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Submission to the Federal Government's Enquiry Into Australia's Creative and Cultural Industries and Institutions

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Submission to the Federal Government's Enquiry Into Australia's Creative and Cultural Industries and Institutions Submission to the Federal Government’s enquiry into Australia’s creative and cultural industries and institutions from Eric Myers, on behalf of the Australian Jazz Think Tank Credentials Eric Myers was the inaugural jazz critic for the Sydney Morning Herald 1980-1982, and jazz critic with The Australian,1983-1988. He was publisher & editor of the Australian Jazz Magazine 1981- 1986, and the government-funded National Jazz Co-ordinator from 1983-2002. He currently writes on jazz for The Australian newspaper. The Australian Jazz Think Tank (henceforth the AJTT) currently comprises 27 jazz enthusiasts from around Australia, derived from the following representatives of the jazz community: jazz musicians & composers, arts writers, jazz website curators, jazz vocalists, cultural historians, jazz educators, arts administrators, academics, jazz venue proprietors, lawyers with a demonstrated interest in jazz, and concert presenters. [Information on members of the AJTT is available on request]. The AJTT is aware of the terms of reference for this enquiry, which are: *The direct and indirect economic benefits and employment opportunities of creative and cultural industries and how to recognise, measure and grow them *The non-economic benefits that enhance community, social wellbeing and promoting Australia's national identity, and how to recognise, measure and grow them *The best mechanism for ensuring cooperation and delivery of policy between layers of government *The impact of COVID-19 on the creative and cultural industries; and *Avenues for increasing access and opportunities for Australia's creative and cultural industries through innovation and the digital environment. This submission advances three propositions: 1/ No individual or organisation in the Australian jazz community is currently in a position to competently address these terms of reference. 2/ While Australia is now producing world-class jazz musicians on a prolific scale, the development of the musicians over the last 20 years has vastly outstripped the development of performance opportunities within Australia. 3/ The AJTT believes that funds should be found to appoint an Australian Jazz Advocate (AJA), who could work in the interests of the jazz community, and seek to rectify the problems described below. 1 Discussion of 1/: The relevant information required to competently address the government’s terms of reference is simply not available in the jazz community. Most documented knowledge of Australian jazz is now 20 years out of date. In an interview in The Australian in 2019, the Federal Arts Minister Paul Fletcher said he needed data or, as he described it “metrics on audience engagement and other measures that show why the arts merit continued government investment.” Mr Fletcher also said “Where arts institutions are able to demonstrate their relevance, their audience numbers… those kind of objective metrics are important. Objective evidence is more powerful than perhaps some other forms of advocacy.” It is simply a fact that, in the case of the Australian jazz community, such “metrics” are not available. Since the government-funded jazz co-ordination programs (which began in Australia in 1983 and existed for some 20 years) ceased, no-one has systematically compiled essential information on the extent of jazz activity in Australian culture. The most recent document containing the sort of metrics which Mr Fletcher was seeking is the Australian Jazz Directory, the second edition of which was published in 1998, following its initial publication in 1994. As a result of this lack of information, widespread ignorance about jazz in this country is rampant. Many assume – in the absence of relevant evidence - that jazz is an insignificant art form, with a negligible following, and can therefore be neglected or ignored. Similarly, there is currently no individual or organisation charged with representing the whole jazz community, and lobbying on its behalf - that is to say, thinking in terms of the jazz community as a collective, rather than in terms of the interests of individual jazz musicians. Discussion of 2/: Australia is producing world-class jazz musicians on a prolific scale, not just from New South Wales & Victoria, but from all States. Many of them are prominently active at the highest levels in the United States, the UK and Europe. There are many reasons for this which cannot be canvassed here. One factor, however, is that in Australia it is now possible to gain a degree in jazz at tertiary institutions in every capital city and some regional centres. In most states jazz now sits alongside classical music at both the secondary school and tertiary levels. The development of the musicians, over the last 20 years, however, has outstripped the development of performance opportunities in Australia. The potential audience for live jazz performance is not being maximised. There are many people who wish to hear about jazz and jazz musicians but audience development is being handicapped by lack of media exposure, and the relative absence of jazz in the general arts discourse. Discussion of 3/: The AJTT believes that jazz musicians themselves should not be relied upon to do the work necessary to represent the jazz community. Most Australian jazz musicians are, and always have been, overwhelmingly preoccupied with their own musical projects, and the need to secure gigs. In the past the essential and most effective work in this sphere has always been done by enthusiasts in the support system for jazz, for example the various jazz action societies that once existed in various States, and the jazz co-ordination programs that once existed in all States from 1983, but ceased to operate for various reasons some 20 years ago. The funded concert presenter organisations that survive today (such as the Sydney Improvised Music Association, and the Melbourne Jazz Co-Op) are not equipped to represent even their local communities, let alone the national jazz community. What should the Australian Jazz Advocate do? If funds could be found to appoint an AJA, the AJTT believes his or her priorities should be: 1/ To establish a professional website which would incorporate information on jazz activity in Australia, to be constantly updated. In other words, something like the 1998 Australian Jazz Directory, but online, using current technology. 2 2/ To publish a monthly newsletter online which would be widely distributed free-of-charge. The national jazz community could be expected to unite around such a publication. 3/ To bring the ABC on board. Despite the acknowledged success of its piecemeal current activity, the phenomenon of marginalisation of jazz is in force at the ABC. They should be encouraged to do more. 4/ To investigate the new technologies available, particularly on social media: AJTT member Dr Tim Nikolsky, webmaster of the Australian Jazz Real Book site, said recently: “Jazz has not evolved with the technological advances of this century; and along with it effective engagement with the age group that predominantly consumes this technology.” The AJA should be involved in this vital area and supply much-needed leadership to the jazz community. Who would host the Australian Jazz Advocate position? The Australian Jazz Think Tank is actively seeking funds to establish the position of AJA. If those funds were secured, it would establish the most appropriate legal structure to select and appoint the most qualified candidate. It has undertaken to find “a savvy, intelligent, literate, articulate person (appropriately mentored) who loves jazz, and understands the latest technologies.” The Australian Jazz Advocate would be responsible to that legal structure. There are many supporters of this submission around Australia. The following is a selection: Loretta Barnard (author & arts writer, Sydney) Chris Cody (musician/composer, Sydney) Jacki Cooper (jazz vocalist, lecturer in jazz voice, Sydney) Amy Curl (General Manager, Sydney Improvised Music Association) Dr Sylvan (Schmoe) Elhay (jazz musician, academic, Adelaide) Sean Foran (musician, jazz councillor Music Australia, Brisbane) Nikos Fotakis (editor, www.australianjazz.net website, Melbourne) Professor A J B (Bruce) Johnson (jazz musician, academic, cultural historian, Leura) Joanne Kee (arts administrator, website curator http://jazz.org.au/ , executive producer, Riverside's National Theatre of Parramatta) Andrea Keller (jazz musician/composer, Melbourne) Garry Lee (musician, jazz educator, Perth) Dr Richard Letts (Director, The Music Trust, Sydney) Ian Muldoon (jazz writer, Coffs Harbour) Tamara Murphy (musician, academic, Melbourne) Professor Ted Nettelbeck (jazz musician, academic, Adelaide/Melbourne) Dr Tim Nikolsky (jazz musician, curator https://australianjazzrealbook.com/, Melbourne) Peter Rechniewski (owner, Foundry 616 jazz club, Sydney) Jeremy Rose (musician/composer, educator, founder Earshift Music Jazz Record Label, Sydney) David Theak (artistic director, Sydney Conservatorium International Jazz Festival, artistic director Australian National Jazz Orchestra, Senior Lecturer in Jazz Studies, Sydney Conservatorium of Music) Peter Townsend (lawyer, Sydney) Dr Viktor Zappner (jazz musician/composer, concert presenter and organiser, Burnie, Tasmania) _________________________________________________________________________ 3 .
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