This is highly relevant to those with an interest in Australian creativity and the creative sector. Former Prime Minister Kevin Rudd, having courted the Murdoch media for many years in politics - as every politician ends up having to do - is now free from owing Murdoch anything and has launched a petition for a Royal Commission into the media in Australia.
Saturday, October 17, 2020
Monday, October 5, 2020
Back in 2013, when the first of the latest string of Coalition Governments we have had was elected, there seemed to be a strong view within the Coalition that broadband was a luxury, mainly useful for entertainment. Yet those of us familiar with the work of Australian post-production companies, doing the finishing work on major US films during the day while the US industry slept, and sending it by broadband overnight for work to resume in the Northern hemisphere the next day, knew it was a key part of Australia’s productive infrastructure. Then the COVID-19 pandemic confirmed it. Now the Government has acknowledged that there are major deficiencies with the National Broadband Network but is it too late to save it and make it the national asset we need and deserve?
I don’t normally write about technical issues. However high quality broadband is so crucial to the future of the creative sector that commenting about it is unavoidable. After spending ten years belittling the Labor Government plan for almost universal high speed broadband, the Coalition Government has finally accepted that what it has produced is a second-rate mess.
Distinctive National Broadband Boxes have sprung up across the nation - but the news is not as welcoming as the message on this one.
Now, seven years after the Coalition Government was first elected, it isto spend $4.5 billion to fix up the compromise its own cuts have created. The Minister now responsible, Paul Fletcher, used to work for Optus, so on top of the advice from his department, he must have a pretty good historical idea of the problems. It’s a good sign that he has finally made this announcement, despite the limitations of Government commitment. There’s also the question of who would want to go into the next election with this disappointing issue on your hands?
Monday, September 28, 2020
Many years ago, in a universe far, far away – actually the arts and culture division of the Australian Government – I was responsible for a time for literature and contemporary music policy and programs. A songwriter who worked in the area with me, who knew a thing or two about the economics of the music industry, pointed out to me that after ABBA, Sweden had managed to discover a new source of income, which was not as you would expect coal or oil.
Building a Scandinavian economy of the future - renewal energy and creative content together pack a powerful economic punch.
Rather than oil what it had discovered was song royalties. From then on, I was intrigued. My songwriter colleague at the time had drawn some of his insights from a forum organised by the Australasian Performing Right Association (APRA), the national organisation representing copyright holders in creative content in music and song.
‘APRA has been around since 1926 and today represents the rights of 103,000 songwriters, composers and publishers across Australia and New Zealand. At the heart of what APRA does is collect money for the use of its members’ intellectual property – their songs.’
This is why a little-publicised recent speech by Jenny Morris, noted Australian musician and song-writer and current Chair of APRA, is so important and timely. She made her hard-hitting address at the National Press Club in Canberra in August this year. Incidentally she was diagnosed with spasmodic dysphonia five years ago and Sophie Payten, better known as Gordi, fresh from a concert at the Sydney Opera House, assisted in delivering her address.
Monday, September 14, 2020
I am starting to think that ‘trickle down economics’, the concept that making the wealthy wealthier will inevitably flow down to those earning less – an idea seemingly admired by the Government – could be called more accurately ‘piss upon economics’. This is no rising tide lifting all boats – it’s becoming quite clear that wealth is more and more concentrated in fewer and fewer hands. The reality is that in dealing with the pandemic, the Government responded to a world they knew – and helped create. The problem is not only with the Government’s response but with the business models of the sector that made it all possible – business models that are part of a larger trend in our economy and society generally.
‘In the economy of the future the creative sector and the higher education system will be critical. Yet in facing this crisis, it seems the Government has largely abandoned both of them.’
In many ways, in its response to the pandemic, the Government has demonstrated sharply its fundamental and blind spots. In the economy of the future the creative sector and the higher education system will be critical. Yet in facing this crisis, it seems the Government has largely abandoned both of them.
Not only does the Higher Education sector train our artists and cultural workers but, as the creative sector has pointed
out, 70% of artists who earn a living beyond their creative work do so through
teaching. Yet universities are excluded from JobKeeper, as are
university galleries and their staff. The neglect extends even further ‘Local Government
institutions and their employees are excluded – that’s every regional and
suburban gallery, museum and performing arts centre in Australia. The lifeblood
of their communities, with nowhere to go. Coupled with the long-term run down and privatisation of technical and further education, no-one will be calling Australia the clever country any time soon – the clever dick country is more like it.
This is further demonstrated by the unsuitability of the JobKeeper package for many artists and artsworkers who work on a casual basis on successive short term projects across multiple employers. Someone might be continuously employed for many years but in that time work for a succession of employers for no more than a few months at a time.
Thursday, September 10, 2020
The endless attrition of the ‘efficiency dividend’, with its long-term debilitating impact on our major national cultural institutions, continues to do harm. With the periodic announcement of job losses, more and more valuable expertise is increasingly lost and important programs affected. This will undermine the ability of these institutions to care for our heritage and to provide access to their collections for Australians across the country. The long term impact of these cumulative changes will be major and unexpected, magnifying over time as each small change reinforces the others. At some point Australians will ask where valued and important programs have gone and how critical institutions have managed to diminish to the point where return will not be possible.
The most recent news in the ongoing decline of our major
national cultural institutions was that the National Gallery of Australia would
shed staff due to a range of pressures including the ongoing impact of the
‘efficiency dividend’. However, this is a long-term, ongoing decline. More and
more valuable expertise is increasingly lost and important programs affected.
Canberra vista showing many of the national cultural institutions.
Ironically this occurred just as the Government announced a well-overdue $250 millionfor the badly battered creative sector, a program that while generally welcomed by the sector, was described by corruption-busting journalist, Michael West, as ‘chicken feed’. Two and a half months later not much seems to have happened. The announcement of the job losses occurred at the same time as the Government began spending around $500 million on a to one single cultural institution, the Australian War Memorial.
Monday, September 7, 2020
Another one of the many ways in which the current Australian
Government doesn’t understand the creative sector has been underlined by its
decision to wind back the JobSeeker allowance. In the clean and clever economy of the future both the creative sector and the higher education sector will be critical - yet both have largely been abandoned by the Government.
Increasingly I wonder if the current Australian Government is up to managing an economy – much of what it is doing seems more to be dictated by neo-liberal ideology than economic merit. I can’t see how many of the ideas it is pushing ahead with will help the economy – in fact they are likely to make things worse: cutting welfare (those on welfare would spend every extra dollar they get, thereby stimulating the economy quickly); cutting taxes (those getting the tax cuts, mainly focused inevitably on higher incomes have been saving, not spending in response to the economic recession); and undermining the superannuation system (which will hit the lowest paid and most insecure, with mostly intermittent work - mainly women). On top of this they are still fixated on deregulating the workforce (creating more precarious short-term casual jobs without sick leave or other protections, which made the rapid spread of the COVID-19 virus inevitable).
Flawed stimulus packages
Even their stimulus packages seem flawed in terms of what they are supposed to achieve. During the Global Financial Crisis, the Rudd Government rolled out the roof insulation scheme, which despite its flaws, did what it needed to do. It had quick take up because it didn’t involve building and it left an overall benefit to the nation by reducing energy use. In contrast the HomeBuilder scheme is still barely underway because of all the steps needed to start work and it will leave lasting benefits only to those home owners who can access it. Direct government spending on social housing or other worthwhile community projects would be far more effective at stimulating the economy, while at the same time leaving broader social benefits to the nation from taxpayer dollars.
What started me on this path was thinking how in the economy of the future the creative sector and the higher education system will be critical. Yet it seems this Government has largely abandoned both of them and is focused on bolstering sectors like coal and gas that are rapidly being overtaken by developments with renewal energy.
Consigning much of the creative sector to poverty
Another one of the many ways in which the current Australian Government doesn’t understand the creative sector has been underlined by its decision to wind back the JobSeeker allowance. From 27 September, JobKeeper will move to a two-tier system. Workers who usually worked less than 20 hours per week pre-pandemic will receive $750 per week, while full-timers will get $1,200.
Yet many of the industries with the highest proportion of those working less than 20 hours per week are also those that have faced the tightest restrictions due to the pandemic. Industry sectors such as arts and recreation, which have been most affected by the coronavirus restrictions, are also those which have the highest share of their workforce working too few hours to be eligible for the higher JobKeeper rate.
Before the pandemic these workers would have put together a living wage by working several part-time jobs. The problem is that because of the pandemic and the restrictions to deal with it, many of the jobs they used to rely on to supplement their incomes no longer exist. The Government action is compounding its neglect of this sector by consigning much of it to poverty.
Music makes the world go round
‘After ABBA, in an unexpected break from its traditional way of building national wealth from natural resources, Sweden managed to discover a new source of income. It was not as you would expect coal or oil. Rather than oil what it had discovered was song royalties, part of a fundamental change in the nature of modern economies which transformed them from relying solely on natural resources, transport and manufacturing to make creative content a new form of resource mining. Examples like theirs point to potentially major opportunities for the Australian music industry to become a net exporter of music,’ Music makes the world go round – the bright promise of our export future.
The old normal was abnormal – survival lessons for a new riskier world
‘When I hear the call to get back to normal, I think ‘what was normal about the old normal?’ The sudden shutdown of large sectors of the economy highlighted drastically how precarious was the situation of vast chunks of Australian society, in particular but not exclusively, the creative sector. The business models implemented by the Government to help businesses survive and employees keep their jobs didn’t work at all for those who had already been happily left at – or even deliberately pushed to – the margins of society and the economy. In good times the creative sector is flexible and fast at responding. In bad times it is a disaster, as the failure of the COVID-19 support packages for the sector shows’, The old normal was abnormal – survival lessons for a new riskier world.
Saturday, August 1, 2020
Out of sight, out of mind – building knowledge on sustaining the creative and cultural sector in regional and remote Australia
Effective research and evaluation is a key element in ensuring long term growth of creative and cultural organisations, to ensure that they are effective in meeting their own objectives. Across all areas of the creative and cultural sector, it is clear how critical research, evaluation and measurement is to understanding what the creative and cultural sector does and what works best.
I have previously looked at the importance of research about creativity and culture and its role and significance in Australian society and the Australian economy. In my article, ‘Better than sport? The tricky business of valuing Australia’s arts and culture’, I noted ‘Most arts and culture organisation – and, increasingly, most government departments – don’t have the ability, expertise or resources to undertake research. This is where partnerships are crucial, whether in actually carrying out the research, or in helping set it up so it can be done in an economical and effective way.’
Saturday, July 25, 2020
Tuesday, July 14, 2020
The universal vocabulary of design
Saturday, July 4, 2020
Breaking news this morning is that the planned closure, demolition and site sale of the Powerhouse Museum in Sydney has been halted by the State Government. Instead the Museum will operate from both the Ultimo and Parramatta sites.
|In its own way, the Powerhouse Museum is as important a landmark as the Sydney Harbour Bridge and the Opera House.|
Exactly what this will mean in practice remains to be seen, but retaining the Museum where it is and adding a campus in Parramatta could be amajor improvement – if handled properly. This is what those opposed to the closure and transfer have long been calling for.
Thursday, June 25, 2020
First the bad news – the National Gallery of Australia will shed staff due to a range of pressures including the ongoing impact of the efficiency dividend. I’ll write about this separately later. What I want to focus on first is the good news – Arts Minister Paul Fletcher has been persuaded by relentless lobbying from the creative sector that it has been disproportionately impacted by Government action to respond to the COVID-19 pandemic and needs relief.
|Life saving buoy - Emergency use only.|
He in turn has managed to persuade the Government it finally needs to act. There have been hints around for a while that this might occur, coming to a head in the last few days. The creative sector will get access to $250 million worth of grants and loans under a COVID-19 recovery package unveiled today.
Thursday, May 28, 2020
Survival in the rapidly changing and reshaping world of work in the creative sector post-COVID-19 will require enhanced literacy in the opportunities of the new industries of the future, the clean and clever knowledge economy which is altering our world on a daily basis. Over the last couple of years I have developed and presented a post-graduate course at the University of Canberra called ‘Impact and Enterprise’, which looks at the creative and cultural economy and its broader impacts. What is unique about the course is that it doesn’t cover only the economic impacts but also the social impacts, threading the two together.
|Wheat silos with stories - the interrelationship of creativity and culture with society, community and the economy is complex and dynamic.|
Economic relevance and community connection
Both economic relevance and a sense of being embedded with community are complementary aspects of contemporary creativity and culture that make it so strong a force. It links up my interest in both the economic role of culture and creativity and in their community role of building resilience, well-being, social inclusion and liveable cities. What they have in common is that both spring from the reality that culture and creativity are integral to everyday life and the essential activities that make it up
Wednesday, April 22, 2020
The not quite forgotten former Prime Minister, Malcolm Turnbull has reappeared as if from the dead to speak some disturbing truths about the current Coalition Government. It’s a reminder of the hopes raised and then dashed for a more forward-looking and relevant Liberal Party when he became Prime Minister and was subsequently undermined by the hard right of the Party.
|In the park outside the fabulous Bendigo Art Gallery, a plaque reminds us of the long Australian tradition of defiance against injustice and bad Government - something that is an integral part of our culture.|
At the time of Turnbull’s rise I wrote an article that now seems more like wishful thinking, suggesting that the Government might become less fixated on the dirty and dying industries of the past. The sad reality is that this current Government and its immediate predecessors under both Turnbull and Abbott have systematically shut down Australian creativity and culture.
Monday, April 13, 2020
What I find amazing – but not unusual – is that for the last five years, medical experts have been predicting another pandemic. Meanwhile penny-pinching governments have been cutting funding for medical research. Now people are going to die because Government failed. Governments exist for the big challenges, the long term issues. But we keep electing politicians who can't see beyond the next election in three years time. We've had drought and massive bush fires and now pestilence. To top it off we are about to see a whole crucial economic and social force crippled, as the creative sector is largely sidelined.
Too little, too late
Unfortunately, as the ‘too little, too late’ response to the bushfires showed, our current Government is not well suited to deal with this crisis, for two reasons – temperament and ideology. Firstly, temperament – Morrison is just not a decisive, strategic leader. He's been forced to respond to the coronavirus, but it's not a natural fit. Luckily, just like Rudd during the Global Financial Crisis, he has listened to the advice of his departments and the experts, but it was not a natural or instinctive response.
Secondly, ideology – the Coalition don't believe Government should have much of a role at all and they are also fixated on the myth of the centrality of the individual above community, so they aren't very good at social mobilisation or public health campaigns. As a result they are the last people you want running this sort of whole of Government response. Hopefully they'll learn, but it goes against the grain, so they will always lag and be less decisive than needed. I am equally as pessimistic about their role in leading the economic and social rebuilding that has to happen down the track.
Tuesday, April 7, 2020
Amongst all the coverage of the response to this pandemic, something caught my eye. Former Socceroos player Craig Foster (the man who played a pivotal role in the release of wrongfully-jailed Hakeem al-Araibi from a Thai prison in 2019) has been mobilising the nation’s now-unemployed sporting community to volunteer with community organisations.
|Strathalbyn Craft Centre in the main street - closed indefinitely due to the COVID-19 pandemic.|
His ‘Play for Lives’ initiative enlists sporting heroes to volunteer for everything from packing food boxes to driving cancer patients to appointments.
Holding communities together
What a tremendous effort. It reminded me of when the Arts Division of the Australia Government was developing the short-lived National Cultural Policy, ‘Creative Australia’, under Gillard as Prime Minister.
Wednesday, February 26, 2020
The National Museum of Australia recently hosted a sold-out preview screening which I was lucky enough to buy a ticket for – one of the last available. Here's hoping the film will have a wider distribution. I'm still thinking about the film, but this is an initial personal response to seeing it, coloured by more than six years working in the Indigenous language and culture programs of the Australian Government. The film unfolds slowly, capturing everyday life in Aboriginal communities in Alice Springs, and later in more remote Borroloola.
|The opening frame of the film - with suggestions for action - above members of the discussion panel which followed the screening.|
It doesn’t rush its story. It’s about everyday life, touching on everyday dramas and the everyday challenge of getting along. In a strange – and good – way, it's a bit like a family movie. Maya Newell, the Director of the film, commented that it was the result of hundreds of hours of filming, compressed to become the final story – and that pays off in a very powerful way. This is how we all experience the world. Hours of detail pass us by every single moment and are hardly noticed, but from them we sieve out the important things.
Saturday, February 22, 2020
There’s an old saying: You never know your luck in a big city and it’s true to a degree. One of the great pleasures of living in cities – whether they be big ones or smaller regional cities – is the unexpected surprises around stray corners. The other day I was walking past the Canberra Museum and Art Gallery when I glimpsed a small sign about an exhibition that looked interesting
|While palaces like this one at Potsdam, just outside Berlin, would not have been part of the everyday experience of German tradesmen, it was part of a broader culture that would have been very different to life in Australia.|
I went in to ask about it and was promptly invited to the opening a couple of days later. The exhibition was ‘Building a life – the Jennings Germans story’, which tells the story of the 150 German tradies recruited in Germany straight after World War 2 to join the vast nation-building exercise happening across Australia.
Wednesday, February 5, 2020
I have been thinking about my earlier comments due to the example of a group of artists who have banded together to produce public artworks about climate change. These works have had a limited life due to urgent reaction by self-appointed conservative censors, but they have retained a much longer after life – like the half life of radioactive material, their energy and danger may linger for much longer.
|Enough hot air - surrounding Parliament House Canberra, on the day Parliament re-opened, February 2020|
Sunday, February 2, 2020
This endless season of fires has focused attention on the many implications for those in the arts and culture sector. One aspect of the relationship between artists and fires is the impact of the fires on art and artists, with studios damaged or destroyed and many other indirect effects. Many craft practitioners live and work on the South Coast and there are strong links with Craft ACT in Canberr is currently surveying the local creative community in the Bega Valley, Eurobodalla and Snowy Monaro area to ascertain the impact of the fires on creative practices and businesses.
|With long term climate change underpinning cyclical weather phenomena, the whole country is drier than ever, everyone is hoping for rain in the affected areas - even though that will bring a new set of problems.|
Cultural institutions were also affected, whether due to the impact of smoke on the national cultural institutions in Canberra or the evacuation of valuable and irreplaceable artworks in the collection of the Bundanon Trust near Nowra in the NSW South Coast hinterland. The national collecting institutions in Canberra have focused their attention on contingency plans if their public buildings or collection stores are threatened in the future. Matthew Trinca, Director of the National Museum warned that institutions would need to consider how they approached international exhibitions in future Australian summers.