Having the privilege of working with hundreds of arts and cultural organisations, I see first-hand the dedication, commitment and sheer hard work required to deliver arts events and programs - and the huge impact of arts and cultural activity for our social fabric and innovation capacity.
Yet the sector struggles to measurably demonstrate its value, and continues to be de-funded, disparaged and left fighting tooth and nail for support in difficult times.
Recent years have certainly been tough for the arts sector. In 2015, more than $100 million was cut from the Australia Council for the Arts budget over four years, hitting small to medium organisations and independent artists particularly hard. In 2020, four-year funding was announced for just 95 organisations (down from 128 in 2016).
In February 2020, the federal Department of Communications and the Arts was merged into a new mega-agency called the Department of Infrastructure, Transport, Regional Development and Communications. The sector argued their concerns on the capacity of one department to effectively resource arts and culture; the need for strong leadership to ensure the arts voice is heard; and the symbolic importance of the removal of 'arts' from the department title.
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From March 2020, COVID-19 restrictions have devastated the cultural sector; cancelling, postponing or scaling down events and public programs. Many creative organisations and artists have not been eligible for JobKeeper payments, with the package excluding artists engaged casually for less than twelve months, and employees in local government institutions (regional and suburban galleries, museums and performing arts centres).
Announced in June, the $250 million federal relief package for the sector includes $75 million in grants and $90 million in loans. While welcomed, many question how the bailout of the cultural and creative industries compares to the (euro) 1 billion arts rescue package released in Germany, or the $700 million in support for Australia's airline industry.
Communities in lockdown are relying on the arts more than ever for entertainment, stimulation, comfort and connection; with the arts playing a crucial role in maintaining mental health and wellbeing. Cultural organisations continue to demonstrate creativity and adaptability, rethinking programming strategies and coming up with new, innovative ways to reach audiences. However, not all organisations can present activities digitally, and successfully monetising outputs is not a simple feat (61 per cent of organisations we surveyed said they wouldn't charge fees for virtual events, while only 12 per cent said they would ask for donations).
The big question is - for a sector worth an estimated $112 billion, employing more than 600,000 Australians, one of the hardest hit, but most important during COVID-19 - why do the arts and creative industries continue to be marginalised?
The sector has banded together, with big names and peak bodies lobbying for a fair go, imploring people to stand with the arts and promoting the amazing ability of arts to change lives.
While the economic argument has gained some traction, arguing that reducing real funding to the arts is unfair and that the value of the arts should be self-evident, has clearly not worked. To facilitate change in government decision-making and better outcomes for the sector, the way that its broad value is demonstrated must improve. In an environment where multiple sectors have equally valid claims to scarce resources, those who can more clearly articulate their value win a larger slice of the pie - and invariably the first to get the chop is the arts.
Decisions made about funding reflect the political understanding of what Australians value. Yet instead of relying on feedback from the public about the important outcomes generated by arts experiences, a handful of individuals often make judgments on behalf of the public behind closed doors.
Decisions being made about public value are not publicly accountable, nor do they account for the things that really matter about the arts (such as its role in social cohesion, health and wellbeing, reducing discrimination, stimulating creativity and innovation). Instead of obsessing about "bums on seats" and ticket sales, giving a broad spectrum of audiences and communities the opportunity to provide their thoughts and emotions after experiencing the arts can help to paint a rich and holistic value story for the sector.
It is crucial that the sector works together to develop a shared public view of arts value, standardising key aspects of the language to describe that value, and developing common data sets to measure outcomes. Only then can we build a strong evidence base that proves the far-reaching and life-changing cultural, social, economic and civic impacts of the arts.
Georgia Moore is the Australian director of Culture Counts, providing evaluation software and services to the cultural and community sectors. culturecounts.cc
Georgia Moore will be on the panel for tomorrow's Newcastle Institute webinar about The value of the arts - now more than ever (Wednesday, September 9, 7pm-8pm). Watch the webinar live on Newcastle Institute Facebook page. Members can watch by Zoom. The webinar recording will be on Newcastle Institute's website after the event.
