By Jennifer Craik
During this monograph, Jennifer Craik undertakes a severe and old research of the most imperatives of arts and cultural coverage in Australia. With forensic ability she examines the monetary and coverage tools mostly relied upon during this a lot contested and numerous region of public coverage. Craik makes use of her research of prior and present coverage responses as a platform for articulating destiny innovations. this can be a worthy paintings for cultural pros and directors, paintings historians and, certainly, someone with an abiding curiosity within the administration of the nation’s cultural property.
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Additional info for Re-Visioning Arts and Cultural Policy: Current Impasses and Future Directions
By the time of the election, the arts community had come out strongly in support of the Keating government and was believed to have influenced the election outcome and Labor’s victory. Despite the enthusiasm of the arts community for the government, the next budget delivered little to the sector with funding remaining virtually unchanged. Indeed, Senator Baume claimed that the only increase in funding was to the ‘Keating’ fellowships. Baume himself had distanced himself from the Vision document in the lead-up to the election on the basis of the negative press it attracted and had lobbied unsuccessfully for Hewson to revise the policy.
As a consequence, the Fund was criticised as a return to elitism and favouritism and an abandonment of more prosaic forms of culture. This policy direction was part of the Labor government’s philosophy of targeting under-performing or under-resourced areas by shoring up national cultural organisations as well as facilitating citizen engagement with culture. At the same time, the government was committed to reforming the sector in industry terms stressing the capacity to generate export growth in the global cultural marketplace.
20 Historical phases in arts and cultural policy-making in Australia Thus, irrespective of performance and auditing requirements, the performance of these companies is continuing to falter at an alarming rate. Costs are outstripping income, repertoire is becoming more conservative and less Australian, and free tickets still artificially bolster attendance figures. Moreover, the reliance on subsidised seats noted in the Nugent Report — from $25 per seat in Sydney and Melbourne to $282 per seat in Hobart across all the performing arts (dance, music, opera and theatre) — remains essential to inflate the audience aggregate.