Tasmanian
Living Writers Week, a series of literary events staged across all regions of the state.
Tasmanian Living Writers Week also features the Tasmanian Book Fair, a major showcase
for current Tasmanian authors. The development of Quintus Publishing, a partnership
between Arts Tasmania and the University of Tasmania, will serve to increase opportunities
for writers in the State.
The peak support body for creative writing in Tasmania is the Tasmanian Writers Centre, a
support and development body, having around 500 registered member writers in various
stages of career development. The Tasmanian Writers Centre’s overall aim is to promote
Tasmanian writing to local, interstate and international audiences. The Centre provides a
range of services and activities to assist writers in important developmental stages of their
careers. These include:
 Assistance in developing members' applications for writer's grants;
 Assistance and advice on how to approach publishers, agents, and other professional
references;
 Organising writers workshops and professional career and business training seminars
around the state
 Presenting literary events and promoting other events such as book launches and readings
involving both Tasmanian and visiting writers
 A manuscript assessment service
 Mentorship’s for Tasmanian Writers based in regional areas
 Profiling Tasmanian writers and promoting books currently in print
 Linking local authors with publishers, funding bodies, magazine, writers groups, and other
relevant sites;
 WRITAS - the TWC members' newsletter, posted six times a year, and
 Management of a writers’ residence program throughout Tasmania.
There is also a network of 12 local writers groups across the state based in centres as
diverse as St Helens, Deloraine, Bridport, Zeehan, Cygnet and Burnie. The traditional
training for professional writers in Tasmania is the Bachelor of Arts majoring in Journalism,
Media and Communication. There are also Graduate Certificate, Diploma and Masters
Degrees.
In 2007, the Ten Days on the Island Festival will offer mentorships in association with Real
Time in critical writing for the performing arts. While there are no accredited VET courses in
professional writing endorsed for delivery in Tasmania, there are several accredited courses
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developed in South Australia, Victoria and the Northern Territory that the Tasmanian
Writers Centre have identified for possible delivery in Tasmania.
These are:
 Certificate III in Creative Writing (14780NT)
 Diploma in Arts (Professional Writing) (40507SA)
 Advanced Diploma in Arts (Professional Writing) (40506SA)
 Certificate IV in Professional Writing and Editing (21674VIC)
 Diploma in Professional Writing and Editing (21675VIC)
Through internal research undertaken by the Tasmanian Writers Centre; the following skills
shortages in the professional writing sector have been identified:
 Technical writing skills
 Self promotion, presentation and pitching skills
 Digital design and layout skills
 E-marketing skills.
New businesses
It is difficult to quantify the exact numbers of authors in Tasmania, though their numbers
appear to be growing. The Tasmanian Writers Centre reports that its membership has been
rising steadily from 120 members in 1997 to 500 members in 2005. There has been some
attrition of memberships coming from more advanced or successful writers who no longer
feel the need for support provided by the Centre.
New technology
Information technology has had a profound effect on the writing sector, providing new
opportunities for self publishing, promotion and marketing. Computer technology has
enabled writers to self publish using desktop publishing or other software and achieve high
quality professional results previously only attainable through a professional publishing
house. Self publishing also provides writers with editorial control of their work.
Computer technology also enables writers to sell their work independently via the Internet.
The Tasmania Writers Centre has been assisting members with new developments in digital
publishing and Internet marketing opportunities by providing advice and holding workshops
and seminars in these areas.
Strategic priorities/directions
The writing sector is an emerging niche industry that appears to be well served by a series
of development and support programs offered by the Tasmanian Writers Centre.
There is currently no VET program endorsed for delivery in Tasmania that could support the
development of the industry and its practitioners. The endorsement of creative writing
courses for emerging writers (which have already been approved in other states) will make
them more accessible in Tasmania. The other key areas for development are improving
business and marketing skills of individual writers and providing training in all aspects of
self publishing.
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Diminishing areas/skills
There do not appear to be any critical areas of diminishing skills in the writing sector.
1.6 Cultural Festivals
Industry trends
Cultural Festivals are an integral part of the growing event industry in Tasmania. Around
4,000 events are staged in each year, which attract significant local and interstate tourist
interest. 31,100 event visitors came to Tasmania in 2004 – 2005, returning an economic
benefit of $32.66 million. The annual calendar of events includes major state wide cultural
festivals such as Ten Days on the Island, Tasmanian Living Artists Week and Tasmanian
Living Writers Week, through to well established sector specific festivals such as the
Tasmanian Craft Fair, The Deloraine Youth Drama Festival, Devonport, Clarence and Sun
Coast Jazz Festivals, The Falls Festival, Cygnet and Rosebery Folk Festivals, Forth Valley
Blues Festival, The Bothwell Spin In and The Mural Fest. The highest group of festivals are
themed localised events such as village fairs, festivals and agricultural shows; these range
from the large Taste of Tasmania in Hobart through to the Zeehan Gem and Mineral Fair.
While some of these festivals are themed along cultural lines many are now looking to the
arts to enliven and re-invigorate long established events.
The economic, social and cultural value of events are recognised by the state Government,
which has programs and incentives in place to attract major high profile events to Tasmania
and help develop existing and new events. Events Tasmania is the government’s event
development agency, which has a leadership role in attracting and retaining events,
growing and developing the events industry, and providing access to current event research
and information. Events Tasmania also undertakes 10 year strategic plans to set priorities
for further industry development.
The current strategic plan has the following strategic goals:
 Cultivating effective client and stakeholder relationships
 Growing a sustainable event industry
 Fostering a continuous learning culture to meet future challenges
 Committing to transparent and accountable work practices.
Cultural festivals should be viewed as part of the cultural landscape of Tasmania and form
part of the cultural tourism package that attracts many visitors to the state. Events and
cultural festivals in particular have high involvement of volunteers in both the management
and basic running operations. Skills shortages have been identified among the many
volunteers, who often lack professional event development and management skills.
New businesses
New businesses in this area are new organisations that are formed when a concept for a
new event emerges and that concept is given community, business and government support.
Many event based organisations are community driven and the majority of the work is
carried out by volunteers, under the direction of professionals.
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New technology
There are information technology applications that can be utilised in event management,
starting at project management software, through to use of the Internet as a promotional
tool to draw a larger audience.
Strategic priorities/directions
The introduction of Ten Days on the Island highlighted a skills shortage in many aspects of
festival management and event production generally in Tasmania. The training of
professional event organisers and managers is a priority, given that the success of these
events depends upon a strong creative direction, smooth running and professional
management and organisational skills. The Certificate IV in Event Management is one
professional qualification applicable to the field and is being delivered through a number
of providers. This course is critical to the continuing growth of this sector and should be
maintained with the incorporation of flexible learning options.
Because of the high number of volunteers involved in running an event, it is also
recommended that flexible delivery of event management programs be considered. The
Creative Volunteering course has been developed especially to assist in this area, however
there is limited roll out and as already stated volunteers are generally time poor and can
be reluctant to pay for training.
Diminishing areas/skills
No diminishing skills
1.7 Libraries
Industry trends
The library sector in Tasmania mainly comprises the State Library of Tasmania and its
network of community libraries. The other significant libraries are:
 The University of Tasmania libraries
 TAFE Tasmania libraries
 State Government department libraries
 Law libraries such as The Department of Justice, Supreme Court, Magistrates Court and
Law Society of Tasmania libraries and the Integrated Law Library Service, and
 School libraries and Department of Education resource collections.
The library sector has largely been dependent on Government funding to provide a service
for the general public. The traditional role of libraries has been the acquisition, collection,
organisation, conservation, archiving and loan of printed materials such as books,
periodicals, manuscripts, maps and sheet music. The arrival of new digital information
technologies has expanded the role of libraries as providers and managers of information
in digital form, which has required a whole new range of skills and services.
Some industry figures are predicting a significant decline in the use of traditional print
media and a further transformation of libraries into providers of digital information and a
range of cultural services.
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Training for the library sector is provided by the Museums and Library/Information Systems
Training Package and since 2003, the Graduate Diploma in Information Management has
been offered at the University of Tasmania. The Australian Library and Information
Association (ALIA) is the professional association for librarians and library technicians which
also has a professional development scheme and organises on going professional training
and development programs and events.
Currently attrition rates in the industry are very low (less than 5%), but the average age of
library workers is just over 50 years of age, and a shortage of librarians is anticipated
within 5 - 10 years, when the current generation of librarians start retiring.
New businesses
As libraries are largely government funded community service organisations, there has been
little growth in the state library system in the past few years and employment numbers in the
industry have remained fairly static. However libraries are moving into other areas beyond
collection management and are now involved in a range of services including:
 Early literacy programs
 Online access centres
 Electronic delivery of services
 Providing community spaces for exhibitions and events
It is anticipated that print media will become less of a focus, as the use of digital media
becomes increasingly widespread and users access information online rather than visiting a
library. However libraries will continue to play an important role as community service and
cultural centres, especially for the ageing population (including retiring baby boomers) and
as resources for adult education and lifelong learning activities.
New technology
New information technology such as digital information delivery has already had an impact
on library services and training programs have been redesigned to teach new technical skills
and management skills. As libraries become more integrated with community online access
centres, more Information Technology (IT) skills will be required by library staff.
Strategic priorities/directions
The State Library of Tasmania has indicated that existing qualifications have enough
flexibility to meet foreseeable training needs; however the anticipated shortage of
librarians within the next 5 to 10 years should be noted. Existing VET programs should
therefore be maintained to avoid future skills shortages. The expansion of libraries in
to other community cultural services will require further training of staff in areas such as
customer service skills, event management, public speaking, presentation skills, exhibition
management and curator skills.
Diminishing areas/skills
There are no areas of diminishing skills at present. As mentioned earlier, there is an
anticipated shortage of skilled librarians and library technicians within the next 5 to 10
years, as the current generation of staff commence retirement.
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1.8 Museums & Cultural Heritage
Industry trends
There is a small museum sector in Tasmania, made up of large public government funded
museums, together with numerous smaller, community run museums across various parts of the
state. There are two larger public museums the Tasmanian Museum and Art Gallery in
Hobart and the Queen Victoria Museum in Launceston. In recent years there have been
funding cutbacks and staff numbers have remained static.
The smaller community based museums staffed almost entirely by volunteers and are
dependent upon local community support for their existence. Whilst many are based on a
genre (eg: Wonders of Wynyard, Don River Railway Museum, Zeehan Museum,
Beaconsfield, Pearn’s Steam museum at Westbury, Callington Mill at Oatlands); others focus
on a local history theme (eg: Bligh Museum of Pacific Exploration on Bruny Island, Circular
Head Heritage Centre, Kentish Museum, St Helens History Room). The museum sector has
recently seen an increase in activity due to the overall increase in tourism in the state, which
has meant an increase in workload which has not been matched by increased funding or
paid staff.
The Small Museums and Collections Panel of the Tasmanian Arts Advisory Board has, in
2006, commenced its Roving Curator Program. This part time service travels the State and
provides professional museum management skills to volunteer-run community museums in
areas as diverse as cataloguing and the design of public programs.
Cultural Heritage refers to a range of activities such as:
 the management of historical buildings and sites,
 the activity of guiding and cultural interpretation, which can take place across a range of
locations including museums, historical buildings and national parks.
The Port Arthur Historic site has been a tourist destination for more than a century and now
attracts more than 250,000 visitors a year. They have a professional based staff and are
recognised nationally for excellence in heritage management practices. There are also
many historical buildings and sites elsewhere across the state, which attract considerable
interest from tourists and their management is part of the Cultural Heritage area. The
National Trust (Tasmanian Chapter) owns a number of historical sites across the state. It has
a small professional staff with a large volunteer base and is exploring business
opportunities and innovative ways of capturing some of the cultural tourism market. The
cultural tourism sector has seen the development of more creative and arts inspired
interpretation practices and businesses and the involvement of artists and performers
creating new tourism experiences and products. A good example of this is interactive
performances about Tasmanian flora and fauna on the Spirit of Tasmania by cultural
interpreters.
VET training for the sector is currently available through the Certificate III, IV and Diploma in
Museum Practice. Both the Academy Gallery in Launceston and Contemporary Art Services
Tasmania in Hobart are offering curatorial programs that involve the training of curators.
However no Museum Studies programs are offered at University level and can only be
obtained by distance education at interstate universities.
VET qualifications are also available in guiding Certificate III & IV in Tourism (Guiding).
Interpretation and guiding accreditation is currently being examined by Interpretation
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Australia, the organisation dedicated to the advancement of the profession of heritage
interpretation.
Tourism Tasmania longitudinal studies acknowledge heritage along with wilderness and wine
and food as the key drivers of tourism in Tasmania; and that tourists expect a combination
of all three experiences. Museums and sites are the primary avenues for heritage based
experiences.
Heritage sites and museums are therefore under pressure to deliver high quality and
professional experiences and services. This is reliant on adequately trained staff, many of
whom are volunteers.
New businesses
The museum and cultural heritage sector has been fairly static in recent years, though there
has been increased interest in the sector through the increase in tourism. A recent innovative
development has been a small number of creative tour operators and cultural interpretation
businesses, where guides use creative skills to provide tourists with a unique interactive
tourism experience. Actors and playwrights are also being employed in these new cultural
interpretation activities.
New technology
New developments in information technology enable museums and historical sites to create
digital displays to complement or even replace conventional exhibits. Curators trained in
conventional museum studies require a range of skills to be able to prepare digital displays.
Technology offers the possibility of creating new tourism products such as interactive CDROMs and soundscape recordings for tourists.
Strategic priorities/directions
Training priorities for the museum and cultural heritage sector should be seen in terms of
assisting a small sector that has limited resources and also has a significant volunteer
workforce. Training of museum managers and curators in financial management is a priority,
and short training courses would best address this need. Training and accreditation for
volunteer workers is also a priority to enable them to contribute to the sector in a more
professional way.
Diminishing areas/skills
There are no diminishing skills in this sector at present. However the museum sector also has
an ageing workforce and will need to attract new entrants over the next 5 to 10 years.
1.9 Community Cultural Development
Industry trends
Community Cultural Development (CCD) is a broad term covering a large range of cultural
activities and projects that enrich communities and build social capital.
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It may involve building creative skills, providing an opportunity to tell local stories or
applying aspects of the arts to health and well being projects to assist rehabilitation or
promote healthy lifestyles. CCD is strongly focused on skills transfer and collaboration
between professional artists and community participants and can take place in any art form.
Projects can range from the creation of public art, cultural events and operation of
community based cultural interest groups. CCD projects can focus on the general community
but often are directed at marginalised and disadvantaged communities with special needs
such as people with disabilities, youth, Indigenous and new migrants.
Some of the main players in Community Cultural Development (CCD) in Tasmania are:
 Tasmanian Regional Arts, the peak state-wide body, which supports CCD infrastructure
and programs – focus areas include: youth, wellbeing, people with a disability and
people in regional areas.
 Kickstart Arts is a community focused arts company that emerged from the Tasmanian
Trades and Labor Council (TTLC) Arts Officer program that produces community
collaborative projects that conceptually link art and cultural issues with the agendas of
other sectors such as health, new migrants and youth.
 BIG hART is a national organisation with project activities in Tasmania working to reengage marginalised communities and individuals through arts-based projects.
Tasmania has some of the most disadvantaged communities in Australia and this has wide
economic and social implications. As a result CCD is becoming increasingly important as a
proven tool for educating and promoting awareness of social issues including risk taking
behaviour, lifestyle illness, and even OH&S.
New businesses
There is an increased awareness and recognition of the broader applications of art in
community development work and health and wellbeing programs. Government agencies at
all levels are showing a willingness to employ people with arts backgrounds to work in
community development and health and wellbeing roles. This has resulted in the growth of
jobs in this area. Artists with appropriate facilitation and communication skills have also
been obtaining work in CCD projects.
New technology
Advances in computer technology such as digital imagery, film and music recording has
opened up new ways of facilitating community projects and telling stories. New technology
has also led to the creation of new art forms particularly in the youth area. These include
v-jaying (combined sampling of music and images) and Zines (street magazines).
Strategic priorities/directions
As the demand for suitably skilled CCD workers increases, the availability of suitable
training is a priority.
CCD workers have predominantly trained as artists with limited opportunities for further
study available in Tasmania. Post graduate diplomas via distance education are available
in NSW, Victoria and South Australia.
Research conducted by the Tasmanian Arts and Health network has identified priority areas
of skills needs these include: arts / health specific project design (such as integrating health
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and wellbeing determinates and reflecting on best practice wellbeing models);
management (including protocols for working with different target groups and in health and
community settings), and evaluation techniques for linking arts and health outcomes.
The network has been conducting workshop based skills development over the last three
years but strongly feels that there is a need for accredited training in the area of CCD.
Diminishing areas/skills
There do not appear to be any critical areas of diminishing skills however there is a
shortage of appropriately skilled arts workers to run CCD projects.
1.11 Arts Support Agencies
Industry trends
There are three key arts support agencies in Tasmania, Arts Tasmania, arts@work and
Tasmanian Regional Arts. All three agencies are working to develop the arts industries and
activities across the state. Other arts organisations also provide industry support roles across
a number of art forms and sectors. These include Salamanca Arts Centre, KickStart Arts
(located in Hobart) and Arts Alive in Launceston.
Arts Tasmania develops and supports the arts sector in Tasmania and fosters increased
opportunities for all Tasmanians to access and engage in the arts and cultural activities. It
advises on and implements cultural policies, administers cultural funding and delivers
programs that support arts and cultural development for Tasmanians. It does not however
have responsibility for screen industries, libraries and heritage (with the exception of
regional museums).
arts@work is the industry development arm of Arts Tasmania, and works closely with artists
and organisations to foster commercial opportunities for Tasmania’s professional artists,
craftspeople and designers.
Tasmanian Regional Arts (TRA) is the peak Regional Arts and Community Cultural
Development organisation in Tasmania, is over 50 years old and has a membership of 26
community based branches servicing regional communities in Tasmania in three program
areas: Arts Plus - Network development and leadership in community based arts through
youth, wellbeing & community activities, Arts 2U - Audience development in regional areas
through Visual & Performing Arts Touring and Arts Assist - Artist development in regional
areas through Regional Arts Fund Grants & Arts Training.
The Tasmanian Arts Advisory Board works through Arts Tasmania to develop the Tasmania
Together vision for the arts and cultural sector. It does this by strategic planning, policy and
programs that contribute to a creative, inclusive and sustainable society. The Board
manages the Government’s funding assistance programs to artists and arts organisations
and provides objective and informed advice and support to the Minister for Tourism, Arts
and the Environment.
Australian Business Arts Foundation (AbaF), is a Commonwealth funded organisation that
works with both arts organisations and artists, business and the philanthropic sector to
promote support for the arts and has three programs to assist arts organisations build
strategic relationships and sustainability.
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New businesses
There is an expansion of the work undertaken by arts support agencies, driven by the
increasing interest in the creative industries and the arts at a community and state-wide
level.
New technology
Advances in technology have made it increasingly easier for agencies to support the
industry. The development of e-bulletins, web pages with resource downloads and browser
based databases are particularly important. There is an expectation that arts support
agencies acquire skills in use of technology that can be passed onto industry.
Strategic priorities/directions
Business management skills are important to the ability of arts support agencies to develop
the industry. These skills are required by the organisations in their own management process
but are particularly important in order for these organisations to pass on skills to the
industry.
Due to changes in funding arrangements there is more demand on staff to enhance financial
management skills and better manage resources. There is an increasing demand for staff to
be multi-skilled and cover a number of roles. This has also led to the need for advocacy
skills (including lobbying for funding and media training). These skills are particularly
relevant for the arts support organisations that tend to have umbrella advocacy roles across
the industry as a whole.
The development of an Advanced Diploma in Arts Administration might include competencies
in advocacy, financial management and advanced project management.
Diminishing areas/skills
No diminishing skills
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Part 2
Skill shortages
The arts industry in Tasmania represents a diverse range of labour intensive activities. Skills
shortages exist across a range of sub-sectors:
Performing Arts






Theatre production management skills
Performance development skills
Marketing and e-marketing skills
Puppetry skills
Circus trainers
Street performer skills
Visual Arts
 Business and financial management skills
 Self promotion and presentation skills
 Curatorial skill
Music
 Business management skills particular to the contemporary music industry
 Marketing and e-marketing skills
 Sound engineering skills in digital technology
Film, Television, radio and multimedia





Sound recording
Cinematography
Film production
Script development and writing
Animation
Writing
 Website development and e-marketing skills
 Business management skills, as applicable to creative writing
 Presentation and self promotion skills
Cultural Festivals
 Event management from concept development through to logistics of events
 Community cultural development skills
Libraries
 No specific shortages at present, but due to an ageing workforce, there is an expected
shortage of librarians and library technicians expected over the next 5 to 10 years
Museums and Cultural Heritage
 Administration, business and financial management skills
 Curatorial skills
 Interpretation skills
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 Multimedia and IT skills for multimedia displays
 Business and marketing skills, including e-marketing
 Multimedia and IT skills to work with multimedia interpretation tools
Community Cultural Development
 Business management skills
 Arts and wellbeing specific project design
 Project management and facilitation (including protocols for working with different target
groups)
 Evaluation techniques for linking arts and wellbeing outcomes.
Arts Support Agencies
 Business management skills
 Project management skills
 Advocacy skills
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Part 3
1
Industry demand for training
Performing Arts
Characteristics of the existing workforce
The Performing Arts comprises of a variety of performers, such as actors, dancers, singers,
with varying degrees of base level training including university, VET, on the job, and short
courses.
Normal drivers of training demand in this industry group
The normal drivers of training in this field are:
 Growth in business activity, changes in Occupational Health and Safety regulations, risk
management issues arising out of insurance requirements – all of which demand higher
level arts production management skills.
 Professional and artistic development of individual performers and production staff.
Changes occurring in demand for training
The increased numbers of festivals and community entertainment events has created a
demand for a variety of performers such as street performers, performers with circus and
acrobatic skills. There is also a demand for higher level training in dance, as the dance
course is no longer offered by the University of Tasmania’s School of Visual and Performing
Arts in Launceston.
Changes required to the nature of training
Any training in arts administration will require a measure of flexibility.
The target market for training
 For performers: School leavers and persons up to 35 years of age
 Persons of all ages: for theatre production management and technical training
Numbers of people that need to be trained
10 persons per year over the next 3 Years (in Adv Dip of Arts Administration)
25 persons per year over the next 3 years (in Cert IV in Entertainment – Salamanca Arts
Centre SPACE program)
Comments on any government funded training provision in excess of local
industry needs
Not applicable
Recommendations for the appropriate response by the training system
 That existing Certificate IV in Arts Administration be continued to be funded as it provides
a generic arts administration stream relevant to all art forms, which includes planning,
financing and marketing.
 That the Arts Administration program is expanded for delivery at the Advanced Diploma
level incorporating competencies in advocacy and advanced project and financial
management to enable workers in the performing arts obtain the necessary administrative
and management skills.
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 That the Certificate IV in Entertainment delivered by the Salamanca Arts Centre (SAC) be
continued to meet existing demand for skills in technical and production aspects of the
performing arts. SAC had indicated a willingness to expand their training scope into
performance areas and this would be of great benefit to the sector (their diploma
program, offering a performance stream commenced in 2007).
 That Certificate III in Circus Training be accredited and made available in Tasmania to
meet the demand for circus and street performers as well as circus trainers.
Information on training demand being met outside the Tasmanian public
system
The University of Tasmania’s School of Visual and Performing Arts in Launceston offers a
Bachelor of Contemporary Arts majoring in theatre.
National Institute of Circus Arts (NICA) Melbourne & CircArt Wellington, NZ offer programs
for training circus professionals such as the:




Bachelor of Circus Arts
Gradual Certificate in Circus Instruction
Short Courses
Social Circus Workshops
Tasdance and Stompin Youth Dance Co both conduct regular community dance training in
Launceston and regional areas such as a summer school in Hip Hop and contemporary
dance.
There are numerous community based one-off workshop activities occurring, which are
funded through different grant programs, including the Regional Arts Fund which is
administered by Tasmanian Regional Arts. Examples of skills development programs in
niche areas include:
 Clown training – 1 week of master classes plus community workshops for women
 Sprung – Tas Dance regional dance workshop series for 10 disadvantaged communities
 Slipstream Circus – development project – developing repertoire, expanding skills,
building partnerships
Additional industry advice not directly related to industry demand for
training
Public liability insurance is a potential constrictor of this sector especially in the areas of
dance and circus. A government facilitated approach to collaborative insurance brokerage
for community organisations may assist in this area.
2
Visual Arts
Characteristics of the existing workforce
The visual arts sector has a diverse range of artists from different backgrounds working in
many different media. The main demographic groups are:
 Young formally trained artists (either VET or university) with some business awareness and
skills
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 Local long established artists who have well developed artistic skills but limited or no
business skills
 Middle aged sea changers / tree changers who move to Tasmania for a lifestyle change
and either take up artistic pursuits for the first time or continue existing activities
 Retirees who have recently taken an interest in the arts and pursue their craft more as a
hobby
While the younger artists are keen to learn about business and apply business principles to
their creative activities, older artists do not share the same propensity for business learning
as their younger counterparts.
Normal drivers of training demand in this industry group
The normal drivers for training in the visual arts are professional and artistic development.
Changes occurring in demand for training
While there is an increasing awareness of business realities among visual artists, there
continues to be a low level of practical business skills. Visual artists are being encouraged to
take up business skilling and training.
Changes required to the nature of training
Short courses and workshops are the most suitable forms of business training for visual
artists, especially the older visual artists who make up a significant portion of the
population.
The target market for training
The target market is quite varied, as people chose to enter the visual arts at different ages.
There is no particular target market for general visual arts training such as the VET
qualifications in visual arts. The target market for arts specific business training is people
from all age groups.
Numbers of people that need to be trained
10 persons per year over the next 3 years (in Advanced Diploma of Arts Administration)
Comments on any government funded training provision in excess of local
industry needs
Not applicable
Recommendations for the appropriate response by the training system
 That existing VET qualification programs in the visual arts should continue to be offered, to
ensure that there continues to be a supply of developing artists.
 That short courses on curating and artist specific business skills be developed and offered
through the VET system. Courses could be based on units within the existing visual arts
qualifications or units contextualized for the industry from other packages such as Business
Services, Tourism, Entertainment, Information Technology or Financial Services
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 That existing Certificate IV in Arts Administration be continued to be funded as it provides
a generic arts administration strand relevant to all art forms, which includes planning,
financing and marketing.
 That the Arts Administration program is expanded for delivery at the Advanced Diploma
level incorporating modules in advocacy and advanced project and financial management
to enable workers in the performing arts obtain the necessary administrative and
management skills.
Information on training demand being met outside the Tasmanian public
system
Business information resources for artists have been developed by some government
agencies to assist artists with business and financial planning, marketing, exporting and
other aspects of running a business (eg: Queensland Government’s “The Creative Business
Toolbox”) There are numerous community based workshop activities occurring, which are
funded through different grant programs, including the Regional Arts Fund which is
administered by Tasmanian Regional Arts.
Examples of skills development programs in niche areas include:
 Pastel Art Workshops initiated by the Country Womens Association, Herrick
 Taiko Drumming workshops – 5 weekend workshops in Burnie to teach people the art of
making drums – part of a community drumming project.
 Metal casting mentorship – to explore cast metal for sculpture and architectural furnishings
 Printmaking workshops for women
Additional industry advice not directly related to industry demand for
training
There has been a cutback in visual arts programs offered through TAFE in recent years. The
University of Tasmania’s School of Visual and Performing Arts in Launceston has become a
major provider of training in the visual arts and offers a Bachelor of Contemporary Arts
majoring in visual arts (two dimensional and three dimensional studies – in a range of media
including ceramics, glass, drawing, painting, printmaking, photography and culinary design).
3
Music
Characteristics of the existing workforce
The music industry is a mixture of young aspiring musicians and groups, established rock and
jazz performers. There is also a small population of working classical musicians, of which the
most visible are the Tasmanian Symphony Orchestra.
Normal drivers of training demand in this industry group
Normal drivers of training demand for the music sector are basic training in music and
ongoing artistic development such as improving musicianship, as well as keeping up with
advances in technology.
Changes occurring in demand for training
There is a strong demand for training music industry support professionals, of which there
has traditionally been a great shortage in Tasmania.
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Support professionals include managers of musicians and musical groups, music marketers
and promoters and technical assistants. Entrepreneurial skills need to be developed that
are relevant to current market trends and the marketing of contemporary music
internationally via the internet, music portals such as myspace.com and other e-marketing
tools.
While it would be desirable for musicians to have an awareness of different aspects of the
music business, the nature of the industry requires support professionals such as managers,
marketers and Intellectual Property lawyers to work with musicians.
Changes required to the nature of training
The introduction of the Certificate IV in Music Industry (Business) would enable the base level
training of music support professionals. The content of the program would need to be up to
date with current developments in the music industry.
The VET program could be
complemented with mentoring programs to provide practical support for trainees.
The target market for training
There is no specific target market for training music support professionals, as people of all
ages and backgrounds are involved in the creation and marketing of music. However, music
teachers (both individual tutors and school teachers) could be targeted for this training.
Numbers of people that need to be trained
20 people per year over the next 3 years, in Cert IV in Music Industry (Business)
Comments on any government funded training provision in excess of local
industry needs
Not applicable
Recommendations for the appropriate response by the training system
That the Certificate IV in Music Industry (Business) be made available in Tasmania with 20
places per year over the next 3 years, to provide entry level training for music industry
support professionals.
Information on training demand being met outside the Tasmanian public
system
The University of Tasmania’s School of Visual and Performing Arts in Launceston offers a
Bachelor of Contemporary Arts majoring in contemporary music (rock and jazz).
The Conservatorium of Music offers a wide range of music studies. Qualifications offered in
addition to those purely in music studies include:
 Bachelor of Information Services and Bachelor of Music (targeted at those seeking to
work in multimedia)
 Bachelor of Music Teaching
 Bachelor of Music and Bachelor of Law, and
 Bachelor of Arts and Bachelor of Music.
Tas Music has been holding music information sessions and music industry workshops as part
of their support for local musicians. Some of these sessions are scheduled as part of the
Amplified Music Showcase that commenced in 2005.
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Musical training has been traditionally conducted by private tutors and in high schools and
colleges. Newstead College holds a rock music summer school in January. Youth Music
Tasmania has been holding two music camps for youth each year for the past 20 years.
Additional industry advice not directly related to industry demand for
training
Innovation and Business Skills Australia (IBSA) have been looking at redeveloping and
improving existing units and qualifications in music as part of their 2006 Cultural Industries
Projects. Some of the main changes being made include packaging units at no more than
two AQF levels, reducing duplication within and between units and embedding relevant and
appropriate employability and essential skills in units. Feedback on draft units and
qualifications was sought until mid December 2006, following which, the units would be
submitted to the National Quality Council for endorsement.
Tas Music is currently working on an industry development plan focused on assisting young
musicians and groups get to market and will be seeking Commonwealth Government funding
to implement the plan.
4
Film, Television, Radio and Multimedia
Characteristics of the existing workforce
Much of Tasmania’s film, television and multimedia workforce are working in small,
independent production companies providing content for larger organisations. These
people will be seeking their own work and business opportunities and have some
entrepreneurial skills and flair. At the same time they will be highly skilled in their own
particular craft or art. There is a small television industry employing limited numbers of
production staff. There is also a small radio sector employing small numbers of production
and on-air staff.
Normal drivers of training demand in this industry group
For those in technical roles, the normal drivers of training in these industries is the acquisition
of basic technical skills to be a technical operator, and ongoing professional development to
keep pace with new and changing technologies in the field.
For those in creative roles, the drivers are again learning particular skills to carry out a
particular role eg: scriptwriter, director, cinematographer, and ongoing professional
development to enhance one’s basic skills.
Changes occurring in demand for training
Changes in the demand for training have occurred because of:
 The restructuring of the film and television industries, with the outsourcing of work, enabling
producers to operate as small independent production companies
 The introduction of digital technology, which has slashed production costs and created
opportunities to enter the film and television as an independent producer / operator
Changes required to the nature of training
Current training arrangements appear to be meeting the needs of the sector.
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The target market for training
School leavers seeking to continue their training in film, television, radio and multimedia.
Numbers of people that need to be trained
Exact numbers cannot be determined at this stage.
Comments on any government funded training provision in excess of local
industry needs
Not applicable
Recommendations for the appropriate response by the training system
It is recommended :
 that a Diploma in Screen program be considered for delivery in Hobart, to expand the
program already available in Launceston
 that qualifications in Multimedia be continued to meet the demand for entry level skills for
this growing industry
Information on training demand being met outside the Tasmanian public
system
The Australian Film, Television and Radio School in partnership with Screen Tasmania offers
a series of short courses for film makers in areas such as script development, screen business,
cinematography, screen composition, sound and television production. These courses build
on basic skills and should be seen as professional development programs and not substitutes
for base level VET qualifications.
Additional industry advice not directly related to industry demand for
training
Innovation and Business Skills Australia (IBSA) have been looking at redeveloping and
improving existing units / qualifications in digital content, film, television and radio as part
of their 2006 Cultural Industries Projects. Some of the main changes being made include
packaging units at no more than two AQF levels, reducing duplication within and between
units and embedding relevant and appropriate employability and essential skills in units.
Feedback on draft units and qualifications was sought until mid December 2006, following
which, the units would be submitted to the National Quality Council for endorsement.
Screen Tasmania appointed a new director in late 2006 and commenced work on a 5 year
development plan for the local film industry.
5
Writing
Characteristics of the existing workforce
There is a diverse group of writers in Tasmania, working in a range of genres, from fiction
(poetry, novels and plays) through to historical and technical writers as well as journalists.
Writers have different approaches and expectations, in that some aspire to make a living
from their craft and seek a range of income earning opportunities such as freelance
journalism and teaching. Others are hobbyists who may work in other professions, but have
a creative impulse to write. Writers also come from a range of educational backgrounds
and age groups.
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In Tasmania, writers are supported by a range of development programs and short courses
offered by the Tasmanian Writers Centre in areas such as self promotion, writing proposals
for publishers and agents, business and career planning, self publishing as well as writing
skills.
Normal drivers of training demand in this industry group
The normal drivers of training for writers can be described as different aspects professional
and career development, such as improving writing skills, business development and
personal presentation skills.
Changes occurring in demand for training
Personal computers, publishing software and the Internet have made self-publishing much
cheaper and an increasingly viable option for writers. This has led to a demand in training
for desktop publishing and e-marketing skills.
There is also a greater awareness of the business realities of publishing among authors, and
what skills and processes are required to become a successful writer, partly due to the
efforts of Tasmanian Writers Centre in promoting business awareness. Writers are seeking
specific business training such as business planning and self promotion skills to prepare
themselves for breaking into the public arena and the publishing market.
Changes required to the nature of training
Currently there is no VET qualification for professional writing and editing recognised in
Tasmania. The University of Tasmania offers degree and post graduate programs in
Journalism and Media Studies, which are the only formal qualification for writers in the
State.
The target market for training
Anyone who is interested in pursuing creative writing.
Numbers of people that need to be trained
Cannot be ascertained.
Comments on any government funded training provision in excess of local
industry needs
The University of Tasmania through its School of English, Journalism and European
Languages, offers bachelor degree, graduate diploma and masters degree studies in
journalism.
Recommendations for the appropriate response by the training system
 That accredited VET courses in professional writing and editing accredited in other states
be considered for accreditation in Tasmania, as there is currently no VET qualification for
professional writing endorsed for delivery in Tasmania. These courses include:
o 40507SA Diploma in Arts (Professional Writing), accredited in South Australia
o 40506SA Advanced Diploma in Arts (Professional Writing), accredited in South
Australia
o 21674VIC Certificate IV in Professional Writing and Editing, accredited in Victoria
o 21675VIC Diploma in Professional Writing and Editing, accredited in Victoria
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Information on training demand being met outside the Tasmanian public
system
The Tasmanian Writers Centre offers 3 writing courses of 10 months duration, and between
15 to 20 one-day workshops per year as well as online workshops, all on a user-pays basis.
Areas covered include business planning, self promotion and pitching skills and aspects of
self publishing. The Centre also has a mentor program for regionally based writers.
Additional industry advice not directly related to industry demand for
training
Not applicable.
6
Cultural Festivals
Characteristics of the existing workforce
Cultural festivals are predominantly staffed by seasonal professionals and on-going
volunteers with some use of specialist consultants.
Normal drivers of training demand in this industry group
The normal drivers of training in this field are the growth in event activity and funding
programs targeting event professionalism.
Changes occurring in demand for training
The increase in activity and changes in public liability insurance coupled with increasing
audience expectation has created a need for formal event management training.
Changes required to the nature of training
Training should be made as flexible and project driven as possible to cater for the large
number of volunteers in this sector.
The target market for training
Seasonal professionals and volunteers of all ages.
Numbers of people that need to be trained
It is estimated that as many as 200 volunteers per year need training in this area.
Comments on any government funded training provision in excess of local
industry needs
Not applicable
Recommendations for the appropriate response by the training system
 That the Diploma in Events management courses currently offered by TAFE Tasmania
(Drysdale) be maintained and extended to include project specific and flexible delivery
options.
 That Creative Volunteering be made available widely to enable volunteers working on
cultural events and festivals benefit from the skills taught in the program to better manage
events.
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 That the Creative Volunteering course be assessed with the view to realign the existing
modules with a Certificate III Qualification.
Information on training demand being met outside the Tasmanian public
system
Not applicable
Additional industry advice not directly related to industry demand for
training
Not applicable
7
Libraries
Characteristics of the existing workforce
Library workers are largely professionally qualified, either through a post graduate
Diploma of Library and Information Science or the VET qualification, the Diploma of Library
and Information Services. The VET qualification is considered to be an entry level
requirement. The Australian Library and Information Association (ALIA) offers an ongoing
professional development program to enable librarians to update skills and develop new
ones. The average age of the existing workforce is around 50 years of age and a skills
shortage of qualified librarians and library technicians is predicted in the next 5 to 10
years, when the current generation of experienced library workers start retiring from the
workforce.
Normal drivers of training demand in this industry group
The main drivers of training in the library sector are:
 Technological change; the digital delivery of services
 Limited funding for public libraries, resulting in having to do more with the same or less
resources
 Expansion into other services such as early literacy, online access centres, community
spaces.
 Professional development for individual librarians.
Changes occurring in demand for training
Changes have occurred over the past 10 to 15 years with the introduction of digital
technology and electronic information delivery, all of which have been incorporated into
VET and tertiary education programs.
Libraries continue to expand into other services including early literacy programs and
providing community spaces and online access centres. Some additional training for staff will
be required for multi-skilling.
Changes required to the nature of training
No changes to the nature of training are required. The ALIA professional development
program and short courses through TAFE Tasmania cover existing training needs.
The target market for training
School leavers and university graduates wishing to be librarians.
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Numbers of people that need to be trained
Exact numbers cannot be ascertained at this time, but will need to be examined closely in
the next Arts Training Demand Profile update.
Comments on any government funded training provision in excess of local
industry needs
Not applicable
Recommendations for the appropriate response by the training system
 That the Diploma of Library and Information Services be continued to be offered by TAFE
Tasmania to ensure a continuity in the training of qualified library workers
 That the State Library of Tasmania and the Australian Library and Information Association
be consulted about emerging shortages of librarians and library technicians in Tasmania,
which are anticipated within the next 5 to 10 years.
Information on training demand being met outside the Tasmanian public
system
The Australian Library and Information Association (ALIA) offers a professional development
program to enable librarians to update skills and develop new ones. Courses are offered
on a user-pays basis.
Additional industry advice not directly related to industry demand for
training
Not applicable
8
Museums and cultural heritage
Characteristics of the existing workforce
There is a range of workers in the museum sector, ranging from highly qualified curators
and conservation specialists, guides with varying levels of training and expertise, long term
employees with lesser skills largely learned on the job and also a range of volunteer
workers with varying skill sets. The main public museums have been modestly funded over
recent years and outgoing staff have not been replaced and some services have had to
cease. The museum sector also has an ageing workforce and shortages of skilled curators
may emerge over the next 5 to 10 years.
Normal drivers of training demand in this industry group
The normal drivers for training have been professional development, such as developing
curatorial, customer service skills, and guiding skills.
Changes occurring in demand for training
New information technology, which enables digital storage, installations and interpretation
of exhibits and accompanying information, has presented new challenges to older museum
curators trained in more conventional exhibition practices.
Cost efficiency measures requested by government funding bodies have given rise to the
need for administrators and curators to have a range of business skills, notably financial
management.
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There are new and creative approaches to guiding work, which are increasingly being
influenced by the arts. New approaches to story telling and interpretation to make tourism
and museum experiences more interactive and stimulating have been embraced by savvy
tourism operators and cultural organisations.
Changes required to the nature of training
 Short courses in business and financial management and digital applications for
experienced museum curators.
 Incorporate applications of digital technology and basic financial management skills into
museum VET qualification programs.
 VET programs in guiding are already incorporating fresh approaches to guiding and
interpretation.
The target market for training
The target market for training is both new entrants and experienced museum and cultural
heritage staff and cultural interpreters.
Numbers of people that need to be trained
Exact numbers cannot be ascertained at this stage.
Comments on any government funded training provision in excess of local
industry needs
Not applicable
Recommendations for the appropriate response by the training system
 That the VET qualification programs in Museum Studies offered by TAFE Tasmania be
retained as entry level qualifications.
 Museum stakeholders have indicated a need for curatorial and museum studies to be
available in Tasmania to train future museum workers and for the professional
development of existing workers.
 Current Certificate III and IV in Tourism (Guiding) programs are developing good, fresh
cultural interpretation practices and should be retained.
 That Creative Volunteering be made available widely to enable volunteers working in the
cultural heritage and museums sector.
 That the Creative Volunteering course be assessed with the view to realign the existing
modules with a Certificate III qualification.
Information on training demand being met outside the Tasmanian public
system
The University of Tasmania offers a Masters of Contemporary Arts (Gallery Practices), a
three semester program, which prepares for people managing and preparing exhibitions,
displays, community events, performances and cross-media presentations. However, there is
no broad based post-graduate curatorial and museum studies program currently offered in
Tasmania and the sector has expressed a desire for such a qualification to be made
available.
Both the Academy Gallery in Launceston and Contemporary Arts Services Tasmania (CAST)
in Hobart offer curatorial training programs in the visual arts. Arts Tasmania presents a
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free, intermittent museums skills training program entitled “Making Museums Work: Working
in Museums”, which feature workshops presented by experts from interstate.
Additional industry advice not directly related to industry demand for
training
The Small Museums and Collections Panel of the Tasmanian Arts Advisory Board has, in
2006, commenced its Roving Curator Program. This part time service travels the State and
provides professional museum management skills to volunteer-run community museums in
areas as diverse as cataloguing and the design of public programs.
9
Community Cultural Development
Characteristics of the existing workforce
Community Cultural Development is characterised by workers qualified in at least one art
form, who are undertaking project based work in different communities, with different
target groups such as youth, people with disabilities, aged and marginalised communities.
Community Cultural Development practitioners tend to have excellent communication and
facilitation skills and an ability to understand the needs of different communities. Their skills
are similar to those more associated with community development and social work.
Normal drivers of training demand in this industry group
The normal drivers of training are developing social, communication, facilitation, and
evaluation skills, necessary for artists to cross over into the role of social engagement.
Changes occurring in demand for training
There has been little formalised training to date in Tasmania. The increased level of
Community Cultural Development has created a need for the recognition of competencies,
formal training and the creation of protocols in the area.
Changes required to the nature of training
Training needs to be flexible to enable those already employed in the field to study part
time and incorporate work projects into their course work.
The target market for training
Arts qualified persons currently working in community cultural development and those
considering entering the field.
Numbers of people that need to be trained
 20 people per year, over the next 3 years (in Diploma of Community Cultural
Development)
 10 people per year, over the next 3 years (in Cert IV in Arts and Wellbeing)
Comments on any government funded training provision in excess of local
industry needs
Not applicable
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Recommendations for the appropriate response by the training system

Community Cultural Development (CCD) qualifications are available for delivery in
Tasmania. Investigations should be made into the specific training needs to identify
delivery requirements, including RTO capability.
Information on training demand being met outside the Tasmanian public
system
 The Graduate Diploma in Community Cultural Development is available by distance
education through Community Arts Network South Australia Inc.
 The Graduate Diploma and Diploma in Community Cultural Development are available
through Community Cultural Development NSW.
 The University of Tasmania through the Conservatorium of Music offers a Masters in Music
Therapy.
Additional industry advice not directly related to industry demand for
training
There should be a whole of government approach into setting community cultural
development policies and exploring the economic (eg: cultural tourism) and social (eg:
greater social engagement, community building) benefits of community cultural development
work to the state.
10 Arts support agencies
Characteristics of the existing workforce
The arts agencies are characterised by professional arts administrators, usually qualified in
one or more art forms. They may also have some training in administration, public policy
and management. Multi skilling is also prevalent as arts support agencies have limited
resources.
Normal drivers of training demand in this industry group
The normal drivers of training demand are professional development, development of IT
skills, and meeting the demands of growing activity with limited resources.
Changes occurring in demand for training
There is an increasing need for business management and financial management skills,
project management and advocacy skills. The increase of community based project work
also requires community development skills.
Changes required to the nature of training
Flexible delivery is required because the sector is not well resourced, has limited staffing
and generally time poor.
The target market for training
People currently working in arts support agencies
Numbers of people that need to be trained
20 – 30 people per year over the next 3 years (in Advanced Diploma in Arts Management)
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Comments on any government funded training provision in excess of local
industry needs
Not applicable
Recommendations for the appropriate response by the training system
It is recommended that:
 Existing Certificate IV in Arts Administration be continued to be funded as it provides a
generic arts administration strand relevant to all art forms, which includes planning,
financing and marketing.

The Arts Administration program be expanded for delivery at the Advanced Diploma
level incorporating modules in advocacy and advanced project and financial
management to enable workers in the performing arts obtain the necessary
administrative and management skills.

The Creative Volunteering program be made available as entry level training for
project officers in arts support agencies.
Information on training demand being met outside the Tasmanian public
system
The Australian Business Arts Foundation (ABAF) offers non accredited programs to develop
specific skills to assist arts organisations to build strategic relationships with partner
organisations and benefactors.
ABAF has recently developed a scholarship program for Executive Managers to attend short
courses at business schools in Sydney and Melbourne. This national program may not reach
into Tasmania. The concept of assisting arts executives to gain additional short course
training in the business sector may assist in covering the need for business skills.
Additional industry advice not directly related to industry demand for
training
Not applicable
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Industry Training Demand Profile - Arts
Part 4
Assessment of infrastructure needs
The ability of the existing building, plant and equipment infrastructure (in
the publicly funded training system) to meet current and anticipated needs
There is a significant opportunity to deliver training to communities in a range of existing
venues such as TAFE colleges, local schools and senior colleges (after school hours), National
Trust buildings and sites, town and church halls, commercial meeting rooms and community
art spaces. This is particularly important for the training of the large number of volunteers
who are involved in the arts sector through community arts groups and local events and
festivals.
Regional Arts Australia has also identified local arts hubs as an area of need and future
development. There are current programs in place to further develop the creation of multipurpose community art spaces, which could be used for educational and training purposes.
Technology is also an important factor in the development of arts industries, particularly
those utilising digital technology such as film, television and multimedia. It is important that
the training system keep up with rapid changes occurring in these technologies and those
curricula and teachers keep pace with changes in technology to ensure the relevance of
training programs is maintained.
Recommendations
It is recommended:
 That the Department of Education consider making school buildings and facilities available
outside normal hours for future arts training programs in communities.
 That training programs and technological infrastructure in the technology based art forms
such as film, television and multimedia are reviewed on an ongoing basis.
Additional information on human and systems aspects of training
infrastructure
Not applicable
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Industry Training Demand Profile - Arts
Part 5
Information on VET in schools and
Australian School-based Apprenticeships
Qualifications and pathways appropriate for delivery through a VET in
Schools program and Australian School-based Apprenticeships
The following arts industry VET programs are currently available in the following Colleges:
Claremont College:
CUF 20601 Certificate II in Multimedia
Hobart College:
CUF20601 Certificate II in Multimedia
Rosny College:
CUF10101 Certificate I in Media
CUF20301 Certificate II in Screen
CUF20401 Certificate II in Broadcasting (Radio)
CUF20501 Certificate II in Broadcasting (Television)
CUF30101 Certificate III in Screen
CUE10103 Certificate I in Live Production, Theatre and Events
CUE20103 Certificate II in Live Production, Theatre and Events
Launceston College:
CUF10601 Certificate I in Multimedia
CUF20601 Certificate II in Multimedia
CUE20103 Certificate II in Live Production, Theatre and Events
CUF20401 Certificate II in Broadcasting (Radio)
CUF20301 Certificate II in Screen
Newstead College:
CUF10601 Certificate I in Multimedia
CUF20601 Certificate II in Multimedia
CUS20101 Certificate II in Music Industry (Foundation)
CUE20103 Certificate II in Live Production, Theatre and Events
The Fahan School:
CUF20601 Certificate II in Multimedia
St Michael’s Collegiate School
CUF20601 Certificate II in Multimedia
CUS20101 Certificate II in Music Industry (Foundation)
Development and support for VET in Schools programs and Australian
School-based Apprenticeships
The arts industries are not traditionally served by apprenticeships, with many arts workers
obtaining their skills and knowledge through tertiary degrees and diplomas, VET
qualifications, short courses, on the job training or even through self education. Technical
based professions such as film and television production and multimedia hold the greatest
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potential for apprenticeships, provided there is sufficient demand for workers in these
industries.
Innovation and Business Skills Australia (ISBA) has recently developed very broad entry level
qualifications for young people wanting to work in the creative industries. These are:
 CRE10107 Certificate I in Creative Industries, and
 CRE20107 Certificate II in Creative Industries.
These are very flexible qualifications that allow learners to develop basic skills and
knowledge to prepare for work in a range of creative industries. Despite the fact that these
basic qualifications have few employment outcomes, they would form good pathways into
more advanced VET qualification programs.
Emerging opportunities
Certificate I and II programs offered in Colleges can provide the basis for apprenticeships
in emerging industries where there is a demand for additional skilled workers in growing
industries; for example, multimedia is a growing industry with a lot of export potential, and
there is a current demand for animators and narrative writers.
Issues in implementing VET in Schools and Australian School-based
Apprenticeships
The main issue in implementing apprenticeships is ensuring that schools are adequately
funded to be equipped with current technology, to enable students to acquire knowledge
and skills that are relevant to the workplace and current best practices. Teaching staff
should also be conversant with current technology.
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Industry Training Demand Profile - Arts
Part 6
1
Industry’s top priorities for the public
training system
Advanced Diploma in Arts Administration
Existing and emerging arts administrators and managers are currently accessing this
qualification by external or interstate study as it is not currently being delivered in
Tasmania.
How many people require training and when (if relevant)?
30 per year over the next 3 years (10 from Performing Arts, 10 from Visual Arts and 10
from Arts Support Agencies)
Advanced Diploma in Arts Administration
40
30
20
10
0
2008
2009
2010
What will meeting this priority achieve?
This priority will address the need for essential administration, financial management and
marketing skills for current and emerging arts administrators and managers across a range
of sectors of the arts industries.
What current action is in place to address this priority?
Certificate IV in Arts Administration is currently offered at TAFE Launceston, flexible study
options are currently being explored.
What further action is required and what are the consequences of not taking
it?
Artists wishing to add arts management onto their existing qualifications will continue to
study externally or leave the state; positions will continue to be filled from interstate where
training is available.
2
Diploma in Community Cultural Development
There is an increased awareness and recognition of the broader applications of art in
community development work and health and wellbeing programs. This qualification is
strongly focused on skills transfer and collaboration between professional artists and
community participants and can take place in any art form.
How many people require training and when (if relevant)?
20 people per year over the next 3 years.
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Diploma CCD
25
20
15
10
5
0
2008
2009
2010
What will meeting this priority achieve?
It will provide necessary training to people working in the growing area of community
cultural development, provide them with relevant project management, communication and
advocacy skills necessary to successfully manage community art projects and community
development programs involving the arts.
What current action is in place to address this priority?
There is currently no access to this training in Tasmania
What further action is required and what are the consequences of not taking
it?
Accredited courses currently offered in other states need to be registered for delivery in
Tasmania. As this sector has been identified as one of growth the consequences of not
making this training available in Tasmania may limit potential employment possibilities and
lead to inadequately trained facilitators undertaking projects.
3
Salamanca Performing Arts – Diploma in Entertainment
This Diploma in Live Production, Theatre and Events will produce graduates with broadbased knowledge and practical skills required to gain and sustain professional employment
in the arts and entertainment industry as a member of the technical crew on a show or event,
as an employee of a theatre-based or independent production company or as a team
member or leader at a variety of venues.
How many people require training and when (if relevant)?
25 people per year over the next 3 years
Diploma in Entertainment
30
25
20
15
10
5
0
2007
2008
2009
What will meeting this priority achieve?
It will provide sound entry level training for people in technical and production roles in the
growing performing arts sector and will ensure the quality of events and performances.
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What current action is in place to address this priority?
The Salamanca Arts Centre (SAC) has been contracted by TAFE Tasmania to deliver the
program which leads to the qualification of Certificate IV in Entertainment. It has developed
a strong reputation in the performing arts sector for the program and is providing the
trained technical and production workers demanded by the sector.
What further action is required and what are the consequences of not taking
it?
The SAC should continue to ensure an ongoing supply of technical and production workers.
The consequences of not taking this action is that there could be a shortage of technical and
production workers in the performing arts in subsequent years.
4
Certificate IV in Arts and Wellbeing
Arts and Wellbeing is a growing area nationally and suitable training needs to be
developed to accommodate the demand for skilling in this field. It is widely acknowledged
that there are significant benefits of art health and wellbeing projects in the areas of health
and human services.
How many people require training and when (if relevant)?
10 people per year over the next 3 years
Arts & Wellbeing (Cert IV)
12
10
8
6
4
2
0
2008
2009
2010
What will meeting this priority achieve?
It will provide necessary training to people working in the growing area of arts and
wellbeing provide them with relevant project management, communication and advocacy
skills necessary to successfully manage community art and wellbeing projects and community
development programs involving the arts.
What current action is in place to address this priority?
None – there is a network of arts and wellbeing workers in Tasmania who meet several
times per year and communicate regularly. An arts and wellbeing officer position was
recently created by Tasmanian Regional Arts to coordinate activities and develop and
source projects for which grants can be obtained. Currently there are no formal training
programs in place to prepare people for such work.
What further action is required and what are the consequences of not taking
it?
Consultation needs to take place with the Department of Health, arts@work and Tasmanian
Regional Arts to discuss the development of an arts and wellbeing qualification. Currently
those working in the area are qualified in one or more art forms, and have learned almost
exclusively on the job.
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5
Certificate IV in Music Industry (Business)
There is a strong demand for training music industry support professionals; traditionally an
area of great shortage in Tasmania. The introduction of the Certificate IV in Music Industry
(Business) would enable the base level training of music support professionals.
How many people require training and when (if relevant)?
20 per year over the next 3 years
Cert IV Music Industry (Business)
25
20
15
10
5
0
2007
2008
2009
What will meeting this priority achieve?
It will provide essential business and marketing skills for much needed support service
providers for musicians and groups in the popular music industry.
What current action is in place to address this priority?
None, though the qualification is endorsed for delivery in Tasmania.
What further action is required and what are the consequences of not taking
it?
The content of the qualification needs to be reviewed to ensure that it is relevant to current
music business realities and includes e-marketing strategies and intellectual property issues.
The consequences of not introducing the qualification will be that Tasmania will continue to
have an acute shortage of music support professionals and this will hinder the development
of the local contemporary music industry.
6
Creative Volunteering – Certificate III in Arts Administration
This Creative Volunteering program is ideal entry level training for project officers in arts
support agencies.
How many people require training and when (if relevant)?
20 per year over the next 3 years
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Industry Training Demand Profile - Arts
Creative Volunteering (Cert III)
25
20
15
10
5
0
2007
2008
2009
What will meeting this priority achieve?
It will provide fundamental project management, business, organisational, facilitation and
marketing skills to persons managing projects in community art and community events. These
skills are applicable across a range of sectors. It will also provide essential skills to the
many volunteers involved with the arts in the state.
What current action is in place to address this priority?
Creative volunteering is endorsed for delivery in Tasmania and there has been limited
Federal funded roll out of the program in Tasmania; 8 workshops state wide per financial
year.
What further action is required and what are the consequences of not taking
it?
Further delivery of Creative Volunteering is necessary, the flexible delivery of the program
matches current training needs. The consequences of not offering the program is that
efficiency gains and better project and event management practices will be limited.
7
Certificate III in Circus Training
The increased number of festivals and community entertainment events has created a
demand for a variety of performers such as street performers and performers with circus
and acrobatic skills.
How many people require training and when (if relevant)?
20 per year over the next 3 years
Certificate III Circus Training
15
10
5
0
2007
2008
2009
What will meeting this priority achieve?
It will provide accredited entry level training for people wanting to work as circus
performers, street performers and trainers of circus performers, all of which are in short
supply in Tasmania.
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What current action is in place to address this priority?
The Tasmanian Gymnastics Association currently trains sports coaches in gymnastics, which is
the closest equivalent to trainers in circus skills and acrobatics.
What further action is required and what are the consequences of not taking
it?
Training providers in Tasmania who have purchased the accredited courses for Circus
Training (Cert II & III in Circus Training and Cert IV and Diploma in Circus Arts) from the
course owner needs to apply to their recognition body, the Tasmanian Qualifications
Authority, to add the course to their scope to enable delivery in Tasmania.
The consequences of not taking action is that circus training in Tasmania will continue to only
be available on an ad hoc basis, i.e. when accredited trainers are visiting Tasmania and
workshops can be arranged.
Updated August 2007
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Industry Training Demand Profile - Arts
Articulation matrix
Depending on exact course modules a potential articulation matrix for new qualifications is
shown below. Existing qualifications are shown in grey.
Advanced Diploma
Arts Administration
Diploma in
Entertainment
(SPACE)
Diploma in
Community cultural
Development
Certificate IV in
Entertainment
(SPACE)
Certificate IV Music
Industry (Business)
Certificate IV in Arts
Administration
Certificate III
Circus Skills
Certificate III in Arts
Administration (Creative
Volunteering)
Certificate IV in
Arts & Wellbeing
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Industry Training Demand Profile - Arts
Part 7
Higher education
Information on demand by industry for skills that is being met by higher
education
Higher education has been a traditional training ground for a variety of professions in the
arts sectors and creative industries. It appears that the Visual Arts, Music, Multimedia and
Librarianship are areas whose basic skills demands are met through current areas of study
offered through the University of Tasmania. The recent introduction of the Master of Music
Therapy is one niche within Community Cultural Development that has been recognised as
fertile ground for training.
There is a lack of higher education training avenues for people in the performing arts,
particularly drama and dance as well as museum curation.
The following qualifications are currently available at the University of Tasmania
Performing Arts
Bachelor of Contemporary Arts (Theatre Studies)
Visual Arts
Associate Degree in Design
Bachelor of Arts and Bachelor of Fine Arts
Bachelor of Contemporary Arts
Bachelor of Fine Arts
Diploma in Fine Art and Design
Graduate Certificate in Art, Design and Environment
Graduate Diploma in Art, Design and Environment
Master of Art, Design and Environment
Master of Contemporary Arts (Specialisation)
Master of Fine Arts and Design
Master of Visual Communication (graphic arts)
Music
Associate Degree in Music Studies
Bachelor of Arts and Bachelor of Music
Bachelor of Music
Bachelor of Music Studies
Bachelor of Information Systems and Bachelor of Music (majors in music and/or multimedia)
Diploma of Music
Graduate Certificate in Music Studies
Graduate Diploma of Music Studies
Master of Music
Master of Music Studies
Film, Television, radio and multimedia
Bachelor of Fine Arts – Bachelor of Information Systems (multimedia)
Bachelor of Information Systems and Bachelor of Music (majors in music and/or multimedia)
Bachelor of Time-Based Multimedia
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Industry Training Demand Profile - Arts
Writing
Graduate Certificate in Journalism
Graduate Diploma in Journalism
Master of Journalism
Graduate Diploma in Journalism and Media Studies
Master of Journalism and Media Studies
Cultural Festivals
Not applicable
Libraries
Graduate Diploma in Information Management
Museums and Cultural Heritage
Master of Contemporary Arts (Gallery Practices)
Community Cultural Development
Master of Music Therapy
Arts support agencies
Not applicable
Information on demand by industry for skills that could be, but is not being
met by higher education
Community Cultural Development is a growing area, in which training has never been
available.
Tertiary level training in dance is currently not available in Tasmania but could be offered
in response to the growing demand for performers in this area.
Information on existing, likely or possible articulation from VET to higher
education
Not applicable
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