Performing Arts Advocacy in Australia

Performing arts advocacy in Australia John Daley About the author A discussion paper commissioned by the Australian John Daley is one of Australia’s leading policy thinkers. He was Chief Executive Major Performing Arts Group of the Grattan Institute for its rst 11 years, and led it to become the leading This discussion paper was commissioned by the Australian Major Performing domestic policy think tank in Australia, publishing extensively on government Arts Group as its last substantial project. The members of AMPAG were given priorities, institutional reform, budget policy, and tax reform. the opportunity to comment on a draft of the discussion paper, but the author is responsible for its contents, and all remaining errors or omissions. He has 30 years’ experience spanning academic, government and corporate roles at the University of Melbourne, the University of Oxford, the Victorian This discussion paper was written by John Daley in his personal capacity. Bel Department of Premier and Cabinet, consulting rm McKinsey and Co, and Matthews and Bethwyn Serow provided research assistance for some aspects of ANZ Bank. the discussion paper. John is currently the Chair of the Australian National Academy of Music, which The author thanks for their extremely helpful contributions numerous members is one of the Arts8 performance training and education institutions that receive of Australia’s arts and culture community, in organisations, peak bodies, funds from the Commonwealth government. He is also a Director of the Myer government agencies, universities, and their personal capacity. Foundation. Previously, he was the Deputy Chair of the Malthouse Theatre, Deputy Chair of the Next Wave Festival, and the Chair of the Strategy and The paper is based on information available in April 2021. Research Panel of the Australia Council for the Arts. He spent his youth well, This discussion paper may be cited as: playing violin with the Australian Youth Orchestra, studying the piano with Daley, J. (2021). Performing arts advocacy in Australia Max Cooke at the Melbourne Conservatorium of Music, and producing musicals at the University of Melbourne. ISBN: 978-0-6451833-0-6 © John Daley 2021. John graduated from the University of Oxford in 1999 with a DPhil in public law after completing an LLB (Hons) and a BSc at the University of Melbourne in Cover image: Malthouse Theatre, 2021. Photo: Ian Laidlaw 1990. The material in this discussion paper is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. Performing arts advocacy in Australia Overview The performing arts in Australia have much to celebrate. Live audiences us all how precious it is. Voters believe that the performing arts make have grown 50% in 8 years. Box oce revenues and philanthropy for us happy – as they have in every known human culture, not least that public organisations have grown similarly. Participation levels are of indigenous Australians. Because this is the biggest impact of the high. Aboriginal and Torres Strait Islander performers and works are performing arts on people’s lives, it should be their central storyline for increasingly prominent and appreciated. advocacy. But there are challenges. The public organisations are focused on Of course, dierent stories appeal to dierent audiences. The performing artforms that are losing share of audience to contemporary music and arts also matter because they can help bring together an increasingly comedy. The ethnic composition of Australia has changed, but is not divided society. They can build social connections that improve both yet proportionately reected in the work of many performing arts individual well-being and social outcomes. They can foster a sense of organisations. There are calls for more engagement with diverse groups, national pride. particularly young people and the socially disadvantaged. Both public While economic numbers can attract attention, the economic impact of and commercial productions have been hit harder by COVID than almost the performing arts is a supporting plotline. Stories about the economic any other sector in Australia. value of arts and culture are often told by people who don’t believe Public performing arts organisations are losing inuence with the them to people who don’t believe them. Few perform in order to grow Commonwealth Government, and its support for them is declining in the economy. Economic impacts are not the main aim of government real terms. Arts and culture received support through COVID later support. Governments care about a lot more than GDP. Over half of all than in many other countries. Their advocacy is under-resourced and government spending is directed to ends such as health and welfare, inconsistent, while political winds are unfavourable. which primarily serve ends that the community values rather than growing the economy. That said, the performing arts do employ a wide The performing arts in Australia will do better with government if range of people, produce valuable exports, attract tourists, and attract the public, commercial, and community sectors make common cause. people who are highly skilled in other industries, and these outcomes are They rely on each other. Government regulations of festivals, live often important to governments, particularly for regions concerned about music venues, and COVID health measures have forced these sectors declining population. into the same trench, and the RISE funding shows the Commonwealth Government is already treating them collectively The performing arts can also help those who are disadvantaged with the self-belief to do better. And they can enhance health, education, Advocacy should focus on the key benets of the performing arts. international diplomacy, and understanding of social issues. Performers, audiences and governments all believe that arts and culture make people happy, increase their understanding of each other and the Arts advocacy can work, as shown by campaigns for COVID support, world, and connect them together. Connecting to an audience is the to overhaul regulation of live music in NSW, for regional arts funding main reason that performers get up on stage, and COVID has reminded in Western Australia, in response to the diversion of Australia Council 3 Performing arts advocacy in Australia money to the Catalyst Fund, and for long-term boosts in funding in This approach to advocacy would have other policy consequences. It Canada and Ireland. In each case, governments responded to a united would reframe advocacy as about “arts and culture”. It would focus on sector, well organised for the long term. issues where governments need to step in to promote valuable outcomes that no-one else is likely to pay for. These include training, education, in- In Australia, a broadly supported performing arts umbrella organisation dustry development, and local content across a broad range of artforms, – a modied Live Performance Australia, or a new body formed as an al- and for all parts of the sector, including commercial and community liance of more specialised peak bodies, or some other structure – should performing arts. It would document more carefully the contributions be considered. Advocacy bodies for individual artforms, organisations of public organisations to the community sector. It would lead to new from the public, commercial, and community sectors, producers both organisations that take artforms from Asia, the Middle East and Africa large and small, and advocates for a diversity of backgrounds that can much more seriously given the changing make-up of Australia’s people. easily be overlooked could become members and get behind it, possibly And it would measure the direct impact of performances on happiness, using a federated structure similar to the National Farmers Federation. understanding and togetherness, however imperfectly, rather than just The peak body would need to show it is acting for all of them. And it is measuring attendance and awards. only likely to be eective if it has substantial dedicated resources of its own. There has been little substantial change in Australian performing arts advocacy, policy, and institutions in over 30 years, despite radical shifts This peak body could improve the advocacy ground game of the in artforms, community tastes, and ethnic composition. More of the same performing arts. Like every other industry, the performing arts need advocacy is likely to lead to more of the same outcomes. Given their to explain their value, and dene their ask – not always about money. importance, arts and culture in Australia deserve better advocacy. The peak body needs to select and brief individual messengers who are credible with decision-makers. And they need a broad approach and consistent messages across all responsible ministers, other ministers, their advisers, and local members, on all sides of politics, and at all three levels of government. The rst ask of advocacy could be for governments to rethink their image of Australia. Australia’s public culture is overwhelmingly about sport, perhaps because a few events draw very big crowds. But the private lives of Australians are much more about arts and culture. More Australians buy tickets more often for performing arts performances than live sport, they watch twice as much drama as sport on television, and they are more likely to create arts and culture for themselves than to play sport. Australia’s leaders could be persuaded to rework Australia’s public symbols so they better reect

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