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Assessment Guidelines for arts organisations

Partner Arts Organisations

These guidelines are designed to:

  • help applicants understand the sorts of things assessors may consider when assessing applications
  • serve as prompts for assessors to consider in assessing submissions against the criteria of quality and reach.

The prompts are provided only as examples of the things that assessors may consider. Applicants are not required to address all the prompts one by one in their submissions, but if they are relevant, consider how they are reflected in their applications.

It is very important to note that not all of the prompts will apply to each application and the prompts may vary slightly or be weighted differently between the different programs.

First stage

Criteria Indicator Peers may consider
Quality 100% Strength of the artistic concept, artistic practice, arts experiences and opportunities for arts practitioners
  • How strong is the artistic practice/creative rationale of the organisation?
  • How strong is the artistic concept of the program?
  • What is the artistic merit of the organisation – what is the quality of work previously produced?
  • How does the organisation support quality arts practice/service delivery/sector development in its artform/sector? How well does it do this?

Creativity – imagination, originality
  • How interesting/exciting/developmental/inventive is the program?
  • Is the program original in delivery and content?

Progression – organisation and/or program development/consolidation fresh approaches, experimentation and risk
  •  Does this program develop an area of practice or audiences or other industry sectors?
  • Does the organisation contribute to diverse artistic practice/sector development in the Tasmanian arts ecology?
  • How does this program show the organisation's artistic progression?
  • Is there appropriate risk taking or experimentation that strengthens the organisation's artistic merit?

Rigour – the thoroughness of the rationale, creative development/consolidation and/or research
  • Is there a clear creative vision for the organisation?
  • Is there a clear artistic rationale for the program?
  • How robust is the artistic and strategic planning over time?
  • Does the program demonstrate creative development/strategic sector development over the term of investment?
  • How does the organisation deliver quality arts services over the term of investment?

Second stage

Criteria Indicator The panel may consider
Quality 60%

Second stage: same as first stage, plus additional indicator under quality:

Capacity – calibre of personnel, resource and financial management, planning

  • How viable is the program?
  • Are the timelines, planning, use of resources realistic and achievable?
  • Does the organisation demonstrate good governance?
  • Has the organisation met the requirements of the maximum percentage threshold?
  • Are other investors confirmed?
  • Is the budget realistic and accurate?
  • What is the calibre of the people involved? Why has the applicant chosen to work with them? What do they contribute to the program?
  • Is there a business plan? How strong is the business plan?
Reach 40% Audience – numbers, marketing strategy, diversity and connection
  • Is there a marketing plan? How strong is the plan - realistic, achievable, and strategic?
  • Is there a digital marketing strategy? Does the digital marketing strategy go beyond social media?
  • If the marketing plan includes social media, how strong is the organisation's social media presence? How many followers does it have? What is the quality of their online presence and engagement? 
  • Does the program increase or diversify the organisation's audience? How well does it do this?
  • Does it satisfy an existing audience or market demand? If so, how? If not, should it?
  • Is this the only organisation delivering to this audience or in this artform/sector?

Engagement – participation, access, involvement of the public and/or specific audience or market sectors
  •  Does the program demonstrate audience development or engagement? What is the depth/breadth of that engagement?
  • Does it increase or diversify opportunities for participation and access? e.g. is there an audience development target/strategy? Does the organisation have a Disability Action Plan?
  • Does it engage communities of interest and/or communities of practice? How does it demonstrate this? How effectively has it done this in the past?
  • How many opportunities are there for artists and arts workers to be involved and employed? What is the quality of these opportunities?
  • Is there a benefit to the community created by this program and/or this organisation?
  • Does the organisation contribute to building a robust, diverse, vibrant arts sector in Tasmania?
  • Does the organisation provide a quality, relevant, beneficial service to the arts sector?
  • What are the other outcomes of the program over the term of investment and what is their impact?