Graham Perrett (Moreton, Australian Labor Party) Share this | Link to this | Hansard source

It is my pleasure to speak about the next phase of Labor's implementation of Revive, which is the new Australian National Cultural Policy. I love the word 'reviver' in this context. Not only is it a palindrome; it means something that re-energises, restrengthens and revitalises, and it is what our arts sector deserves.

To say that Australian artist, performers, writers and musicians have had a tough time over the last decade is an understatement. First there were the bleak years of cuts, mismanagement, policy neglect and confusion when the opposition was in government. The undoubted lowlight of this was the cutting of $104 million of funding in the 2015 budget under Tony Abbott and George Brandis, the arts minister. As one of my constituents, a published novelist, said of the cuts, 'They not only damaged the amount of work that could be produced, but to be so little valued at a government level was a shocking attack on morale.'

Then came the pandemic, which had a devastating impact on the arts and on anything that basically required public attendance. We all remember the rolling lockdowns, the health directives and the social distancing restrictions that constrained so much of cultural life, particularly live music. In many cases it shut down artists totally. And with that, of course, came significant consequences such as reduced and unreliable incomes and, flowing on from that, job losses for many of those involved in the arts sector.

Revive was launched by the Prime Minister, who we know is a great lover of the arts. I know he's a great lover of the arts because I've been to see Billy Bragg with him two times in Brisbane and once in Canberra. In fact, he even introduced me to Billy Bragg, which was one of my political highlights. The Prime Minister did that launch in January 2023.

Revive has been enthusiastically welcomed by so many. It is a five-year plan to revitalise Australia's arts sector. Revive supports our creative Australians whether they're artists, contemporary dancers, poets, playwrights, singers, theatre directors or back-of-house people. Revive recognises and celebrates Australian stories, Australian culture and Australian heritage.

The key themes, or pillars, behind Revive articulate what this looks like. It's about recognition and respect for the place of First Nation stories at the centre of our cultural life. How proud are we to have the oldest words on earth at the heart of our culture! This confirms that there is a place for every story. In fact I came up here from a Google event where I was talking to the Mechanics, who have a couple of million hits on YouTube. They create content out on the bush at Arnhem Land, and it's going all around the world. Kids love it. It's incredible. When we tell our stories the world will listen. So there is a place for every story reflecting and valuing the immense diversity that is Australian 2024. It puts the artist at the centre, supporting and celebrating their work, and it also channels to the infrastructure and institutions around them.

Finally, Revive recognises the importance of connecting with audiences both here and around the world. It's good for diplomacy, good for trade and good for safety in our region when we tell those Australian stories and they're heard by our neighbours, all things that we need while maintaining control over our part of the earth—which is11 per cent of the earth's surface. It's a difficult job so we need to have good friends and good connections with our neighbours.

Revive also outlined 10 core principles and I want to highlight a couple. The first of these is the development of long-term and sustainable career pathways for creatives and arts workers, and the second is that these pathways will be supported by fair renumeration, industry standards and safe and inclusive workplaces. My philosophy is always that the artist must be paid. People say, 'Can I have that for free?' Remember the artist should always be paid. Try to use a service, read a book, see an artwork—whatever rewards the artist.

These measures will assist in providing stability and clarity to the people in the arts sector who did it tough during the pandemic. Labor has made substantial progress with Revive since January last year. Creative Australia, the overarching body for the arts—some might have known it formerly as the Australia Council—was launched in August last year. We then established Music Australia to support the contemporary music industry—perhaps reflecting Minister Burke and the Prime Minister's interest in music—including supporting contemporary music and creative workplaces which focus on workplace safeguards and best practices.

The Creative Australia Implementation of Revive Bill will deliver the final two pieces of the puzzle, with First Nations Arts and Writing Australia, which I'm particularly passionate about. The Albanese Labor government strongly values the crucial place of First Nations stories at the centre of Australia's cultural life. For 65,000 years, this land has echoed with the stories, music, art and dance of Aboriginal and Torres Strait Islander people. As many Australians know, the oldest art on earth is First Nations art. Imagine that—we're connected with the first artists on this planet. First Nations Arts will commence in 2024, and it will be a dedicated new body to support and promote Aboriginal and Torres Strait Islander arts. The body will have the autonomy to control the allocation of its investments. In keeping with the principles of Creative Australia, this will be First Nations led and overseen by a board of 10 members, all expert First Nations people. The board's remit entails promoting best practice in cultural protocols, providing financial assistance to support arts practice and reporting to the Creative Australia board.

The establishment of First Nations Arts builds on the substantial work already undertaken by Revive. This includes the Australian action plan for the International Decade of Indigenous Languages and the provision of continued support for First Nations people to express and promote their culture through language and the arts. Just as an aside, having been in this parliament for nearly 17 years, one of the policies that I'm most proud of is that schools around the country can now access support to pay for someone to teach a First Nations language in their schools, whether it be in Tasmania, Hobart, the Top End, Cairns or wherever. That's one of my proudest achievements—that we're able to turn a policy from opposition into a reality in government.

We also continue to advocate for the unconditional return of First Nations ancestors and priceless cultural heritage artefacts held both domestically and internationally. The establishment of First Nations Arts builds on the substantial work undertaken already by Revive, as I said, and it's particularly important for the International Decade of Indigenous Languages. How good would it be to have Australia helping to lead that process, with our First Nations ambassador going around the world telling that story?

This bill also establishes Writing Australia, a new body to support and promote Australian literature. I am all for this—not just because I was an English teacher for 11 years but also because I've published three fiction books and I've co-authored one biography with my good friend Wayne Long, which is currently out. So writing is a subject close to my heart, and it's something that I try to do every single day, apart from when I'm in Canberra. Writers have wholeheartedly welcomed the establishment of this dedicated funding body, with one saying:

It acknowledges how central writing is for other pieces of creative work—all of which inspire the conversations about who we are as a country.

Writing Australia will start on 1 July next year, and it will be responsible for supporting authors, illustrators and publishers to create new work. The key word here is 'create'. My conversations with writers in Brisbane's vibrant literary community indicate that financially supporting themselves to write is, as one of them said, 'a tough gig at the best of times'. I can personally attest to that, as someone who's sat around in bookstores trying to sell one's books. I'm glad I've got a day job outside of publishing. But I will be at New Farm this Saturday from 10 till one trying to—

Graham Perrett (Moreton, Australian Labor Party) Share this | Link to this | Hansard source

I will take that interjection—it might sell more if it were on special!

Having support to do the work will have such a positive impact. It is also recognition for the hours and hours of work that go into that glossy book that you pick out at the bookshop, download on your Kindle or select to listen to as an audiobook. I'm particularly excited by the opportunities that Writing Australia will provide for emerging writers and writers from diverse backgrounds who have important stories to share as our society changes and grows. Writing Australia will also establish a national poet laureate. This is something that I actually mentioned in my first speech, way back in February 2008—about trying to bring more poetry back to the parliament but also to the Australian people. That's been 16 years in the making. It's good to see that Minister Burke is making it a reality.

There is a clear need to support the sector as a whole. Australia Reads tells us that national reading rates are falling. A recent study showed that 25 per cent of Australians did not read a single book over the course of a year. New technologies are also changing the landscape. Writing Australia will promote Australian literature while applying innovative approaches to funding models tapping into the commercial sector. As I mentioned, a lot of people now are listening to books, which is another way to access good writing. It will invest in a network of key organisations and develop sector initiatives at a national level. All of this will lead to increasing markets both at home and abroad. We want Writing Australia to become a hub for writers, illustrators and publishers so that they can be front of mind during policy development and all benefit from these partnerships.

Despite the current challenges and the recovery from funding cuts, the Australian literary community is vibrant and bursting with stories to tell. It is supported by extraordinary initiatives such as AustLit, the definitive biographical and bibliographical database of Australian literature. I'm not just talking about AustLit because I'm the only member of parliament to have an AustLit record for fiction, or so I'm reliably informed by my constituent who helps run AustLit! But I am bringing it to the attention of members here because it is part of the cultural infrastructure that Revive champions. One of the 10 principles of Revive is the restoration, building and maintenance of digital collections. AustLit also proudly contains BlackWords, a comprehensive record of First Nations storytelling—the primary pillar of Revive.

AustLit is a fully digitised, not-for-profit collaboration amongst researchers and librarians. It's housed at the University of Queensland, in the electorate of Ryan, just over the river from my electorate. It began in the 1970s as a card catalogue and was officially launched as a telnet service by former prime minister Gough Whitlam in 1988, back when this building was opened. In 2024 it is rightly recognised as a central resource in Australia's national digital creative, literary and research infrastructure. We can all be proud of AustLit. No other country has attempted to compile a comprehensive national record of every work of creative writing and its associated criticism and reviews. This remarkable living database adds to its one million-plus entries daily. It also covers film and television, popular theatre history and awards and festivals—all significant aspects of Australia's cultural history. It is a national treasure.

The establishment of Writing Australia will bolster the next generation of well-supported writers, illustrators, publishers and First Nations storytellers. Their records will find a home in AustLit. These, in turn, will nurture knowledgeable audiences, as well as foster creative and research projects both in Australia and internationally. Perhaps most importantly it will enable AustLit to build on its long history of creating new ways of understanding who we are and how this understanding has changed over time. As more diverse voices tell their stories, this understanding will continue to evolve and flourish.

This bill continues the proud Labor tradition of supporting and valuing the arts and showcases the Albanese Labor government's steadfast commitment to the arts. I particularly commend Minister Burke for his great work in this area. The establishment of First Nations Arts and Writing Australia will foster work that creates shared experiences and human connections. It will add to the rich catalogue of creative work that tells the story of our country. It helps us to understand it, to understand ourselves and to further strengthen our national identity. A writer friend told me, 'We tell stories to make sense of who we are.' I'm proud to support this bill for the contributions its institutions will make to our combined national story. I commend the bill to the House.

Kate Chaney (Curtin, Independent) Share this | Link to 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.

Zali Steggall (Warringah, Independent) Share this | Link to this | Hansard source

I love the arts, and so do the people of Warringah. Almost one in 10 of Warringah's workforce are employed in cultural or creative occupations. There are over 450 businesses in Warringah in the arts and recreation sector.

Live music is seeing a revitalisation, particularly in the Brookvale Arts District, which also has emerging breweries and distilleries in the area. We also hold the renowned Night at the Barracks concert series at North Head, which is very iconic. I invite everybody to come along. It really is an amazing opportunity to be there under the stars enjoying fantastic music. It generally features amazing Australian artists. This September it will be from Xavier Rudd, Pete Murray, The Presets, Jessica Mauboy, Bag Raiders—the list goes on.

We have the Manly Writers Festival as well, for readers, writers and thinkers. It includes one-on-one conversations, Q&A, panel discussions, presentations and book launches. This year's festival was opened by one of our well-known Warringah residents, Tom Keneally.

Coming up in September, Manly Jazz is back again. It's Australia's longest-running jazz festival. It's dedicated to nurturing young talent, with a number of school bands always given a chance to perform in front of some great crowds. In fact, I had the pleasure of seeing my son, as part of the Manly selective jazz band program, play on a number of occasions. It is phenomenal to see all those young people get that opportunity on the stage.

The arts are vital to the wellbeing of Australians and enhancing social cohesion, and they are significant contributors to the Australian economy. Australian artists are our cultural ambassadors on the international stage. The arts and entertainment sector contributes approximately $14.7 billion annually to Australia's GDP. The sector employs around 193,600 Australians. In 2021 the broader creative economy, which includes both creative and non-creative roles within creative industries, employed some 714,000 people, making up some 5.9 per cent of the total workforce, so this is huge.

But, numbers aside, we always have to be mindful that Australia is home to the oldest surviving culture in the world. With more investment, First Nations art has gained the potential to reach greater audiences both within Australia and internationally. But we should always remember as well that Australia is an amazing, multicultural country, and through creative industries we can and must celebrate and explore all of the cultures and traditions that we have within Australia. The arts bring people together. They help reflect our national identity and cultural heritage. They provide a platform for storytelling, innovation and dialogue, allowing us to connect more deeply. They nurture our communities, they promote mental wellbeing and they play a crucial role in education by fostering critical thinking and creativity. The bill before us will expand many opportunities by investing in First Nations artists and Australian writers and ensuring that we have a strong and vibrant creative industry.

It's important to acknowledge though that it has at times been tough for the sector. We can give the positive numbers, but we also have to paint the real picture right now. For the Australian arts sector it is sometimes dire. It has been seriously underfunded, and it needs more policy support. I know, for example, within Warringah that we have an incredibly strong philanthropic community when it comes to a lot of arts. Recently I went to the launch of the Mosman Art Walk, which shows incredible pieces of artwork displayed through modern technology, identifying iconic landscapes and areas of the Warringah and Mossman coastline. I invite people to go and do that walk and appreciate the arts, the artists' points of view, the display and the landscape that has been depicted.

Around 74 per cent of artists have a university degree, yet they earn significantly less than other professions that require similar levels of, or tertiary, education. Working artists earn an average income that is about 26 per cent below the national average, at about $54,500 per year. Generally, they always have to consider additional sources of income. The average income based solely on creative work is estimated to be around $23,200, with almost half of professional artists earning less than $10,000 a year from their creative work. Clearly, we have a gap between appreciating and valuing that creative output and making sure we support opportunities for them and recognising the role the arts play within our communities and within our cultural development and how we are as a society.

I seek leave to continue my remarks later.

Leave granted; debate adjourned.

Federation Chamber adjourned at 19 : 31