The clear majority of group participants are pleased that MusicNT embarked on these consultations. Concern was expressed that it be followed up with action.

Many participants saw the need for investment in a longer-term plan including more extensive and direct consultation with remote Indigenous, non-binary and LGBTQI+ communities and with local government. The need for a robust evaluation system and regular monitoring of this was also identified. MusicNT will investigate funding for this. As part of this it is recommended that MusicNT do an audit of its activities against gender equity markers. This would include strategies, workshops, programs, major events, its website and promotions. It was also recommended MusicNT develops a template for this and advocates for this to be taken up by other related industry bodies, organisations and businesses.

Peaks need to be brave enough to literally shift where the resources go and what they support. The reality is that, even pre-COVID, arts and development funding is limited, with demand outstripping the resources available and that this is unlikely to change in the foreseeable future at either Territory or National levels. It was also observed that sometimes the funding buckets that are available don’t match the musical activities particular groups want to create. The most common example of this is support for Indigenous gospel singing and choirs which many (mainly) older women are keen for but which generally does not include the creation or publishing of new works. One respondent who has worked closely over many years with a community commented “as an example, APRA (sic) funding has emphasis on songwriting and new musical works, yet sometimes the women want to prioritise inclusive music for everyone. a broader, more holistic eligibility criteria.

MusicNT’s Chairperson, Claire Kilgariff noted that the organisation is about to enact a new Strategic Plan and is moving to multiple year operational funding from both NT and Federal avenues. This gives the organisation greater capacity for longer term planning and for building more of the supports that are clearly still required for disadvantaged groups within industry.

A participant commented that resources need to go to those who need them rather than expecting people to find them and go to the resources and another that primarily using social media as a major promotion platform is too limited, especially when trying to reach remote communities. Whilst MusicNT has strong engagement with remote communities through this platform, it could investigate its linkages with LGANT, individual regional councils along with its direct links with emerging and established Indigenous artists from remote locations.