Perhaps as large cities become more and more crucial – to the economy, to innovation, to creativity and to cultural diversity – we are seeing a balancing focus on the regional, the local, to life on a human scale. Both globalisation and regionalism, the fast (and vast) food economy and the slow food movement at the same time.
|Bendigo has a rich history of cultural diversity and is firmly a part of Australia's cultural heritage and contemporary culture|
Amongst all the cheer and beer of the festive season I see that Bendigo and the surrounding region has been named as a City of Culture by the Victorian Government. It certainly deserves it. I remember several years ago planning a visit to the Bendigo Art Gallery to see one of their series of fabulous fashion exhibitions from the Victoria and Albert Museum in London. Expecting to turn up and buy tickets, I was shocked to see the queue stretched along the block.
It was well worth it though, as were all the other exhibitions I have seen there since. Bendigo is a city that demonstrates the resurgence of regional Australia in an era where there is an inexorable drift to our biggest cities. It has made arts and culture one of the crucial building blocks of its success.
This is interesting because in a talk in July 2016 at the Australian National University about understanding the value of arts and culture, Professor Geoffrey Crossick, Distinguished Professor of the Humanities, University of London, talking about European Cities of Culture, mentioned in passing that the evidence was mixed about the value of becoming a City of Culture. Yet from my visit to Glasgow late last year, it was apparent how that city had used the listing to kickstart a massive change in the way the city was perceived by both its inhabitants and visitors – a change that continues and accelerates to this day.
I have been arguing for several years now that Canberra should consider bidding to be listed as a UNESCO Creative City (as a City of Design). This is a very different program to the City (or Capital) of Culture program in all its variants and I would be very interested to know what are the main differences between that program and the UNESCO Creative Cities Network.
Perhaps the crucial issue is that a City or Capital of Culture listing seems to have a 12 month duration, whereas cities that become part of the Creative Cities Network are listed indefinitely. As in all things, this strategic approach allows for the long-term benefits of networking and collaboration to develop. If anyone can shed further light on this issue, I’d be keen to hear. A typically cynical report in the mainstream media from a couple of years back helps shed some light – but not much insight – on the confusion. Personally I think that culture is worthy of several overlapping approaches and programs.
PS Steve Green, author of the excellent cultural blog mentioned above, has noted that the City of Culture program is not a UNESCO program. Many thanks for responding to my call to help clarify the situation. I have modified the text above to reflect this. For further information, it's well worth reading his blog.
‘indefinite article’ on Facebook – short arts updates and commentary
‘Short arts updates and irreverent cultural commentary about contemporary Australian society, popular culture, the creative economy and the digital and online world – life in the trenches and on the beaches of the information age’, 'indefinite article' on Facebook.
After a fashion – creative industries from First Nations culture
‘When I first heard that Victorian regional gallery, Bendigo Art Gallery, was planning an exhibition about contemporary Indigenous fashion I was impressed. The Gallery has had a long history of fashion exhibitions, drawing on its own collection and in partnership with other institutions, notably the Victoria and Albert Museum in London. It is fascinating to consider how a leading regional Australian museum and an internationally renowned museum on the global stage, while in many ways so different, have so much in common. The exhibition is far more than a single event in a Victorian regional centre – it is an expression of a much broader contemporary Indigenous fashion phenomenon nation-wide. It hints at the potential of the creative economy and creative industries to build stronger communities. Both the economic importance and the community and social importance of creativity and culture are tightly interlinked because of the way in which creativity and culture are integral to everyday life and the essential activities that make it up’, After a fashion – creative industries from First Nations culture.
Standing out in the crowd – a regional road tour of arts and culture
A recent regional road tour through Victoria to South Australia showed how a focus on arts and culture is a pointer for how regional centres can take a path other than slow decline. It also showed how a small country on the edges of the mainstream can become a global design force by staying true to its language, locality and culture – the things that make it distinctive in a crowded, noisy marketplace dominated by big, cashed up players, Standing out in the crowd – a regional road tour of arts and culture.
Crossing boundaries – the unlimited landscape of creativity
‘When I was visiting Paris last year, there was one thing I wanted to do before I returned home – visit the renowned French bakery that had trained a Melbourne woman who had abandoned the high stakes of Formula One racing to become a top croissant maker. She had decided that being an engineer in the world of elite car racing was not for her, but rather that her future lay in the malleable universe of pastry. Crossing boundaries of many kinds and traversing the borders of differing countries and cultures, she built a radically different future to the one she first envisaged’, Crossing boundaries – the unlimited landscape of creativity.
What is art good for? Understanding the value of our arts and culture
See also – indefinite articles in a definite world
‘If you are losing track of the articles I have published to my 'indefinite article' blog over the last few years, this is a summary of all 133 articles up until mid July 2017, broken down into categories for easy access. They range from the national cultural landscape to popular culture, from artists and arts organisations to cultural institutions, cultural policy and arts funding, creative industries, First Nations culture, cultural diversity, cities and regions, Australia society, government, Canberra and international issues – the whole range of contemporary Australian arts and culture’, See also – indefinite articles in a definite world.
Taking part – Arts involvement in a divided Australia
The big picture and long view – creating a cultural future
‘I’ve said before that the traditional saying about ‘lies, damned lies and statistics’, should instead refer to ‘lies, damned lies and lies about statistics’. Cuts to national arts and cultural funding, while relatively small each year, have a cumulative effect far greater than at first appears and, in the long run, will undermine the effectiveness of national arts and culture support. Where the real disastrous impact of these cuts will hit home is when we also factor in the impact of population growth. If anything, there needs to be an expansion of arts and cultural funding to service the growth’, Lies, damned lies and lies about statistics – how population growth will magnify the impact of arts and culture cuts.
Arts and culture part of everyday life and on the main agenda
‘There’s an election in the air and I was thinking about what would be a good list of positive improvements that would benefit Australia’s arts and culture, so I jotted down some ideas. They are about recognising arts and culture as a central part of everyday life and an essential component of the big agenda for Australia. They are about where the knowledge economy, creative industries and arts and culture fit, how arts and culture explain what it means to be Australian and how they are a valuable means of addressing pressing social challenges’, Arts and culture part of everyday life and on the main agenda.
Full circle – where next for Australian national arts and culture support in the 21st Century?
Time for the big picture and long view for arts and culture
‘Case studies and anecdotal evidence show that involvement in cultural (and sporting) activity – by both Indigenous and non-Indigenous communities – often has powerful flow on social and economic effects. However, this is not why people are involved in cultural activity – it’s just a bonus. It shouldn’t be ignored and it can be harnessed to good effect but we have to be careful not to focus just on the side effects, no matter how important. Cultural activity is an expression of who we are, what we value and how we see ourselves and our place in the world. That’s much more important. Few would suggest that non-Indigenous culture should only be supported where it can be shown to produce some social or economic impact. Indigenous culture is far more than a way of fixing social problems – it is a powerful positive force in Australian culture, a central part of our presence in the world’, Art for arts sake, art for society’s sake or arts as entertainment?
Cut to the bone – the accelerating decline of our major cultural institutions and its impact on Australia’s national heritage and economy
‘I always thought that long after all else has gone, after government has pruned and prioritised and slashed and bashed arts and cultural support, the national cultural institutions would still remain. They are one of the largest single items of Australian Government cultural funding and one of the longest supported and they would be likely to be the last to go, even with the most miserly and mean-spirited and short sighted of governments. However, in a finale to a series of cumulative cuts over recent years, they have seen their capabilities to carry out their essential core roles eroded beyond repair. The long term impact of these cumulative changes will be major and unexpected, magnifying over time as each small change reinforces the others. The likelihood is that this will lead to irreversible damage to the contemporary culture and cultural heritage of the nation at a crucial crossroads in its history’, Cut to the bone – the accelerating decline of our major cultural institutions and its impact on Australia’s national heritage and economy.
‘In the arts, from a virtual policy-free zone, we’ve now got policies – not as many as we could have hoped, but enough to be going on with. Some of them might even get implemented. Importantly, the others will help to frame the debate and offer ideas for the future. Those parties that have arts policies offer good solid and productive proposals which, if implemented, would lead to definite improvement for Australia’s arts and culture. However, that’s just the starting point’, Arts, culture and a map of the future – the limits of arts policy.
Arts funding – it’s not all about the money
‘National Arts Minister, Mitch Fifield, has said that being a strong advocate for the arts doesn’t mean delivering government funding and that an arts Minister or a government shouldn’t be judged just on the quantum of money the government puts in. This sidesteps the Government’s very real problems that it has muddied the waters of existing arts funding, cutting many worthwhile organisations loose with no reason, that rather than delivering arts funding, it has reduced it significantly, and that it has no coherent strategy or policy to guide its arts decisions or direction. The real issue is that a national framework, strategy or policy for arts and culture support underpins and provides a rationale for arts funding – and is far more important’, Arts funding – it’s not all about the money.
Dear Treasurer – our arts are central to everyday life, why doesn’t funding reflect it?
Designs on the future – how Australia’s designed city has global plans
Creativity at work – economic engine for our cities
‘It is becoming abundantly clear that in our contemporary world two critical things will help shape the way we make a living – and our economy overall. The first is the central role of cities in generating wealth. The second is the knowledge economy of the future and, more particularly, the creative industries that sit at its heart. In Sydney, Australia’s largest city, both of these come together in a scattering of evolving creative clusters – concentrations of creative individuals and small businesses, clumped together in geographic proximity. This development is part of a national and world-wide trend which has profound implications’, Creativity at work – economic engine for our cities.
‘Across Australia, local communities facing major economic and social challenges have become interested in the joint potential of regional arts and local creative industries to contribute to or often lead regional revival. This has paralleled the increasing importance of our major cities as economic hubs and centres of innovation’, The immense potential of creative industries for regional revival.
The clever business of creativity: the experience of supporting Australia's industries of the future
‘The swan song of the Creative Industries Innovation Centre, ‘Creative Business in Australia’, outlines the experience of five years supporting Australia’s creative industries. Case studies and wide-ranging analysis explain the critical importance of these industries to Australia’s future. The knowledge economy of the future, with its core of creative industries and its links to our cultural landscape, is both clever and clean. Where the creative industries differ completely from other knowledge economy sectors is that, because they are based on content, they draw on, intersect with and contribute to Australia’s national and local culture’, The clever business of creativity: the experience of supporting Australia's industries of the future.
‘The developing creative industries are a critical part of Australia’s future – clean, innovative, at their core based on small business and closely linked to the profile of Australia as a clever country, both domestically and internationally.’ Creative industries critical to vitality of Australian culture.
My nephew just got a job with Weta – the long road of the interconnected world
‘My nephew just got a job in Wellington New Zealand with Weta Digital, which makes the digital effects for Peter Jackson’s epics. Expertise, specialist skills and industry pockets can occur just about anywhere, as long as you have connectivity, talent and a framework of support that makes it possible. This is part of the new knowledge economy of the future, with its core of creative industries and its links to our cultural landscape. Increasingly the industries of the future are both clever and clean. At their heart are the developing creative industries which are based on the power of creativity and are a critical part of Australia’s future – innovative, in most cases centred on small business and closely linked to the profile of Australia as a clever country, both domestically and internationally. This is transforming the political landscape of Australia, challenging old political franchises and upping the stakes in the offerings department’, My nephew just got a job with Weta – the long road of the interconnected world.
‘I have been dealing with the issue of creativity for as long as I can remember. Recently, I have had to deal with a new concept—innovation. All too often, creativity is confused with innovation. A number of writers about innovation have made the point that innovation and creativity are different. In their view, innovation involves taking a creative idea and commercialising it. If we look more broadly, we see that innovation may not necessarily involve only commercialising ideas. Instead the core feature is application—innovation is applied creativity. Even ideas that may seem very radical can slip into the wider culture in unexpected ways’, Applied creativity.
Creative industries – applied arts and sciences
‘The nineteenth century fascination with applied arts and sciences — the economic application of nature, arts and sciences — and the intersection of these diverse areas and their role in technological innovation are as relevant today for our creative industries. From the Garden Palace, home of Australia’s first international exhibition in 1879, to the Economic Gardens in Adelaide’s Botanic Gardens these collections and exhibitions lay the basis for modern Australian industry. The vast Garden Palace building in the Sydney Botanic Gardens was the Australian version of the great Victorian-era industrial expositions, where, in huge palaces of glass, steel and timber, industry, invention, science, the arts and nature all intersected and overlapped. Despite burning to the ground, it went on to become the inspiration for what eventually became the Museum of Applied Arts and Sciences — the Powerhouse Museum’, Creative Industries.
History all around us – the long term practical impact of cultural research
‘Cultural research has long term impacts in terms of our developing body of knowledge which stretch far into the future. Researchers are finding stories in our major cultural collections that were never envisaged by those originally assembling them – a process that will continue long into the future. The collections of our major cultural institutions are becoming increasingly accessible to the very people the collections are drawn from and reflect. In the process they are generating greater understanding about some of the major contemporary issues we face’, History all around us – the long term practical impact of cultural research.+
Indigenous cultural jobs – real jobs in an unreal world
'Subsidised Indigenous arts and cultural jobs are real jobs with career paths that deliver genuine skills and employment capability.' Real jobs in an unreal world.
Why cultural diversity is central to Australia’s future promise – a refocused Labor arts policy?
‘Can Australia successfully navigate the treacherous and confusing times in which we live? Understanding the crucial importance of our cultural diversity to our cultural, social and economic future will be essential. Applying that in the policies and practices that shape our future at all levels across Australia can ensure we have a bright, productive and interesting 21st Century. An important part of this are the political parties, major and minor, that are increasingly negotiating the compromises that shape our world. The recent launch by the Labor Party of a new group, Labor for the Arts, could be an important development. Combining as it does a focus from an earlier time on both arts and multiculturalism, it could potentially open the way for some innovative and forward-thinking policy’, Understanding why cultural diversity is central to Australia’s future promise – a refocused Labor arts policy?