Saturday, 14 May 2016

Australia, the Australia Council, and the Erosion of Cultural Rights

This week the Australia Council allocated more annual funding to small-to-medium arts organisations than ever before.

Yes, you heard right. In announcing $28 million to go to these organisations each year, it invested more, not less, in operational, multi-year funding than it had in recent years. This funding round saw more of a realignment of support than a reduction. Here are the figures:

To Key Orgs
Total Funding

It remains unclear, though, what other programs will be available to complement this multi-year funding, if any. In the past, a good variety have been available to organisations both with and without operational funding. It will be important to see how many of these, and indeed others available to individual artists, have been dissolved in order to reach this higher level of operational investment.

I think the frustrations of the last few days are, in some part, misdirected. It’s easy to blame the ‘Brandis Raid‘ of May 2015 – and indeed there’s a great deal that was very wrong about that action – but there's a bigger story. The results of this funding round also have much to do with the philosophical shift that emerged after a long consultation process with the arts and culture sector aimed at finding a new funding model for organisations. As part of the shift, the Australia Council set new strategic goals.

This recent round was the first time that organisations across all areas of practice were assessed at the same time, thus enabling a full national view. It was always possible, even likely, that there’d be a big shake-up. There was a similarly seismic shake-up following the 'Make it New' shift that found its resolution in late 2008. It's periodic. 

It was the view of the peer assessors – and let’s remember that arts peers, not government bureaucrats, make the decisions – that a raft of new organisations had better claims to multi-year funding than some others that had been supported for many years. The status quo was rejected. Organisations working in Indigenous arts, for example, have emerged with new, long-term support. So have many in regional areas. A third of the organisations funded are new to multi-year funding. There has been disappointment, but also delight.

Nevertheless, there is a serious money problem.