The whole picture – an arts and cultural policy for everyone and everything

After a hiatus of ten long years Australia finally has a new national cultural policy that maps out what the current Albanese Government plans to do in support of Australian culture and creativity. At first glance the new policy appears to be an arts policy, rather than a broader cultural policy, but on closer scrutiny it is connected to far wider initiatives. Part of a series of three articles that consider different aspects of the cultural policy, this second one is about the connection between the policy and broader social and economic features, such as the cultural economy and First Nations economic development. The first one looks at the policy generally and outlines some of the major components it will deliver. The third article looks at the boost to the national collecting institutions which collect and safeguard Australia's cultural heritage.

The new national cultural policy is big, but is it big enough to encompass all those parts of Australian society and economy that are connected to and influenced by creativity and culture? It is crucial for the success of the policy that it stretches far beyond the arts sector. Burke has stressed the broader remit of the policy. Before the policy was released he made a profound point – even if it should be obvious, but usually isn’t. Stressing the importance of the policy, he said: ‘This is not just an arts policy. Cultural policy, when you get it right, affects how you run your health policy. It affects how you run your veterans affairs policy, it affects your industrial relations policy, it affects how you conduct your trade and your foreign affairs.’ 

 Joining the cultural economy dots: wedding dress and underskirt worn by Miranda Tapsell in the film Top End Wedding, exhibited in the Piinpi touring exhibition at the National Museum of Australia (originally curated by Bendigo Art Gallery). The piece is a collaboration between print designer Bede Tungutalum, joint founder of Tiwi Design, designer Heather Wallace and costume maker Robyn Trott.

Missed opportunity
When Burke was Shadow Minister for Arts and also Multicultural Affairs I noted repeatedly that he was in the ideal position to connect the innovative power of cultural diversity to the Opposition’s promised new cultural policy. Unfortunately this new policy misses an important opportunity to highlight this crucial feature of contemporary Australian society and culture and its implications for economic resilience and innovation. However, in this Government Burke now has another role, that of Minister for Employment and Workplace Relations, and he is doing with that position exactly what I had hoped he would do with Multicultural Affairs – connect the dots, as Simon Crean used to say repeatedly.

‘In this Government Burke now has another role, that of Minister for Employment and Workplace Relations, and he is doing with that position exactly what I had hoped he would do with Multicultural Affairs – connect the dots.’

The underlying principles that underpin the Policy have some commendable components – including a strong focus on arts education (‘Australian students have the opportunity to receive an education that includes culture, creativity, humanities and the arts). There is also a commitment to ensure that cultural organisation reflect the diversity of contemporary Australia (‘Arts and cultural organisations have representation and leadership that is reflective of contemporary Australia) and there is a sound balance between production of new creative work and preservation of cultural heritage.

A world beyond the arts
However, I still have some concerns about how it will relate to the cultural economy, especially given that Burke apparently doesn’t see the economic impact of creativity and culture as a priority. It will be interesting to see how the cultural policy might affect and be connected to Labor’s industry policy as the cultural policy rolls out.

Unfortunately, in both its industry policy and policy related to immigration and multiculturalism in the Labor National Platform it missed a rare opportunity to integrate both the importance of cultural diversity for innovation and the link between the creative and cultural economy, the knowledge economy and the economy as a whole. The extent of this in the overall Labor industry policy is a single sentence, ‘Recognising that art and culture contribute to innovation and prosperity, Labor will integrate art and culture policy within our broader social and economic goals.’

'Unfortunately, in both its industry policy and policy related to immigration and multiculturalism in the Labor National Platform it missed a rare opportunity to integrate both the importance of cultural diversity for innovation and the link between the creative and cultural economy, the knowledge economy and the economy as a whole.'

Further, despite the emphatic recommendation of Burke’s Minister's Policy Advisory Group, ‘STEAM not STEM embedded within the Australian Curriculum’, in the Labor Platform as a whole, the focus is definitely on STEM (Science, technology, engineering and maths) education and not STEAM (Science, technology, engineering, arts and maths).

Reading the Labor National Platform I can’t help but be impressed by so many of its policies. Unfortunately, it misses some important dynamic connections between disparate parts of Australian society and the economy and this reflects a lack of understanding that concerns me. These are not earth-shattering refinements that would cost vast sums, but they would ensure that the actions of Government were better focused and more effective.

Creativity and culture – making a living
In line with Burke’s other portfolio responsibility, there is a powerful focus on the central importance of creative work in the new policy. The underlying principles of the Policy are that ‘Artists and arts workers have career structures that are long-term and sustainable, supported by vocational pathways’ and ‘Creative talent is nurtured through fair remuneration, industry standards and safe and inclusive work cultures.’

The policy notes ‘Recognising creative sector workers as vital contributors to our national culture and economy, Revive will establish a Centre for Arts and Entertainment Workplaces within Creative Australia. It will provide advice on issues of pay, safety, codes of conduct and welfare across the sector.’

‘In line with Burke’s other portfolio responsibility, there is a powerful focus on the central importance of creative work in the new policy.’

In a rapidly changing and difficult environment, it often seems a miracle that artists can continue to practice at all – and even sometimes make a living from their art. In parallel with the traditional focus on the arts and arts funding, there has been growing interest in the broader area of the creative or cultural economy and the related, more commercial, creative industries. What has been largely neglected in this discussion is the role of artists in this bold new economic world.

Everyday relevance in a digital universe
A vast transformation of contemporary culture not seen since the breakdown of traditional arts and crafts in the industrial revolution is under way due to the impact of the digital and online environment. Not only artists, but also culture managers and cultural specialists today are confronted with radically different challenges and opportunities to those they faced in the 20th Century.

Yet if the artists who are central to this – and who help fuel our identity as a creative society – struggle to make a living or even abandon their practice, we would have to question what future there is for Australia as an outward-looking, forward-thinking nation. There is no point in having a thriving and growing creative economy if those who underpin it and provide it with ideas, inspiration and artistic content aren't making a viable living from it. If we want to have a place and play a productive role in the contemporary global world, we have to come to terms with these issues – and this is exactly why we need a cultural policy.

The knowledge economy of the future
Increasingly the new industries in the knowledge economy of the future, with its core of creative industries and its links to our cultural landscape are both clever and clean. They are mainly service industries that make up the knowledge economy, based on intellectual inquiry and research and exhibiting both innovative services or products and often also new and innovative ways of doing business. 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, in most cases centred on small business and closely linked to the profile of Australia as a clever country, both domestically and internationally.

‘Where the cultural economy (and to a lesser degree, 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 and are a central part of projecting Australia’s story to ourselves and to the world. ­– they help channel those who write the stories, paint the pictures and dance the dances that tell our story.’

The cultural economy is underpinned by the arts and culture sector and the artists and arts and cultural organisations, mainly small, that make it up and create the content which often feeds into and inspires other sectors of the creative economy. Where the cultural economy (and to a lesser degree, 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 and are a central part of projecting Australia’s story to ourselves and to the world ­– they help channel those who write the stories, paint the pictures and dance the dances that tell our story.

In that sense they have a strategic importance that other sectors of the knowledge economy do not. As part of Australia's culture sector and the cultural economy that derives from it, they share the critical function of managing the meaning of Australia and what being Australian means, which distinguishes this sector from other parts of the knowledge economy.

‘While the arts, creativity and culture sector (including much of the heritage sector) cannot be reduced simply to economics, it would be a mistake if, for that reason, we ignored the fact that it plays an important economic role.’

While the arts, creativity and culture sector (including much of the heritage sector) cannot be reduced simply to economics, it would be a mistake if, for that reason, we ignored the fact that it plays an important economic role. The cultural economy may well be one of the less important aspects of the cultural sector and its role but it still needs to be recognised.

Both economic relevance and a sense of being embedded with community are complementary aspects of contemporary culture that make it so strong a force. The economic role of arts, culture and creativity and their community role of building resilience, well-being, social inclusion and liveable cities are two sides of the same coin. What they have in common is that both spring from the reality that arts, culture and creativity are integral to everyday life and the essential activities that make it up.

Addressing central social challenges
The focus of the cultural economy (and to some degree creative industries) on content has other implications. Creativity, culture and creative industries also show promise in helping address central social challenges Australia faces. In attempting to address the major issue of Indigenous disadvantage, to take just one example, it is critical to recognise that one of the most important economic resources possessed by First Nations communities is their culture.

‘Through the intellectual property that translates it into a form that can generate income in a contemporary economy, that culture is pivotal to jobs and to income. It may not be mining but they mine a far richer seam – authentic and rich content that has already been recognised internationally for its high value, just like our iron and coal.’

Creative firms are already developing which draw on that cultural content. Through the intellectual property that translates it into a form that can generate income in a contemporary economy, that culture is pivotal to jobs and to income. It may not be mining but they mine a far richer seam – authentic and rich content that has already been recognised internationally for its high value, just like our iron and coal.

The hidden universe of Australia’s own languages
I gather Burke has been hard at work with the First Nations languages organisations, such as First Languages Australia, to build on earlier work by the Labor Government, like the 2019 National Indigenous Languages Policy announced by the Rudd Labor Government. The new policy will include ‘establishing a First Nations Languages Policy Partnership between First Nations representatives and Australian governments to improve outcomes for First Nations peoples.’

Approaching this as a partnership would be good because the languages organisations are experienced and effective and they know what is needed. At the end of the day, Government will have to develop its own strategy outlining what it can deliver for languages maintenance and revival, but for ideas and examples, it could best look closely at those with real knowledge and experience in this area.

‘At the end of the day, Government will have to develop its own strategy outlining what it can deliver for languages maintenance and revival, but for ideas and examples, it could best look closely at those with real knowledge and experience in this area.’ 

More broadly, building on previous work done over many years, by both Labor and Coalition Governments, and on elements in the previous national cultural policy, the Government will introduce ‘stand-alone legislation to protect First Nations knowledge and cultural expressions, including to address the harm caused by fake art, merchandise and souvenirs.’

Just a part of the overall suite that assists the development of First Nations communities, cultures and economies are the existing programs that support First Nations culture. These are all slated to continue. Some are long-running, like the Indigenous Languages and Arts program, which supports Aboriginal and Torres Strait Islander peoples to express, preserve and maintain their cultures through languages and arts activities around Australia and the Indigenous Visual Arts Industry Support program, which helps fund the operations of around 80 Indigenous-owned art centres, and a number of art fairs, regional hubs and industry service organisations that are at the heart of Australia’s world-famous Indigenous visual art movement.

There are also more recent programs, such as the Indigenous Contemporary Music Program, which has been operating since early 2020, providing funding to a range of organisations, to help them support support First Nations musicians. The program offers training, skills and opportunities to support ongoing income and employment in the music industry.

The bigger picture of Government roles
It is important to remember that funding is only one small part of the Government role in supporting arts, creativity and culture. Once we look beyond funding, we see that the reach and responsibility of Government is very broad and its involvement in supporting creativity and culture is linked to many other critical areas. I’ve said repeatedly that when we look at the role of government in supporting Australian arts, creativity and culture, we often focus on funding. Yet government support for arts, creativity and culture extends far more broadly than funding – and in fact much of this support is far more important than funding. 

Government involvement includes a direct role in the arts, creativity and culture sector through its own agencies, such as the national and state cultural institutions, its place in education and training subsidies and through its own arts training bodies, accreditation frameworks and curriculum, through tax incentives or deductions, schemes like the lending right programs that compensate authors for the use of their publications in public libraries, frameworks for intellectual property rights and payments, local content regulations, and the setting of standards and protocols that govern such things as Internet content.

‘This doesn’t even include the myriad of other ways in which Government agencies which are not mainly concerned with arts, creativity and culture, intersect with the arts, creativity and culture sphere.’

This doesn’t even include the myriad of other ways in which Government agencies which are not mainly concerned with arts, creativity and culture, intersect with the sphere of arts, creativity and culture. Often overlooked but critical is the role of regulation, legislative frameworks (including Intellectual Property), the establishing of standards and support for international conventions. Some of the most important ways the Government supports arts, creativity and culture is through its role in education and training.

Once we look beyond the arts, or even arts and culture, we see a much larger, more complex and more dynamic picture. Then we can start to imagine how the broader impact of arts, creativity and culture could be more effectively recognised, fostered and enhanced.

Postscript: I noticed this morning a possible sign that the broader view of arts and culture I keep talking about, with its links to the whole of Government agenda, might be becoming more prevalent than I realised. For some time now the CEO of what used to be called the Office of the Arts (or at one stage more grandly the Ministry of the Arts) in the Department of Infrastructure, Transport, Regional Development, Communications and the Arts has described himself as Deputy Secretary, Creative Economy and the Arts.

© Stephen Cassidy 2023

See also

Time to revive with renewed national cultural policy
‘After a hiatus of ten long years Australia finally has a new national cultural policy that maps out what the current Albanese Government plans to do in support of Australian culture and creativity. The previous policy, announced by the Gillard Labor Government in 2013, was a very good policy, even though it had its gaps, but its impact was cut short by what turned out to be a series of Governments that managed to steadily become worse the longer they were in office. At first glance the new policy appears to be an arts policy, rather than a broader cultural policy, but on closer scrutiny it is connected to far wider initiatives, including some that have never been included in a cultural policy before. Part of a series of three articles that consider different aspects of the cultural policy, this first one looks at the policy generally and outlines some of the major components it will deliver. The second article is about the connection between the policy and broader social and economic features, such as the cultural economy and First Nations economic development. The third article looks at the boost to the national collecting institutions which collect and safeguard Australia's cultural heritage’, Time to revive with renewed national cultural policy.
 
Who we are and where we come from – end to the rot in our national cultural institutions?
‘After a hiatus of ten long years Australia finally has a new national cultural policy that maps out what the current Albanese Government plans to do in support of Australian culture and creativity. At first glance the new policy appears to be an arts policy, rather than a broader cultural policy, but on closer scrutiny it is connected to far wider initiatives. Part of a series of three articles that consider different aspects of the cultural policy, this third article looks at the boost to the national collecting institutions which collect and safeguard Australia's cultural heritage, outlining how after decades of damage from the so-called efficiency dividend, Australia’s national cultural institutions, amongst our most important publically-owned assets, might just have been saved. The first article looks at the policy generally and outlines some of the major components it will deliver. The second article is about the connection between the policy and broader social and economic features, such as the cultural economy and First Nations economic development’, Who we are and where we come from – end to the rot of our national cultural institutions?

Flight of the wild geese – Australia’s place in the world of global talent
‘As the global pandemic has unfolded, I have been struck by how out of touch a large number of Australians are with Australia’s place in the world. Before the pandemic many Australians had become used to travelling overseas regularly – and spending large amounts of money while there – but we seem to think that our interaction with the global world is all about discretionary leisure travel. In contrast, increasingly many Australians were travelling – and living – overseas because their jobs required it. Whether working for multinational companies that have branches in Australia or Australian companies trying to break into global markets, Australian talent often needs to be somewhere else than here to make the most of opportunities for Australia. Not only technology, but even more importantly, talent, will be crucial to the economy of the future’, Flight of the wild geese – Australia’s place in the world of global talent. 

 

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.

 

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.

Contemporary Indigenous fashion – where community culture and economics meet

‘The recent exhibition 'Piinpi', about contemporary Indigenous fashion, has a significance for Australian culture that is yet to be fully revealed. The themes covered by the exhibition are important because they demonstrate the intersection of the culture of First Nations communities with creative industries and the cultural economy. In attempting to address the major issue of Indigenous disadvantage, for example, it is critical to recognise that one of the most important economic resources possessed by First Nations communities is their culture. Through the intellectual property that translates it into a form that can generate income in a contemporary economy, that culture is pivotal to jobs and to income. It may not be mining but it mines a far richer seam – authentic and rich content that has already been recognised internationally for its high value, just like our iron and coal. At a time when First Nations communities are talking increasingly about gaining greater control over their economic life, this is highly relevant’, Contemporary Indigenous fashion – where community culture and economics meet.

Understanding the economy of the future - innovation and its place in the knowledge economy, creative economy, creative industries and cultural economy

‘When we start to think about the economy of the future – and the clean and clever jobs that make it up – we encounter a confusing array of ideas and terms. Innovation, the knowledge economy, the creative economy, creative industries and the cultural economy are all used, often interchangeably. Over the years my own thinking about them has changed and I thought it would be useful to try to clarify how they are all related’, Understanding the economy of the future – innovation and its place in the knowledge economy, creative economy, creative industries and cultural economy. 

 

Broader and deeper - the creativity and culture of everyday life
‘The Impact and Enterprise post-graduate course at the University of Canberra course is unique in Australia in placing creative industries and the creative and cultural economy in the broader landscape of the wider impacts of creativity and culture - both economic and social. It starts from the premise that what the broader social and economic roles of creativity and culture have in common is that a focus on the economic role of creativity and culture is similar to the focus on its community role – both spring from recognition that creativity and culture are integral to everyday life and the essential activities that make it up. In March 2021, as the course entered its third year, I gave a talk to the students about where it came from,’ Broader and deeper - the creativity and culture of everyday life.

 

Music makes the world go round – the bright promise of our export future
‘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.

Industries of the future help tell stories of the past – Weta at work in the shaky isles
‘After three weeks travelling round the North Island of New Zealand, I’ve had more time to reflect on the importance of the clean and clever industries of the future and the skilled knowledge workers who make them. In the capital, Wellington, instead of the traditional industries that once often dominated a town, like the railways or meatworks or the car plant or, in Tasmania, the Hydro Electricity Commission, there was Weta. It’s clear that the industries of the future can thrive in unexpected locations. 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. These skills which Weta depends on for its livelihood are also being used to tell important stories from the past’, Industries of the future help tell stories of the past – Weta at work in the shaky isles.

Designs on the future – how Australia’s designed city has global plans
‘In many ways design is a central part of the vocabulary of our time and integrally related to so many powerful social and economic forces – creative industries, popular culture, the digital transformation of society. Design is often misunderstood or overlooked and it's universal vocabulary and pervasive nature is not widely understood, especially by government. In a rapidly changing world, there is a constant tussle between the local and the national (not to mention the international). This all comes together in the vision for the future that is Design Canberra, a celebration of all things design, with preparations well underway for a month long festival this year. The ultimate vision of Craft ACT for Canberra is to add another major annual event to Floriade, Enlighten and the Multicultural Festival, filling a gap between them and complementing them all’, 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.

The immense potential of creative industries for regional revival
‘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.

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.

Creative industries critical to vitality of Australian culture
‘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.

Applied creativity
‘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.