The Wollongong centre, run by Merrigong Theatre Company, was labelled an “example” by the Australia Council for the Arts as they’re one of 12 who are responsible for bringing more than a third of the country’s First Nations programming to the stage in 2015.

The Showcasing Creativity report by the council mapped programs by 135 Australian presenting organisations and found just two percent of the 6000 works in 2015 had Indigenous elements.

While Two thirds of organisations did not present any work by Aboriginal or Torres Strait Island artists in 2015.

It comes as a surprise to Merrigong director Simon Hinton who didn’t realise other companies were lagging in finding ways to incorporate Indigenous content.

“On the one hand we’re programming the best work and the most exciting work that’s out there,” he said.

“But I do think it’s important arts centres are deliberate in the choices that they make.

“Indigenous theatre and dance is extraordinary across the country and so I think as a venue we would be crazy not to bring it to our audience.”

One of the key findings from report was organisations were afraid they would get the process of selecting, staging, presenting and marketing works to audiences “wrong”.

Executive Director Aboriginal and Torres Strait Island Arts Lydia Miller said Merrigong was a great case study that other organisations could take note from in the future.

“Merrigong’s commitment over the years has given rise to audience development that actually has a multiplier effect across the nature,” Ms Miller said.

“How to tackle obstacles of perceived barriers there’s a terrific amount of insight, a terrific amount of learning from that experience that I think Merrigong can be a leader of in terms of being able to provide direction for other companies.”

She said since the council has grown its research and knowledge departments they’re now better equipped to base decisions on evidence and challenge assumptions.

One of the other key findings was while the wider community think Indigenous arts is important (92 per cent) there were major access issues.

“Sometimes it was just being unfamiliar about walking into a theatre,” Ms Miller said.

“There is an access issue and it’s about how the industry presents and programs Indigenous arts and culture.”

Mr Hinton believes theatre is a place for community and said Merrigong strives to create greater experiences and opportunities for audiences with all their works, Indigenous or not.

“Bringing an Indigenous work to our centre is also an opportunity for some cultural sharing that isn’t just about the show, it’s about what happens in the foyer,” he said.

“We’ve been really clear on working with the local aboriginal community to make sure visiting companies meet with local Elders for example; or there’s an afternoon tea for community to meet the performers.

He believes Merrigong has really honed these skills in the past couple of years and hasn’t encountered any issues but rather that’s what people want.

As well as normal marketing strategies involved in promoting performances with Merrigong and IPAC, Mr Hinton said there was also “community outreach” to not only bring in an audience but to enrich the experience for theatre-goers and performers.

Other high performers listed in the Australia Council study included: Belvoir St Theatre, Brisbane Powerhouse, Canberra Theatre Centre, Carriageworks, Darwin Festival, Footscray Community Arts Centre, Joan Sutherland Performing Arts Centre (The Joan), Melbourne International Comedy Festival, Orange Civic Theatre, Perth Theatre Trust, Sydney Festival.

“I think it’s telling there’s a number of regional venues on that list,” Mr Hinton said.

“Regional areas, in many cases, are more connected to community and more able to do that kind of deep community engagement … but I think we’ve still got a lot of room for growth.”