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Arts Senate Submission Submission To the Senate Inquiry (Impact of the 2014 and 2015 Commonwealth Budget decisions on the Arts) by Zubin Kanga I am very concerned by the recent cuts to the Australia Council for the Arts and the creation of the National Program of Excellence in the Arts. I am writing this submission as both an artist and as an observer of the Arts, as someone deeply involved in the Australian scene, and as someone with a busy career in Europe. I believe this gives me both an insider’s and outsider’s perspective on the proposed changes to Arts funding in Australia. I am a pianist, with a particular specialty in the performance of contemporary music. I have performed at the BBC Proms, Aldeburgh Festival, London Olympiad Festival, Occupy the Pianos Festival (UK), ISCM World New Music Days, Metropolis New Music Festival, BIFEM (Australia), IRCAM Manifeste Festival, Mars aux Musées Festival (France) and Borealis Festival (Norway) as well as appearing as soloist with the London Sinfonietta and the Melbourne Symphony Orchestra. I have collaborated with many of the world’s leading composers including Thomas Adès, Michael Finnissy, George Benjamin, Steve Reich, Beat Furrer, Howard Skempton, Liza Lim and Ross Edward and commissioned more than 50 new works, many innovating new approaches to the piano new types of interaction between live performers and technology. I am a member of Ensemble Offspring, one of Australia’s leading contemporary music ensembles, and have also performed with the Bang on a Can All-Stars, Ensemble Plus-Minus, Endymion Ensemble, Halcyon, Synergy Percussion, and the Kreutzer Quartet, as well as performing piano duos with Rolf Hind and Thomas Adès. I have performed solo recitals across Australia, Europe and the USA and the UK recently offered me a rare “Exceptional Talent” visa as an international artist of great significance to the country, to continue my work there. I am a Masters and PhD graduate of the Royal Academy of Music, London, and am currently a post-doctoral researcher at the University of Nice and IRCAM, Paris as well as a Research Fellow at the Royal Academy of Music and the Institute of Musical Research, London. I have presented my research on the collaboration between composers and performers on new works, at conferences across six countries, and my work in this field has been published in major journal articles and book chapters. Thus innovation in new music is the basis of my simultaneous careers as a performer and as a researcher. The proposed changes to the funding of the Australia council will directly affect me in two ways. My own work creating new, cutting edge works for solo piano, receives support in the form of commission fees for composers – the proposed cuts to the Australia Council will undoubtedly reduce the amount of new work that I create as a collaborator with composers in Australia. Given the significant support I receive from national arts funding bodies in the UK and and France for similar work there, my work will increasingly be focussed in these countries if these funding cuts remain. Secondly, I am a member of Ensemble Offspring, a current Australia Council Key Arts Organisation. This is a world-leading elite group of musicians, with an international reputation for excellence and innovation. Colleagues in the UK, France and Sweden have all expressed their awe and respect for the group, for its championing of Australian music and its high level of performance. Like all the Key Arts Organisations, this ensemble, which has taken 20 years to build to this level of excellence and international reputation, is now under threat. However, I do not wish this submission to merely be a list of consequences on my own career. The changes, and the creation of the NPEA, will have a significant impact on the entire Arts sector. The cuts to the Australia Council will put the work of hundreds of Key Organisations, hundreds of individual artists and thousands of jobs at risk. An Arts ecology relies on organisations of different sizes all co-existing, with many musicians working individually, with smaller ensembles as well as major performing arts organisations. When it comes to contemporary music, the smaller organisations punch far above their weight and forge new innovations that then benefit the larger organisations – every canonical work was once a world premiere and the majority of performers in the larger organisations developed their art by playing with these smaller to medium companies. If a significant proportion of the Key Organisations lose their funding, the affect on Australian culture will be catastrophic. My experience observing even moderate funding cuts in several European countries has shown me how arts communities can be devastated by cuts with an exodus of artists to countries with better funding support. The collapse of an Arts sector has a huge ripple effect on the rest of the economy, and it is no surprise that the countries which have had most generous arts funding in recent years (Germany and the Scandinavian countries) have the strongest economies in Europe. In Australia, where the Arts employ more people than the mining industry, the mass collapse of important companies would have significant negative economic impacts. There are several key problems with the establishment of the NPEA in its current guise. It takes vital funds away from the Australia Council, with these cuts hitting the individuals and small to medium organisations the hardest the Major Performing Arts Organisations have been safeguarded from cuts. Secondly, these same individuals and small ensembles are the least likely to receive funds from the NPEA under its funding guidelines, and as an individual, I am immediately exempt from applying, even if my projects employ dozens of artists and support staff. Thirdly, the lack of transparency and accountability in the decision making is problematic for any government funding body. Decisions will be made by the minister and ministerial staff rather than expert peer reviewers with a thorough knowledge of their particular Art forms. Furthermore, the Arts Ministry has the option not to report their funding of organisations and projects, meaning that decisions and arts spending cannot be scrutinised. Combined, these factors leave the NPEA’s funding mechanism open to abuse. Finally, and most importantly, the goal of innovation and breaking new ground has been completely left out of the NPEA funding guidelines. The idea that excellence can exist without innovation is a nonsense in any field of endeavour, but particularly in the Arts. As a classically trained pianist, and a graduate of the Royal Academy of Music, I am a great admirer and advocate of the canon of classical music. But this canon only exists because new work has been supported throughout the history of classical music, most often against the whims of the consumer market. It would also be false to simply assume that canonical art has a greater audience share than non-canonical art. Contemporary chamber music audiences in Australia are comparable in size to the audiences at a concert of canonical chamber music, and my own contemporary piano recitals sell as many seats, if not more seats, than most traditionally programmed piano recitals in major Australian cities. My own experience is that Australian audiences for contemporary music are, in fact, better than those in Europe (in size and dedication). And my experiences in Europe have shown me that when major performing arts organisations put their weight behind the creation of new work, it pays dividends. For example, the entire run of performances of George Benjamin’s new opera “Written on Skin” at the Royal Opera House in their 2013 season sold out, and mostly to non-traditional opera audiences. It attracted younger audiences from the theatre, comedy and visual arts scenes, expanding their subscriber base for their traditional operas. Australia is not some exceptional case – we should look to the models in Europe to see how the countries that support the Arts reap huge cultural and economic benefits. To appropriate the words of Australian Nobel Prize Laureate, Prof. Brian Schmidt, “In only takes one year to cause twenty years of damage”. Schmidt was discussing cuts to science funding in Australia, but the same warning applies to the Arts. The organisations that don’t survive the current cuts won’t come back even if the funding is restored in a few years – they have taken a generation to build, and will take another generation to rebuild. And the individual artists won’t suddenly reappear to create new work if funding is restored, as many of the most experiences musicians leave, leaving a dearth of professionals to mentor and teach the younger generation, who have already had any possibility of support through the withdrawal of ArtStart funding because of the cuts. There are thousands of Australian musicians working in the highest echelons of classical music outside of Australia – like me, they want to return home to contribute to their own country’s culture. The current policies, with cuts and antagonisation of the Australia Council, mean that the brain drain will only sustain and increase. The significance of the impacts of the proposed changes to Arts funding cannot be overstated – Australia’s culture, economy and international reputation are at stake. My thanks for the opportunity to submit to this Senate Inquiry. Yours faithfully, Dr Zubin Kanga Pianist Postdoctoral Researcher, University of Nice/IRCAM (Paris) Research Fellow, Royal Academy of Music, London Research Associate, Institute of Musical Research, London. .
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