Unless you work in the arts
Unless you work in the arts and live in a regional city
Unless you work in the arts, live in a regional city and want to afford something realistic – like private health insurance.
There is this article swimming around the internet at the moment that paints a glowing picture for the current state of the arts in Australia. The article boasts a large profit of close to a million dollars, sighting the famous, (read: seen on television) star-charged stable of performers and curators (Cate Blanchet and Andrew Upton) as chiefly responsible for returning The Sydney Theatre Company to the black after three consecutive years in deficit. However, if you take a closer look, this article is poised as a giant smokescreen as to the true state of the arts in Australia.
In short – it’s in trouble.
The arts in this country is struggling, but it’s not the usual suspects that are the culprits, those being:
Talent
Education
Resources
Exposure
Venues
We have those in spades. Instead, it’s ‘bums on seats’.
The last paragraph in that article reviles the true horror of the situation - the Melbourne Symphony Orchestra reported a modest surplus of $31,420 after posting a deficit of more than $800,000 in 2009. It’s not a new argument that the arts shouldn’t be judged on market revenue but it’s becomingly incredibly clear that it is and will continue to be into the foreseeable future. Putting a market value on the arts in a country tied to neo-liberal policies is making life increasingly difficult for anyone who sees them wanting to pursue art as a career, or, heavens forbid if you actually want a career in the arts and live in a regional centre.
It puts the problem into context that if the Melbourne Symphony Orchestra can ONLY scrap together thirty odd thousand what chance does a regional production company have in justifying its existence with large profits. Chasing profits in regional arts is a zero sum game and is leading to the profession in dire straits. You only have to look local jobs advertisements in the sector to see that not only are arts professionals unpaid and overworked, but there are very few opportunities for growth and professional development. Unlike teaching and nursing (professions that can’t indicate success through profits) professional arts workers can’t find stable work in the regions and thus head to cities where work and opportunity is somewhat more available.
This all comes at a time where the New South Wales government is eagerly pushing its Evo-Cities campaign - a campaign which looks to get families out of the big city and in to regional centres. The allure comes complete with the promises of smaller traffic; cheaper housing and stress free living. And while this sounds great – for arts workers it usually means coming to a new town and finding a job outside of their chosen career. If they are successful in finding a position chances are they won’t be considered successful because not many programs outside of cities run a profit.
Many regional positions are government funded. They rely on funding in a series of yearly cycles. Therefore, regardless of how successful they believe their programs or positions to be, yearly budgets dictate whether they can do it for another year. The stress therefore on tickets sales is unfortunately a larger indicator as to money spent wisely. This means that art programs in regional centres are geared for profit or at least to break even. It leaves only a small amount of room to be ‘edgy’ or ‘experimental’. The yard stick is ‘bums on seats’ not creativity integrity and because of this, regional areas are struggling to nurture and regain artistic talent.
I’m not suggesting that this isn’t a problem in major cities, but what I’m trying to highlight is the extreme void of artistic professionals in regional areas. Governments need to direct more funding towards regional artistic projects. That way, more professional will venture outside of the capitals and bring with it, the expertise and creative talent to produce some seriously excellent work. More government funding will see those people already in regional areas gain the creative freedom and not be burdened by how much something makes. But most importantly, more government funding will mean that artistic professionals can settle in regional areas, buy a house and contribute to society without the ever looming yearly funding announcements to look forward to.
This week The Economist published this article, arguing that during the large resources boom Australia should direct more funding to the arts. They should of course, but to be more specific, what’s badly needed is the need to foster artistic talent outside of big cities, because regional centres don’t have Cate Blanchet and Hugo Weaving, they just have extremely talented people who aren’t searching for profits they’re just trying to get by doing what they love.
Disclaimer: I don’t work in the arts, but I am affected by it on a daily basis ;)