Paradoxes and contradictions in government approaches to contemporary cultural policy: an Australian perspective1

Abstract

Abstract: Globalisation poses interesting challenges but does not undermine the ability of government to make decisions about cultural policy at a state, national or regional level. On the contrary, government has never been so active in cultural matters, adding support for lifestyle and cultural infrastructure to existing concerns with traditional arts forms. The dilemma for government, rather, is to find a rationale for an increasingly fragmented approach to state intervention on cultural matters. The model provided by contemporary economic policy, which favours industry development over individual projects, has some salience, and has encouraged a new emphasis on cultural industries. But the industry development approach cannot resolve fundamental issues around popular and elite arts. Using Australian case studies, this paper explores the competing logics of much cultural policy—and the likelihood government will live with inconsistency rather than pay the price of choosing one policy approach over all others.

Notes

An earlier version of this paper was presented to the Second International Conference on Cultural Policy Research, “Cultural Sites, Cultural Theory, Cultural Policy Conference”, Te Papa, Wellington, New Zealand, 25 January 2002. Thanks to the comments of anonymous referees.

Unless otherwise specified, the term government refers generically to the capacities of governments and trends in governance. At other points, where indicated, specific governments are referred to. Where Australian examples are used, discussion will distinguish where necessary between federal, state and local government. National cultural policy in countries like Australia and Canada is the responsibility of federal government and nation-state governments in other contexts. Where nations or states have linked jurisdictions, such as the European Union or Scandinavia, policies have also been formed at supra-national level.

Cf. Bacchella (1998) on opera in Italy; Klaic (1998) on performing arts in Europe; Cleveland (2000) on community arts; Seaman (2000) on audience development; and Stern and Seifert (2000) on urban cultural policy).

The GATT agreement remains though the GATT itself was replaced by the WTO in 1994.

The AbAF scheme has brought together a diverse range of partners in a variety of innovative arrangements. The 2001 co-winners were the Sydney Festival and Australia Post, with a cash and in-kind partnership to develop a young audience base via a direct mail-out campaign (Albert, 2001a: 15). Other winners included hotel chain The Westin Melbourne and Melbourne International Comedy Festival (in-kind accommodation partnership); and St Laurence Employment Services, The Standard and Fun 4 Kids Festival, Warrnambool, Victoria (in-kind volunteers and publicity partnership). Other 2002 winners included the Biennale of Sydney and engineering company Transfield; Deckchair Theatre and Fremantle Football Club; Museum of Contemporary Art in Sydney and the telecommunications company Telstra; and the Queen Victoria Museum and Art Gallery, Launceston and the Examiner newspaper (Strickland and Albert, 2002: 2).

Managing Director, Jonathan Shier, left the broadcaster after a tumultuous 19 months. His failure to achieve board goals, however, reflected his management ability rather than any change of heart by directors. Indeed, he was replaced by in-house financial manager, Russell Balding who, it was felt, would look after the finances and leave programming alone.

In the United Kingdom, a programme called the Quality, Efficiency and Standards Team (QUEST) supports good practice in performance management of cultural activities and organisations (DCMS, 2001: 31).

Canclini (2000: 306–312) takes three examples in the Latin American context to show the consequences of globalisation on cultural policy and practice, namely, the emergence of a “post-national” visual arts sector (discussed above); the declining publishing industry (where transnational publishing trends have progressively marginalised local publishing, except in niche sectors); and major shake-outs in the television, film and video sectors (where local production has been swamped by imports and growing consumption increasingly dominated by developments in multimedia).

The Major Performing Arts Inquiry was chaired by corporate high-flier and then Deputy Chair of the Australia Council, Helen Nugent.

In fact, of the 23 organisations examined by the Nugent Inquiry, ten still relied on government funding for more than 50 % of their income (Craik, 2000).

The Contemporary Visual Arts and Crafts Inquiry, chaired by cultural advocate and art collector Rupert Myer, reported in June 2002.