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Senate Submission Committee Secretary Senate Legal and Constitutional Affairs Committee Jacinda Woodhead Editor, Overland magazine VU – Footscray Park Campus PO Box 14428 Melbourne VIC 8001 17 July 2015 Dear Committee Secretary and Members, I edit one of Australia’s oldest literary magazines, Overland, founded in 1954 by Stephen Murray-Smith. Overland has a long and distinguished history, and it’s list of published authors reads like a catalogue of influential Australian writers, from Patrick White, Frank Hardy and Dorothy Hewett to Peter Carey, Alexis Wright and Christos Tsiolkas. Overland’s mission is to foster new, original and progressive work exploring the relationship between politics and culture, especially literature, and to bring that work to as many people as possible. In its sixty-first year of publication, Overland continues to be artistically vibrant, making significant contributions to Australian cultural life on a daily basis. Much of Overland’s current success has been enabled by the infrastructure the organisation has been able to build over the years through subscriber, philanthropic and government support, including the critical funding the Australia Council has offered the magazine at the various stages of its existence. Overland publishes four print issues of 96 pages a year, each edition consisting of original fiction, poetry, nonfiction and artwork of the highest standard. Recent editions have included work by Germaine Greer, Cate Kennedy, Rodney Hall, Alexis Wright, Christos Tsiolkas and Alison Croggon. Overland is also committed to finding new talent: writers whose early work featured in the journal include Nam Le, Jennifer Mills, Stephen Amsterdam, Ali Alizadeh, Maxine Beneba Clarke, Anwen Crawford (who has started recently writing for the New Yorker) and artist Megan Cope. Overland’s yearly output is prodigious: in 2014, the magazine published four editions of the print journal, three online-only editions guest edited by emerging editors (two of fiction by emerging writers, one of digital poetry) and a daily online magazine of politics and culture. Overland also staged nine events in Melbourne and Sydney. Overland’s reach is equally impressive: as well as almost 2,000 print subscribers, last year the Overland website had more than half a million visits, from 376,666 unique visitors. A significant portion of these readers – 35 per cent (194,562 users) – were returning readers. Of that number, almost 20 per cent (40,000 readers) visited the Overland website between 26 and 200+ times. In the past month alone, Overland has had 59,000 online readers from Australia, but also the United States, New Zealand, United Kingdom, Canada, Germany, India, France, Italy, Malaysia, and 156 other countries and territories. Since being granted key organisation status by the Australia Council and Creative Victoria in 2014, Overland’s strategic orientation has become more ambitious: Overland has grown beyond a quarterly print magazine into a dynamic publishing project that includes a daily online magazine, online editions experimenting with formal possibilities (primarily offering opportunities for emerging writers and editors), an events program and a series of prestigious literary competitions. In 2015, Overland will give away $52,000 in literary prizes to, predominantly, early-career writers. Prize partnerships with like-minded organisations enable Overland to attract exceptional work from established writers and to discover exciting new writers, but they also provide considerable financial support for winning writers, providing some space for writers to seriously develop their craft. In 2014, Overland published 448 new works (writing and artwork) and 278 individual writers and artists. Editorially, Overland is committed to publishing underrepresented perspectives on issues rarely given space in traditional media. Overland has launched various projects, notably the Copyright Agency Cultural Fund essay series that provided substantial editorial support for underrepresented writers and the Nakata Brophy Prize for Young Indigenous Writers; these are central projects for Overland, which strives to be an inclusive organisation. Overland’s recent contributors’ survey indicates that 45 per cent were women, and of the 33 per cent of contributors who chose to answer the question, 60 per cent identified as LGBTQI and 33 per cent as artists of colour. Currently, as a triennially funded key organisation, we receive $61,000 a year from the Australia Council, about 20 per cent of our financial makeup. To put this in perspective: that’s about how much we spend each year paying our contributors. A loss of 20 per cent of our funding will result in a permanent loss of opportunities for Australian writers and editors, and a loss to Australian culture more generally. Literature is a form of cultural expression that most Australians are able to experience through writing and reading, and, as years of ABS statistics have shown, reading remains one of Australia’s most popular cultural pursuits. We in Australia have a unique symphony of voices. When adequately fostered, that symphony captures the migrant experience, Indigenous experience, working-class experience, and other narratives of contemporary Australia. These are stories that are severely underrepresented in commercial Australian culture. For all of these reasons, a democratic funding model like the Australia Council is essential. One person, such as the Arts Minister, is incapable of appreciating all these millions of Australian voices. The arts in Australia have been underfunded by successive governments for years; this is particularly so for literature. If Minister Brandis wants to fix this model, he needs to increase funding to the Australia Council, rather than form a second, costly bureaucracy to fund one minister’s preferred art projects. A lack of government support in the arts results in our imagination contracting, Giles Fraser wrote in the Guardian earlier this year, which is ‘to the detriment of us all’. Moreover, art should not simply be something for the wealthy to create and applaud. #FreetheArts As part of this submission I include the following petition on the arts funding cuts and the establishment of the NPEA, signed by hundreds of notable Australian writers and artists. Petition: Australians for Artistic Freedom We the undersigned are shocked to see that the Abbott Government plans to target the creative sector once again in its 2015–16 Budget by massively defunding the Australia Council for the Arts, the national peer-reviewed funding body, and severely reducing the budgets of other cultural organisations. Federal Arts Minister George Brandis has announced that he plans to remove $104.8 million from the Australia Council’s budget over the next four years and redirect it to a newly created fund, the ‘National Centre for Excellence in the Arts’. Grants from this new fund will seemingly be decided at the discretion of the Arts Minister of the day. It is deeply disturbing for any Minister to attempt to directly control the kinds of culture produced in a democracy that values freedom of expression. We want to continue the Australian tradition of arts funding being independent of any political influence. The Minister himself has previously argued that art will always provoke debate, ‘that’s why we have an arms-length and peer-reviewed structure for the allocation for the funding’. What he now proposes is precisely the opposite. In addition to the reallocation of crucial Australia Council funds, the Abbott Government is proposing to cut an additional $3.7 million from the underfunded Screen Australia, and almost $4 million from various national galleries and museums. The Budget will also take $5.2 million from the Australia Council for Creative Partnerships Australia, and $7.3 million in ‘efficiency dividends’. Such ‘savings’ will be met through reduced funding to ArtStart, Capacity Building and Artists-in- Residence programs: three core programs that directly contribute to the development of future arts leaders and provide crucial opportunities for arts practitioners to gain real industry skills: an investment in the ongoing vibrancy and vitality of the arts sector, helping to shape arts leaders such as Fiona Menzies (Creative Partnerships Australia), Sandra Willis (Opera Australia), Beverley Growden (Canberra Glassworks) and Loiu Oppenhiem (Circus Oz). For small-to-medium organisations and independent artists, whose work is absolutely critical to building diversity and encouraging innovation in the sector, this loss of financial support and investment will be devastating. Australia does not need a second national arts funding organisation: the Australia Council’s mission is to ‘invest in artistic excellence’ and make art ‘accessible to all Australians’. Indeed, the Council already cultivates a national approach to arts participation, for both audiences and creators. Over its 42-year history, the Australia Council has helped to build and support the careers of artists as diverse as Richard Bell, Fiona Hall, Sonya Hartnett, Alex Miller, Les Murray, Margaret Olley, Archie Roach and Judy Watson. The Council funds a broad range of cultural projects across the country, fostering companies such as the Australian Ballet, Back to Back Theatre, Bangarra Dance Theatre, the Ironwood Chamber Ensemble, Kulcha Multicultural Arts, La Boite Theatre Company and Wodonga’s Hothouse Theatre, as well as programs such as the Creative Indigenous Leaders program, site-specific international development
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