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.
At the time, the then Secretary of the Department of the Prime Minister and Cabinet, Terry Moran, commented that Prime Minister Gillard saw the policy as important because in an age where religion was no longer such a force in community life, it was the arts and sport that played a powerful role in energising communities and holding them together.
‘In an age where religion was no longer such a force in community life, it was the arts and sport that played a powerful role in energising communities and holding them together.’
One of the organisations Foster has been assisting, the Cancer Council for NSW, has been forced to stand down most of its existing volunteers because they are over 60 and hence vulnerable to COVID-19. This is fascinating because it points to a much wider problem – how so many of our community organisations depend almost completely on older Australians to deliver their services.
Essential services – older Australians
This was brought home to me sharply when I was on my way back home from the fire-ravaged communities of Kangaroo Island, driving through Strathalbyn, one of my favourite towns in the Adelaide Hills. In the main street the attractive old Library building was the home of the local craft centre. The centre had been closed indefinitely - before the general lockdown - because so many of the volunteers who worked for it were at-risk over 70s.
‘In this dangerous age of pandemic, all sorts of things we have taken for granted have become apparent. One of these is how similar in many respects the arts and sport are. The other is how community organisations are kept alive by an essential service that is often overlooked.’
Perhaps amongst all the essential services we are so concerned at supporting, we might need to remember this one – the older Australian who help keeping this country and its communities running. Adhering religiously to the lockdown guidelines, to ensure we are not burying our grandmothers and grandfathers due to this pandemic, will be one crucial way of returning the favour.
‘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
Creative and cultural futures – understanding the creative and cultural economy
‘Survival in the creative sector in a post-COVID world 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. Now a new short course delivered completely online in the new digital universe we are all increasingly inhabiting will look closely at the creative and cultural economy and the broader impacts of creativity and culture, both economic and social. It will outline the role of the creative sector in managing meaning and explain how telling Australian stories puts us on the international stage in an increasingly globalised world’, Creative and cultural futures – understanding the creative and cultural economy.
Shutting down Australian creativity and culture – timeline of a trainwreck ‘In its response to the pandemic the current Government came a long way in terms of its narrow economic views about minimising the role of Government. However the longer history of neglect of the creative sector shows how severe the Government's economic limitations are and how its grasp of the economy (without even mentioning the social sphere) is too narrow and out of date. It has missed a whole sector of the economy that was large, fast growing and included many of the jobs of the future. It's most recent actions have merely compounded a seven year history of neglect and damage,’ Shutting down Australian creativity and culture – timeline of a trainwreck.
‘The last few months have been a wild ride. First the national bushfires and now global pandemic. In February people were being encouraged to visit fire-ravaged regional centres to help boost local economies. By March they were being urged to stay home to help reduce the spread of pestilence. I’m quietly seething at governments which knew this was coming, but just didn’t have a fixed date, and thought they could make savings by pretending it wasn’t coming. Now the Australian creative sector has largely been infected as well, but without the ventilators required to keep it alive,’ Caught in the past – economic blindness overlooks the creative sector.
Out of the ashes – art and bushfires
‘While the current bushfires raging across much of Australia are unprecedented in their scale and severity, they are a reminder of how people have responded after previous fires, rebuilding communities and lives in the affected areas. They have also focused attention on the impact of the fires on creative practices and business and on how those in the arts and culture sector can use their skills to contribute to bushfire recovery into the future’, Out of the ashes – art and bushfires.
‘Understanding, assessing and communicating the broad value of arts and culture is a major and ongoing task. There has been an immense amount of work already carried out. The challenge is to understand some of the pitfalls of research and the mechanisms and motivations that underpin it. Research and evaluation is invaluable for all organisations but it is particularly important for Government. The experience of researching arts and culture in Government is of much broader relevance, as the arts and culture sector navigates the tricky task of building a comprehensive understanding in each locality of the broader benefits of arts and culture. The latest Arts restructure makes this even more urgent.’, Better than sport? The tricky business of valuing Australia’s arts and culture.
What is art good for? Understanding the value of our arts and culture
‘With arts and cultural support increasingly under pressure, arts and cultural organisations and artists are trying to find ways in their own localities to respond and to help build a popular understanding of the broader social and economic benefits of arts and culture. Much work has been done in Australia and internationally to understand, assess and communicate the broad value of arts and culture. The challenge is to share and to apply what already exists – and to take it further’, 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.
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.
Creating the future for Australia's arts and culture
‘Australia’s arts and culture is at a critical stage. One of the issues confronting it is lack of any kind of shared sense of what the role of government is in encouraging our arts and culture. The whole set of interlinked problems with the relationship between government and Australia’s arts and culture can be reduced to a lack of strategic vision and a long-term plan for the future. This deficiency is most apparent in the lack of any guiding policy, like trying to navigate a dark and dangerous tunnel without a torch or flying at night without lights or a map’, Creating the future for Australia's arts and culture.
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.