Kate Chaney (Curtin, Independent) Share this | Hansard source

About this time last year parliament passed the Creative Australia Bill, which established Music Australia and Creative Workplaces. It was the first legislative step in implementing the new national cultural policy, Revive. Today we're debating the establishment of two new parts of Creative Australia: First Nations Arts and Writing Australia. At the outset, I want to make clear that I'm supportive of the Revive policy and I commend the government for its efforts in setting out a clear plan to encourage the Australian arts, entertainment and cultural sector to grow and thrive.

I'm fully supportive of this bill, the Creative Australia Amendment (Implementation of Revive) Bill 2024, particularly the attention on recognising and respecting the crucial place of First Nations stories at the centre of Australia's arts and culture. It's so important that we amplify the stories of First Nations people. For millennia, First Nations history, educational stories and stories of country, creation and tradition have been passed down through generation after generation. Today, the practice of storytelling sustains communities, validates experiences, nurtures relationships and serves as a form of important cultural continuation for Indigenous peoples.

I'm grateful to take this opportunity to talk about a First Nations theatre group in my electorate. It's a group the Minister for the Arts knows well, and we were happy to have him recently in Curtin to visit the group. Based in Subiaco, Yirra Yaakin, which means 'stand tall' in Noongar, is Australia's biggest Aboriginal-led theatre company. It was established in 1993 with a successful funding application, three staff members and the aim to provide the Aboriginal community with an artistic outlet for positive self-determination. Since then, Yirra Yaakin Theatre Company has evolved into a respected cultural leader and artistic hub for Aboriginal people from all over WA, Australia and around the world. Yirra Yaakin's education and community engagement programs support Indigenous trainees to be mentored, to develop skills and to work in the Australian theatre sector. Each year, they present youth-focused productions, undertake residencies and conduct workshops across the state. They tour locally and regionally, providing unique cultural experiences to some of the most remote communities in the world. Last week, I was told about Yirra Yaakin's work with education by distance—making sure kids studying in the most remote areas still have access to First Nations theatre and education. And I know that a number of people from Yirra Yaakin have been involved in consultations on this bill.

The bill establishes the First Nations Board. The board has a number of functions, including to support and invest in a diverse range of Aboriginal and Torres Strait Islander arts practice, to promote best practice in First Nations cultural protocols in the arts and to provide financial assistance to support these functions.

While the bill must be commended, I do want to mention two concerns raised with me. Both are in relation to the board's role in providing financial assistance. First, there's a need for a Western Australian voice on the advisory board, and, secondly, the board will need to consider the tyranny of distance for Western Australian artists to travel and tour. The bill, as drafted, gives the minister discretion, with consultation with the co-chairs, to appoint First Nations Board members. The minister must be satisfied that the person is an Aboriginal or Torres Strait Islander person and has appropriate qualifications, knowledge, skills or experience. This is appropriate. But I think consideration of the geographical or regional composition of the First Nations Board should also be required, to ensure the board is representative of all states and territories. This would alleviate the concern I've heard, that the board might become east-coast-centric. While the government is not willing to amend the legislation to require this, I have spoken to the minister, who's given me an assurance that there will be Western Australian representation on this board.

The second concern is linked to the need for full geographic representation—that we need to ensure that the different needs of each state are considered in the awarding of grants. In WA, Yirra Yaakin and others travel extreme distances to tour their shows and productions. The cost of touring in WA is much higher than it is in New South Wales or Victoria. I'd like to see this recognised in how grants are awarded to recipients.

I also want to make some comments in support of the establishment of Writing Australia. Olivia Lanchester, CEO of the Australian Society of Authors, pointed out to me that there were 152 submissions to the cultural policy public consultation process advocating for the literature sector. Funding for literature declined by 40 per cent over the last decade, with only 2.4 per cent of the total 2021 Australian Council arts investment spent on literature—the lowest amount of any of the major art forms. Many of Australia's most loved authors provided their thoughts on what's needed for literature to flourish in Australia. The Washington Post described Australian author Richard Flanagan as one of our greatest living novelists. Richard Flanagan's submission said:

No other developed country of which I am aware provides so little in the way of support or recognition or has a state that treats its writers as poorly as Australia.

Literature has fallen through the gap between the arts and commercial activity. The general public thinks that authors get paid well by their publishers, but making a living as a writer in Australia is very challenging. Charlotte Wood, described by the Australian as one of our most original and provocative writers, pointed out that 'experienced, prize-winning and highly respected writers are routinely paid advances of under $15,000 for a book that may have taken five years to write.' Macquarie University research shows the average income from practising as an author is only $18,200 per year. Emily Rodda, whose books my kids have loved, said:

'For a long time, we've taken our literature for granted. To a certain extent, we've taken a literate population for granted. But if we value literacy, imagination, logical thinking and empathy—if we believe these things don't just enrich individual lives but enrich every human pursuit from science to social work, and promote a tolerant, caring, inventive society—then for the sake of the future we'll urgently put literature—books and reading—back on the agenda.'

I have wonderful memories of discovering a world of stories in high school thanks to my memorable English teacher, Mr Lloyd, who opened my eyes to the power of literature. The literature kids read must include Australian stories. Writing Australia represents an opportunity for national vision for literature. It will develop national industry initiatives and domestic and export opportunities for Australian stories and is welcomed by stakeholders. With only $19.3 million committed to Writing Australia over four years, it's a modest investment, but it is at least a start. Hopefully, it will provide an overall direction and a more cohesive plan than the ad hoc and uncoordinated funding provided by federal and state governments to literature in the past.

Telling our unique Australian stories is so important—both First Nations stories, historical and current, and the stories of all Australians. They remind us who we are, challenge us to be better, make us listen and understand each other and help us form our collective Australian identity. Establishing a clear role for our art forms provides greater certainty and cements a place in our communities for the many people who passionately contribute to telling our evolving Australian story. I commend the bill to the House.

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