The Social Impact of Creative Arts in Australian Communities

Acknowledgements
Contents
About the Authors
1 Introduction: Evaluating Intangibles—Social Value, Impact and Notions of Place
	1.1 Introduction
	References
2 Understanding Social Value and Impact in the Australian Context
	2.1 Introduction
	2.2 Defining the Notion of Value
	2.3 Rethinking Value Beyond Economic Outcomes
	2.4 Understanding Impact
	2.5 Language and Approaches to Understanding Impact
	2.6 The Conundrum of Correlation or Causality
	2.7 Conclusion
	References
3 Building an Embedded Framework: Early Models
	3.1 Introduction
	3.2 Case Study I: Smithsonian Folklife Festival
		3.2.1 Understanding Stakeholders: An Evaluation Project Management Framework
		3.2.2 Project Results, Findings and Analysis
		3.2.3 Impact: Expect the Least Expected
		3.2.4 Embedded Evaluation Framework: Continual Cycle of Improvement
	3.3 Case Study II: Animating Spaces
		3.3.1 Project Design
		3.3.2 Evaluation Methodology
		3.3.3 Data Collection
		3.3.4 Non-text-Based Digital Visual Data
		3.3.5 Analysis, Reflections of the Process and Findings
		3.3.6 Authenticity of Reporting
		3.3.7 Illuminating Impact
		3.3.8 Embedded Evaluation Throughout the Project
	3.4 Conclusion
	References
4 Nothing About Us Without Us: Co-creation with Communities for Impact Assessment
	4.1 Introduction
	4.2 Community Engagement Versus Consultation
	4.3 Meaningful Community Engagement is All About Relationships and is Place-Based
	4.4 Co-design: By the People and Process Over Outcome
	4.5 Co-creation: Situated Languages to Communicate from Within Remote Communities
	4.6 Creative Community Engagement: Tim Fairfax Family Foundation Toolkit
		4.6.1 Project Design
		4.6.2 Charters Towers
		4.6.3 Roma
	4.7 Conclusion
	References
5 Arts-Based Methodologies for Fostering Inclusion and Understanding with Culturally and Linguistically Diverse Communities
	5.1 Introduction
	5.2 Milpera State High School Community
	5.3 Building Inclusive Classrooms Project
		5.3.1 Research Design
	5.4 Room 17 Goes Large Project
	5.5 Conclusion
	References
6 Co-creating Stories with Communities: Collaborative Art and Meaningful Participation
	6.1 Introduction
	6.2 Collaborating with Communities
	6.3 Co-creating Stories at Creative Regions
		6.3.1 Indigenous Stories, Stories of Place
		6.3.2 Elephant in the Room
	6.4 Considerations and Emergent Strategies
		6.4.1 Identify Differing Values and Objectives
		6.4.2 Prioritise Long-Term Partnerships Rather Than Short-Term Deliverables
		6.4.3 Involve Participants as Collaborators
	6.5 Conclusion
	References
7 Creative Partnerships for Social Impact: Addressing Domestic Violence in Regional Queensland
	7.1 Introduction
	7.2 Connecting the Arts with Public Health and Community Services: Creative Regions and UCC
		7.2.1 Ethical Complexities and the Effect of Authenticity
	7.3 The Production
	7.4 Evaluation: Creative Regions and CQUniversity
	7.5 Conclusion
	References
8 Kindy Moves: Using Impact Narratives to Position Children as Stakeholders in Evaluation
	8.1 Introduction
	8.2 About the Project
	8.3 Key Concepts Used to Frame the Impact Assessment
		8.3.1 Intrinsic and Instrumental Benefits of Arts Engagement
		8.3.2 Teaching Artistry
		8.3.3 Dance in Australian Early Childhood Learning Contexts
		8.3.4 Shaping the Impact Narrative for Participants and Queensland Ballet
	8.4 Discussion
	8.5 Impact Narratives for the Kindergarten Children
	8.6 Impact Narratives for Kindergarten Educators
		8.6.1 Child One
		8.6.2 Child Two
		8.6.3 Child Three
	8.7 Impact Narratives for Queensland Ballet Teaching Artists
	8.8 Impact Narrative for Queensland Ballet
	8.9 Conclusion
	References
9 Community Consultation Using Digital Engagement in the Time of COVID-19
	9.1 Introduction
	9.2 Overview of the Role of the Creative Arts in Regional Australia: A Social Impact Model Project
	9.3 Designing Online Community Consultation Using Arts-Based Approaches
	9.4 Digital Liveness as a Model for Engagement
	9.5 Outcomes and Understanding Emerging from Online Community Consultation
		9.5.1 Principle One—Generative Engagement
		9.5.2 Principle Two—Openness of Provocation
		9.5.3 Principle Three—Centring Storytelling Through Place
	9.6 Conclusion
	References
10 Conclusion
	10.1 Sharing Perceptions and Understandings Through Listening and Stories
	References