Zoe McKenzie (Flinders, Liberal Party) Share this | Link to this | Hansard source

In continuation from yesterday on the Australia Council Amendment (Creative Australia) Bill 2023, it is proposed that the functions be absorbed by the Australia Council, now to be known as Creative Australia. It is worth noting briefly here that the Australia Council has tried its hand at philanthropic activity in the past without, one might say, resounding success. In my time on the board, a co-investment subcommittee eventually dissipated in terms of both activity and focus but for the Venice Biennale, which has engaged broadly and successfully across Australia's philanthropic community to mount extremely successful exhibitions at the Australian Pavilion since the 1980s. However, this has usually been done by setting up a committee external to the Australia Council to undertake the huge two-year fundraising task as well as the design of bespoke programs offered to recognise donors and supporters alike. These are not the usual—nor, may it be said, necessarily comfortable—tasks for public servants engaged by the Australia Council, who discharge their functions with accountability to the sector but also to the taxpayer.

The bill suggests that all employees of Creative Partnerships Australia but for the CEO will be transferred to Creative Australia, but it is not yet clear whether the state capital city based offices of Creative Partnerships currently located in Perth, Adelaide, Melbourne, Sydney and Brisbane will be retained. Those offices provide a low-cost local link to Creative Partnerships Australia for arts organisations and artists nationwide—something from which the Australia Council for the Arts could benefit, given that it is solely headquartered in inner Sydney. It is important to recognise those who have contributed to the success of Creative Partnerships Australia. The board has included Catherine Walter, Dan Rosen, Natasha Bowness, Rosheen Garnon, Leonard Varey, Carol Schwartz, Samantha Meers and the great Rupert Myer. I also thank all of those who have donated through CPA and made a real difference to arts and culture in this country.

The amendments will require Creative Australia to deliver the functions of Creative Partnerships Australia including the attraction and recognition of public- and private-sector support for, and philanthropic and private investment in, the arts and the undertaking of research on public- and private-sector investment. There is indeed some crossover with a new approach, recently established by the Myer Foundation, in partnership with the Sidney Myer Fund, the Tim Fairfax Family Foundation and the Ian Potter Foundation, among others. A new approach led by my former colleague on the Australia Council board, Kate Fielding, undertakes magnificent research in and around Australian culture. I highly recommend it.

In essence, the great loss from this change will be the disappearance of a dedicated entity focused on the delicate and—for many in the public sector—the sometimes daunting task of philanthropy. The transfer will bring together private arts philanthropy and public arts funding within the one entity, the cultures of which are quite distinct and not always compatible. It will be interesting to see how the new philanthropic arm of Creative Australia is established and operated so as to not lose the remarkable energy and activity around private support for the arts and culture which has been an element of cultural endeavour since the beginning of time. Till then, I wish those involved patience and courage with the transition.

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

Before I begin this discussion of the Australia Council Amendment (Creative Australia) Bill 2023, I'd like to wish happy International Women's Day to all—particularly to my wife Lea who is 1,300 kilometres away, having just taken one son to school and another one to uni and, no doubt, cooking, cleaning and doing everything else that she does, as well as holding down a job. So happy International Women's Day, Lea!

Now to the matter at hand. A new chapter in the Australia's cultural story began recently when Prime Minister Albanese and Minister Burke launched the nation's new cultural policy, Revive: a place for every story, a story for every place. Revive is the comprehensive road map that the arts and cultural communities have been asking for, after close to a decade of wandering around the LNP's featureless desert. Culturally, the nation has just experienced a lost decade under the Abbott, Turnbull and Morrison governments. Compared to the coalition's efforts over the last decade, I saw more culture in my son Leo's lunchbox that he left in his school bag over the Christmas holidays. There was plenty of action under Ministers Brandis, Fifield and Fletcher, but the deeds were either cruel cuts or deliberate neglect.

I will never forget, nor will I forgive, the Morrison government for almost completely cutting out the arts during the pandemic, when every theatre was closed down. They had to be embarrassed, eventually, into doing something. At the time, everyone understood the need for the cancellation was for health reasons, leading to the closure of almost an entire industry reliant on bums on seats through indoor music halls and galleries to large music and cultural festivals and all those artistic endeavours. But for the Morrison government to simply abandon an entire industry in possibly its greatest hour of need was shameful. Perhaps, it was all because the Prime Minister of the day didn't want to be seen hanging around with the sort of people that he used tread the boards with back when he was an eager child actor. His deliberate, cruel and shameful act ignored the fact that our artists are both creators and workers. Our storytellers do a job. The arts sector is an essential part of our both culture and economy and Labor understands this.

Art and culture touches and impacts all areas of government, from cultural diplomacy and foreign affairs, right through to health and education. The arts are so important to our nation, and Revive will set the arts sector on a new trajectory with fresh momentum. This bill is an important component that will be a part of forging that vision and facilitating an upward trajectory. It will give effect to elements of Revive that are required to be in place by July 2023, one of which includes Creative Australia becoming the new business name for the Australia Council.

Since 1975, the Australia Council has been the principal Commonwealth arts investment and advisory body with a strong, proud history and profile in the arts sector. It supports and promotes creative arts practice that is recognised nationally and, more importantly, I would suggest, internationally. It provides research and advocacy on issues affecting the sector. Its funding and independence was severely compromised under Ministers Brandis, Fifield and Fletcher. The days of such myopic, petty interference are behind us, thankfully.

A restored and modernised Australia Council, known as Creative Australia, will have that strength and capacity. It will provide for greater strategic oversight and engagement right across the sector and ensure that funding decisions continue to be made on the basis of artistic merit, and not at the whim of the government of the day. Who wants colour coded spreadsheets completed by ministers—against advice—when it comes to important arts funding decisions? Maybe there's a Victorian senator with a clay target shooting club that might be in need of a bit of arts funding, but that won't be the way of the future.

The implementation of the Australia Council reforms under the national cultural policy will be staged to allow for necessary consultation right across the sector, and, as mentioned earlier, some of these are required to be implemented by 1 July. Additional functions in this bill will enable the Australia Council to commence work on the Centre for Arts and Entertainment Workplaces and Music Australia. This centre will work with artists, industry workers and employers to raise and maintain safety standards for all art forms and ensure that matters are referred to relevant authorities when appropriate. The centre will also provide advice on issues of pay, welfare and the development of codes of conduct and resources for the sector. It's no secret that the arts sector has a poor track record when it comes to working conditions. A report from 2021 noted that 45 per cent of Australia's arts and cultural workers were in casual or insecure roles, with all the housing and family problems that come with that. The gender pay gap in the arts is nine per cent wider than in other sectors of the economy. Sadly, the music industry continues to make headlines for widespread bullying and sexual harassment. Meanwhile, the sector is struggling to attract and retain workforce talent. It's clear that things need to change, and the Centre for Arts and Entertainment Workplaces will be at the heart of that much-needed change.

The second aspect of the policy will see Music Australia support the Australian music industry to grow, including through strategic initiatives, industry partnerships, research, training and skills development, and export promotion, which is something I think we need to do more and more of in our part of the world. Australia has such a rich history of producing some of the best music in the world. I can think of The Easybeats, The Saints, AC/DC, INXS, Paul Kelly, Powderfinger, Divinyls, Silverchair, Hilltop Hoods, The Go-Betweens, Nick Cave, Midnight Oil and—my special favourite—The Triffids, and that's just to name a few. On reflection, this list of bands and musicians might reflect my age and maybe the parliamentary band's song list! Also, what about Gang of Youths, Baker Boy and Thelma Plum, for people born this century? The Albanese government wants to foster new, up-and-coming artists to make their mark not just here on our shores but right across the world. What a message it would be to take to Asia to have someone like Thelma Plum, a First Nations artist, engaging with the Pacific and Asia. A follow-up bill will be introduced later this year to establish these critical bodies, and ongoing consultation with the sector will inform the subsequent legislation.

The bill will provide authority for the Australia Council to deliver the functions of Creative Partnerships Australia. This will include the attraction and recognition of public and private sector support for the arts, and the undertaking of research on public and private investment in the arts. This increased access to private-sector funding will maximise the impact of public investment and support a sustainable arts sector. The transfer of Creative Partnerships Australia's functions will leverage the Australia Council's ongoing expertise and bring together arts philanthropy and arts funding within the one entity. It will create synergies between public and private partnerships, as well as between government and philanthropic investment.

The bill allows the Australia Council to assume responsibility for the Australian Cultural Fund from 1 July this year, including all donations made into the fund prior to the transfer. The Australian Cultural Fund is an important mechanism utilised by Creative Partnerships Australia to deliver on its objectives to grow the Australian culture of giving to arts by bringing together donors, businesses, artists and arts organisations. Through this legislation, the Australia Council will assume responsibility for assisting Australian artists and arts organisations to attract and maintain support from donors and businesses; diversifying their sources of revenue; and encouraging and celebrating innovation and excellence in giving to, and partnerships with, the arts and cultural sector—great goals.

Under the bill, Creative Partnerships Australia Ltd will cease to exist and will be taken to be deregistered under the Corporations Act at the transition time. The bill also includes transitional elements to support a smooth transfer of functions, and the bill seeks to modernise provisions of the act relating to constitutional limitations. The Albanese government is committed to improving the quality of Commonwealth investment in the arts sector and to strengthening and streamlining access to support, including for artists and arts organisations. A properly resourced Australia Council is key to delivering on this commitment. The transfer of the functions of and funding for Creative Partnerships Australia to the Australia Council will align with this objective.

Timely passage of this bill will allow these initiatives to commence from 1 July, for the broader benefit of the artists and arts organisations. It will ensure continuity of business between Creative Partnerships Australia and the Australia Council. These transitional elements cover the transfer of assets, liabilities, records and staff entitlements—all crucial. It will ensure that, at the time of transfer, employees of Creative Partnerships Australia will be taken to be Australia Council employees and receive equivalent accrued entitlements and benefits.

Lastly, we'll also establish independent bodies and funds for First Nations arts and culture, for contemporary music and for writers. We have over 65,000 years of stories and 65,000 years of culture to promote, support and fund. This nation is home to the world's oldest living continuous culture, some of the world's oldest artworks, the world's oldest songs and stories. There is nowhere else in the world where you can tap into this knowledge, experience and culture to produce traditional art and music, and what a message it is to take to the rest of the world. We also have the opportunity to create some of the best contemporary art and music from First Nations people that needs to be not only celebrated but, importantly, supported. This nation definitely believes in a place for every story and a story for every place.

Keith Wolahan (Menzies, Liberal Party) Share this | Link to this | Hansard source

I am honoured to speak on this bill, the Australia Council Amendment (Creative Australia) Bill. Most of us in this building have some connection to the arts within our community. We certainly have consumers of the arts; that's something that's important to all of us. For those of you who have been to the Speaker's office, there are two Sydney Nolan paintings there, the Ned Kelly paintings. They were painted at the Heide Museum of Modern Art, in my electorate. I've told the Speaker that he should be very careful; that shows a bias to Menzies! He assured me that he will never show a bias for the member for Menzies! I trust him on that.

We've heard that this is the first of a series of bills that will support the implementation of the government's national cultural policy. The coalition does acknowledge this is a continuation of coalition policy. In fact it is a rebranding exercise. At its foundation, it comes from the national cultural policy, Revive, which was announced on 30 January of this year, that being a five-year plan for the arts. We're often told in the chamber about all of the bad things that happened under the previous government. I understand that. Maybe there's a statute of limitations on when that will stop, but it still happens. So let me indulge in some achievements in this area from the previous coalition government.

There was a $50 million Temporary Interruption Fund provided directly to screen producers. In 2020 and 2021, there was more than $370 million invested in Australian local content through the Australian Children's Television Foundation, Screen Australia, the production offset and the post-digital visual effects offset. That producer offset for television content was raised by the coalition government from 20 per cent to 30 per cent, meaning Australian producers receive a greater rebate, making producing film and television content in Australia more attractive and more affordable.

The coalition invested more than $47 million to digitise and preserve collection material held by the National Film and Sound Archive, the NFSA, and seven other national collecting institutions. The coalition also provided funding to maintain the National Library of Australia's Trove website.

The Creative Economy COVID-19 support package was made up of nine measures across 2020 and 2021, and now stands at over $500 million. That was desperately needed. No-one claims that COVID hit each sector of the economy or society equally. It hit some much harder than others. The creative sector was hit particularly hard during COVID, for obvious reasons.

The coalition also invested $220 million for Restart Investment to Sustain and Expand Fund, the RISE Fund. That funded more than 541 projects occurring in more than 4,000 locations. There was a $53½ million Arts Sustainability Fund through COVID, which was designed to systematically support important arts organisations through the pandemic downturn. So far, it has supported 16 leading arts organisations across Australia for $51½ million. There was $40 million to the charity Support Act for immediate crisis relief to artists, crew, music and live performance workers across the country.

There was $20 million allocated to supporting cinemas in their retention and survivability. There was a fund to provide business continuity and support to independent cinemas in particular. A lot of those independent cinemas are family run, and they have enough pressures as it is from most families who have Netflix, Amazon Prime or Disney+ accounts and probably go to the cinema less. But when you do go, to an independent cinema in particular, you're reminded what a nice experience it is, particularly for children to go with their parents.

There was also $21½ million for regional arts, including $11.4 million to support arts and cultural development tourism experiences. There was $12 million to support Indigenous art centres and Indigenous art fairs in regional and remote Australia, and that was delivered in full. There was $540 million over the seven years to 2026-27 through the location incentive to attract domestic and international film and television productions to Australia. All of this was on top of recurrent funding provided to the Australia Council which stands at around $220 million a year, $260 million for the national collecting institutions and over $80 million for Screen Australia. So the coalition is proud of its commitment and support to the arts sector, and that should be acknowledged. Even though the members here on this side weren't actually part of that government, we are proud of the achievements.

There is a risk at the moment that we're really adding more bureaucracy rather than more support. Some of the bureaucracies that are being created are the Centre for Arts and Entertainment Workplaces, Music Australia, Writers Australia and the First Nations body. These bodies will be critical in building partnerships, and their expertise will be important, but we do have to question whether this is more funding for middle management and not really more funding for the frontline arts sector, which needs it most.

I would like to speak about the cultural policy which was released this year. What the minister announced, we submit, fell a long way short of expectations. Much of what is adopted in this policy merely continues the arts policy direction pursued by the previous government. For example, the coalition worked to break down the division between the subsidised and commercial parts of the sector and to get more money to contemporary music, so it is good to see that similar proposals have been put into the policy. The coalition backed contemporary music strongly with over $68 million, which went to 170 projects involving contemporary music, from individual tours by artists like British India and Peking Duk to festivals like Bluesfest, Meadow music festival, and the Lost City under-18s music festival. I don't know who they are at all, but I'm sure they're very good bands that are very popular among people in Australia. Maybe I know the songs but I don't know who did them. I need Shazam to actually hear it.

The minister informed us that the policy includes a 30 per cent tax offset for digital games production in Australia, and I'd like to come to the importance of gaming as a cultural policy shortly. The COVID pandemic, as I said at the start, hit the sector particularly hard. It reminds us of the economic multiplier effect of the arts. If you go and see a show, you probably go to a bar, a cafe or a restaurant. You might stay overnight at a hotel. You might get a cab or an Uber or even take a flight to get to the show. That argument was key in seeing $220 million for RISE and hundreds of millions of dollars in other arts programs.

I'd like to briefly speak about video games. My 10-year-old son would be very proud of me for talking about video games, and not in the context that he should play less of them and Australians should play less of them! It's one of those things where there should be a healthy balance, of course, but we should acknowledge the importance of video games to our economy and to culture. It is important. Video games are talked about as having a cultural value in Australia, and we do measure that value in economic terms. In 2021 and 2022, it was $284.4 million, which was a 26 per cent increase on the previous year. Numerous jobs were created from that sector. Just like musicians, painters, writers and all other artists, videogame developers develop a practice through constant experimentation. Often, that work doesn't lead to an economic outcome, but, with so many practising the craft, some really hit the jackpot and capture the imagination of people throughout the world.

The sector took a particular hit in the 2008 global financial crisis, and it took many years to recover. In the early 2010s the Australian video game industry arguably hit rock bottom. Many businesses went under, many people lost their jobs and a lot of creative talent fled our shores. Despite all of this, since then, game developers in Australia have rebuilt the industry, and they deserve to be congratulated for what they have done. Australian games now regularly receive critical acclaim around the world, including Untitled Goose Game, Paperbark, Unpacking, Frog Detective and Cult of the Lamb. Slowly, Australia has caught up, and so both state and federal governments have introduced more funding and tax offsets for cultural institutions like the National Film and Sound Archive and Sydney's Powerhouse. And it's important that games did appear in the national cultural policy.

Their ability to make money is obvious to all. They are inherently youthful and, for some people who like them, quite cool. And games can have a complex role to play in development. It can be negative. We've heard about the concerns that many parents have about games like Fortnite, and they want to make sure that younger children in particular are in a safe environment, are not there for too long and are not being bullied online. That's very important. But there are roles for games that are creative and encourage learning. They are becoming more sophisticated. They're engaging with other professions, like psychologists and teachers, and that should be encouraged and supported—because there's no linear path to success in the arts or indeed in video games.

So we do support the video games sector and we congratulate the government on including that in the national cultural policy.

I conclude with one final observation, about the idea of a poet laureate. Henry VII appointed the first United Kingdom poet laureate—I think it was John Dryden—and it was an honorary 10-year appointment, and that has continued. The United States has had a poet laureate appointed since 1937. They're appointed by the Librarian of Congress. Australia actually has had one poet laureate. Lachlan Macquarie appointed Michael Massey Robinson, our first and only poet laureate, in the early 19th century. His task was to write odes for royal birthdays, and he was paid in cows. With the establishment of an official poet laureate, I think we will be asking that person to do more than write odes for royal birthdays, and I hope that we pay them in more than just cows—although, with the price of cattle, that might be a pretty good deal if I was poet laureate!

Poetry is a very important part of culture and probably one of the oldest forms of culture, from humans sitting around fireplaces, telling stories and using words in a way that is creative and beautiful, and stirs the soul and our emotions. So I congratulate the government on establishing a poet laureate.

Jerome Laxale (Bennelong, Australian Labor Party) Share this | Link to this | Hansard source

For the last decade there has been a hole in the national cultural policy of this country. Artists, musicians, storytellers and creatives have been left behind in the face of ad hoc, piecemeal and uncertain policy.

Creatives have contributed significantly to our community through their artistic contributions and their passion for their community. They bring a richness to people's daily lives, and that deserves celebrating. When we look at the essential and basic elements of a robust and functioning society and community, there is no doubt that arts and culture play a vital role. The arts bring us together. They help us reflect our differences and celebrate the stories that we share. It is through art and culture that we build our identity as a nation and a people.

Under the previous government, Australia's cultural policy was gutted and left to the side. In 2015 those on the other side made $114 million worth of cuts to the Australia Council. They withdrew large amounts of literature funding, quarantined funding to major performing arts companies, and decimated funding for small and medium arts organisations and to independent artists.

The reduction in funding for Australian arts and culture by the previous government forced the Australia Council to cancel project funding rounds for small groups and individuals and to cut funding to over 60 arts organisations around the country. Many small arts organisations were forced to contract, merge or drastically change their programs in the face of a 70 per cent reduction in grants to individual artists and their projects. Screen Australia had its funding cut by $51.5 million over four years at the hand of the previous government. The former National Gallery of Australia director, Dr Gerard Vaughan, said that ongoing funding cuts were having a profoundly negative impact on the ability of the gallery to run.

The former government even got rid of the federal arts department and merged it with the transport department. I know some road and rail infrastructure put a little bit of art into their new infrastructure from time to time, but I think merging the federal arts department and the transport department was a bridge too far—no pun intended, of course! If they hadn't already made it clear enough that they had no care for the importance for the arts, they surely did when they made sure it didn't even have a department that bore its name.

Then, in the face of the COVID-19 pandemic, the former government again took the opportunity to show their indifference to the arts community, leaving freelancers out of the JobKeeper package, forcing the Australia Council to create a resilience fund for artists and arts organisations so that their livelihoods, practice and operations could continue to be supported through the pandemic. I saw a lot of these impacts on artists firsthand. I was mayor of the city of Ryde during the pandemic, and I saw the deep impact it had on our arts community and how deeply affected they were. The arts industry, as well as the artistic experience, had been devastated by COVID-19, as events, venues, markets and access to art were shut down in order to protect us all from the virus. It cannot be said better than it was by the Museum of Contemporary Art: 'In times of crisis, bushfires and pandemics, the arts have a capacity to give people ways of coping, imagining a future beyond the crisis.'

In the city of Ryde we understood the importance artists would have in supporting our community to get through those really difficult times. We implemented dozens of innovative and digital creative and professional development workshops to ensure people in our area could continue to develop their craft. We hosted art programs digitally and encouraged artists in residence to engage in our digital entertainment opportunities. We worked with community radio stations 2SER and 2RRR to develop a radio series targeting emerging musicians. We launched the Get Gig Ready podcast alongside a group of local organisations to support and strengthen the music scene in our local area when times were tough. Local artists were hired to paint murals to brighten up facilities while they were shut down—such as the Ryde Aquatic Leisure Centre, which now hosts a beautiful mural painted by City of Ryde staff and their artists. We implemented hardship programs and waived fees for outdoor dining when restrictions were slightly lifted and we could go back out, to encourage venues to host local artists so they could continue to survive. We ensured our initiatives were inclusive of the creative community, who had been left behind by the government. And we did all that because those opposite did not support the arts or artists.

Some of the great events early on were when we hired local artists to do online music concerts. It was the first time the organisation had done that. The feedback we received at the time was extraordinary. People just loved sitting at home and being able to distract themselves from the difficulties of the pandemic at the time. Had the federal government done more for artists, I'm sure the industry wouldn't have been as decimated as it was. I'm thankful that the Labor Party, now in government, can support this industry once more.

Witnessing the key role the arts played in my community throughout COVID-19, it inspired our office, once I became the member for Bennelong, to create the Bennelong Award for the Arts. It's an annual prize presented to students from schools throughout Bennelong who have shown excellence in painting, sculpture, literature, language, music and theatre. In 2022 I was privileged to present this award to 15 students throughout our community who have shown dedication and merit in the arts. These students show outstanding skill and creativity far beyond what is expected of them. I was proud to show support to these emerging artists and to encourage them to continue their pursuit of excellence.

It's for people like the recipients of this award that this legislation we're debating today is so important. This bill is one of many that will support the implementation of the government's national cultural policy, Revive. As a government, we have a responsibility to foster the creative forces that live in our community. This government will provide artists with strong infrastructure, training, development opportunities and space to share their works. It will deliver a framework that empowers our arts, entertainment and cultural sectors.

It's a proud history of Labor governments to provide much-needed support to the arts. This government will continue to carry the torch of the hard work done by the Hawke, Keating and Whitlam governments before us. It was under the Whitlam government that the Australia Council was formed into seven autonomous boards for different areas of the arts. Under the recommendation of the council, they were established as a statutory body, giving the Australia Council the autonomy to make decisions outside of political interference or influence. Under Whitlam's leadership, the council took in the Commonwealth Literary Fund and the Commonwealth Art Advisory Board. In 1984 the Hawke government consolidated the scattered and divergent cultural interests into the Department of Arts, Heritage and Environment, ensuring that the past, present and future of our cultural movements were dealt with all together.

The Australian people have not seen a comprehensive and ambitious cultural policy initiative such as this government's current policy since Keating's Creative Nation in 1994. Creative Nation was the first time an Australian government formally developed a cultural policy. As this government's legislation does now, the Creative Nation policy emphasised the importance of culture to our national identity and widened our understanding of culture and the arts. Further to this, it highlighted the important economic potential of cultural activity and performances. The policy placed new models of cultural engagement alongside traditional forms of artistic expression, highlighting their equal legitimacy and value as art in Australia. The Creative Nation initiative changed the way Australians saw themselves and how we saw our place in the world. It highlighted the importance of Indigenous and migrant cultures in creating a national cultural identity. It funded and established the Australian national institute for Indigenous performing arts and created a database for multicultural texts in Australia.

As Australians, we view ourselves as a proud, multicultural and vibrant community. The legacy of strong cultural policy cannot be undervalued in the role it plays in this identity. It holds up a mirror to our nation and reflects to us who we truly are. This legislation is long overdue and it is the first step in a legislative agenda that highlights and advances the value of arts and culture to this country. Through this legislation, we will amend the Australia Council Act 2013 to support the implementation of a new national cultural policy. The Australia Council will now be able to operate under the name Creative Australia until Creative Australia can be created as a new cultural body in its own right. The establishment of Creative Australia is the centrepiece of this government's national cultural policy. The Australia Council's capacity to provide strategic oversight and engagement across the arts sector will be strengthened and, once again, funding for projects will be made away from government and on merit and value to the sector—no colour-coded spreadsheet in sight.

Under Creative Australia and the Revive initiative, we will establish independent bodies and funding for Indigenous arts and culture, contemporary music and writers and a centre for arts and entertainment workers. The Centre for Arts and Entertainment Workplaces will provide long-needed support to workers throughout the entertainment industry. In collaboration with artists, industry workers and employers, it will ensure that those within the creative field are protected from exploitation. It will raise and enforce standards in the industry, including in remuneration and safety. Further to this, any company found not adhering to these standards will be prevented from receiving government funding.

This bill also reaffirms the commitment of this government to improve and support the arts. It's part of a five-year plan to renew and revive the industry after it faced one of the most difficult periods it had known for generations, at the deliberate design of the former government. The Albanese Labor government will improve the quality of Commonwealth investment in the arts sector and will ensure that artists and organisations have strong and accessible support. The funding of Creative Australia is key to delivering these commitments. With a properly resourced Creative Australia we can ensure that the goals of this important initiative are met.

Cultural policy touches the lives of all Australians, not just those who actively engage in the sector. Robust cultural policy is good for our economy. It's good for our health and education. It's even good for our work around the world. The arts provide a space for every story to be told and for every story to be heard, whether that's through music, literature, visual arts, gaming—as we heard from a previous speaker—or film. This legislation and the accompanying Revive initiative will deliver new momentum and ensure that Australian artists, art workers, organisations and audiences thrive and grow. It will ensure that art, culture and heritage are central to the future of our country.

I commend the government for their commitment to the arts and the cultural industry. In particular I commend the Minister for the Arts, who has done an extraordinary job in bringing this important piece of legislation to parliament. Early on in my time in this place I was walking around with my family and kids. We obviously got lost. We were walking through the ministerial section and the Minister for the Arts came out and said: 'What are you guys doing? You should pop into my office.' I had my young kids with me. I walked in—and I'm sure that he won't mind me saying this—and saw that he had musical instruments everywhere. He had a piano, little guitars and banjos. I have this wonderful picture of my partner, me and our kids—five of us together—with musical instruments. We had a big jam session in his office. It's so refreshing to have a Minister for the Arts, who is not so good at playing music—he confessed that; those are his words, not mine—but who really appreciates the arts and culture.

I know that he has been fighting for these reforms for a very long time. He led this party to promote the arts and to promote the injustices to the arts under the former government. Now that we have been able to form government, I'm sure it is a great pleasure for him and the entire Labor Party to have been able to bring this important transforming legislation to the parliament. I encourage all in this place to support it.

Stephen Bates (Brisbane, Australian Greens) Share this | Link to this | Hansard source

My electorate of Brisbane is the arts and cultural epicentre of Queensland. It is home to institutions, artists and creative businesses alike. The Fortitude Valley precinct is an entertainment hub unlike anywhere else in Australia. The Tivoli, the Zoo, the Triffid and Fortitude Music Hall are an important nest for local talent and a platform for showcasing national and international acts. We're lucky to be able to experience the incredible artistry of the Aboriginal Centre for the Performing Arts, BlakDance and the Institute of Modern Art.

In New Farm the Brisbane Powerhouse is famous for hosting the Brisbane Comedy Festival and is celebrated for showcasing cutting-edge theatre, music and visual arts. We are lucky to host Australia's longest continuously running theatre company, La Boite, and the internationally renowned Circa Contemporary Circus. These institutions and many more are home to artists that form the beating heart of our city.

The people of Brisbane know the social, cultural and economic values that the arts contribute to our communities, with the creative industries employing many of those who call Brisbane home. Australian artists have faced a decade of government neglect and historic funding cuts, compounded by the devastation of COVID-19, when we saw many artists and crews lose their entire income virtually overnight. The damage this caused to artists' livelihoods, creative processes and artistic delivery was immense, especially in the context of the housing and cost-of-living crises. Unlike other industries, many artists received no government support during the pandemic and were unable to access the JobKeeper program. The road to recovery is long, and yet artists continue for the betterment of our communities to find a way to create, interpret and challenge culture and the status quo.

I'm glad to see some recognition of the crucial role the arts play in our economy and to the health and wellbeing of our society—to the tune of $286 million in funding. However, this pales in comparison to the $11 billion a year we spend to subsidise the profits of the fossil fuel industry, especially when you consider the massive $15 billion the arts and entertainment industry contributes to the Australian economy every year and the almost 200,000 Australians it employs.

The Greens went to the federal election with a multitude of policies to support and properly fund the arts. We would establish a $1 billion live performance fund to inject money into Australia's music festival scene and live performance sector, as well as a $1 billion Australian stories fund to develop and grow the local screen industry. We would support artists by providing additional COVID recovery funding through the RISE Fund, creating an artists wage pilot program, and place an artist in residence in every school and library.

Content quotas are one of the first pieces of legislation that will come out of the Australia Council Amendment (Creative Australia) Bill 2023. The Greens will continue to call on the government to ensure that these quotas are fixed at a rate of no less than 20 per cent. We'll also continue to push to legislate a minimum performance fee, to provide stability for live performers who are still struggling through the cost-of-living crisis as the live music industry continues to recover from the challenges of the pandemic. Artists in Brisbane have also directly raised with me the importance of supporting creatives at a grassroots level. Traditionally, we've seen skewed delivery of government funding models for this industry, where independent creators have lacked the same access to funding as larger organisations. It's critical that there are pathways for funding that are directly accessible for independent artists and not just major institutions. I look forward to creatives being able to speak from experience on these issues during the Senate inquiry into this bill.

We must also deliver a sustainable funding plan for the National Library's online archive, Trove, which will run out on 30 July unless the government decides to act. At a time when big tech companies have let fake news and misinformation run rife on their platforms, it's more critical than ever that Australians have access to quality resources and information. The government must commit to funding this national cultural institution, as well as the National Archives, the National Gallery and the National Film and Sound Archive. We are lucky to have such incredible collections of artistic and cultural history and we must ensure that governments prioritise their ongoing preservation.

Libby Coker (Corangamite, Australian Labor Party) Share this | Link to this | Hansard source

Labor governments have a proud history of supporting and nurturing the arts, because we know it's good for our economy, jobs, our international reputation, and, importantly, the creative arts nourish our souls and give us pride in who we are, where we live and our amazing cultural achievements. But there is much more we need to do to ensure that Australia's arts sector continues to thrive in an increasingly global marketplace. That is why this bill, the Australia Council Amendment (Creative Australia) Bill 2023, is so important. It delivers on the promise that we took to the last election to invest in the arts and create an environment where the arts, and, importantly, all those who work in the sector can again prosper.

Great Labor icon and visionary, former prime minister Gough Whitlam, recognised the power of the arts to cultivate culture and economic opportunity when he said the arts is:

Fundamental to … a vigorous Australian national spirit …

…   …   …

To help cultivate a rich and enduring national pride, and to enlarge the people's opportunities for cultural fulfilment …

I've witnessed the importance of this firsthand in my own region. Last week, I had the privilege of visiting the set of Netflix's Surviving Summer season 2, a production featuring Australian stories, cast and crew and filmed on our very own Surf Coast in Victoria. As I walked the set, there was a real creative energy, a buzz of excitement and, importantly, a large cast and crew working creatively on a production showcasing our landscapes, culture and people. From the young and upcoming actors to the seasoned veterans, the team were working together, driven by a common purpose to tell a compelling Australian story. The production is filmed in locations including Twisters Torquay, the Jan Juc Surf Life Saving Club, Point Danger, Strapper Surfboards and a number of private properties. The production is testament to the resilience and creativity of our arts sector, which has faced enormous challenges in recent years, including through the pandemic and a lack of federal support under the former Liberal government.

So it is time, in the words of Gough Whitlam. It's time to once again invigorate the creative arts, and this is the purpose of this bill. It harks back to 1975, when Gough Whitlam launched the Australia Council for the Arts as the principal Commonwealth arts investment and advisory body. Whitlam said at that time:

I believe that the formation of an independent Australia Council will inaugurate a new era of vitality and progress in the arts, that creative artists of all kinds will enjoy a new measure of security and status in the community and that the Australian people as a whole will have new and wider opportunities to participate in the arts and enjoy the emotional, spiritual and intellectual rewards which the arts alone can provide.

The bill before you today carries on this proud and worthy ambition, cementing the government's national cultural policy—hopefully—in legislation and the establishment of Creative Australia. Creative Australia will strengthen the capacity of the Australia Council, providing greater oversight, with engagement across the sector. It will ensure independence for the sector—'independence' in the sense that funding decisions will be made on a merits basis, and, as the Minister for the Arts put it, 'at arm's length from government'. The bill empowers the Australia Council to operate under the Creative Australia name for the interim.

A follow-up bill will be introduced later this year to establish Creative Australia as a new organisation, and it will also establish Music Australia and the Centre for Arts and Entertainment Workplaces within that organisation. The establishment of these bodies is proof of this government's support for the sector. These bodies will be essential to building critical partnerships and expertise that will support artists and benefit Australian audiences. Consultation on this matter will continue and will inform that legislation, and I will be asking people in my arts communities to make sure they take part.

This bill will provide authority for Creative Australia to deliver functions currently held by Creative Partnerships Australia. The transfer will ensure that Creative Australia's expertise is leveraged to bring together arts philanthropy and arts funding under the same umbrella. It is so important that we work together to ensure, across our government and the opposition, that we get this bill through parliament. It is going to make a huge difference.

Importantly, we will fund this initiative with $15 million over three years, from 2023-24, including $5 million ongoing and indexed from 2026-27. This funding will enable increased access to private sector funding and will maximise support for the sector. We will be able to promote and support creative arts practices and make sure that they are recognised not just nationally but internationally. We'll ensure that the Centre for Arts and Entertainment Workplaces will work with industry stakeholders to raise and maintain employment standards. The centre will ensure standards are set for pay and safety for all art forms and arts organisations, and it will ensure issues are referred to relevant authorities where appropriate and make sure that those companies that do not adhere to these standards are prevented from receiving government funding. Moreover, the bill will empower Music Australia to support the Australian music industry to grow through strategic initiatives, industry partnerships, research, training and skills development.

With this bill and the relevant funding proposed, I'm very hopeful that my electorate of Corangamite—which has a rich history in the arts sector, with several iconic Australian films and television shows having been shot in the electorate, including Mad Maxwill continue to be a location of choice for film and television productions. Summer Love, by the ABC, was also filmed in this location. Mad Max has been instrumental in shaping the identity of the region and has brought much joy and pride to the people who call Corangamite home. Mad Max was filmed in Victoria in the 1970s, and its iconic scenes were captured just a stone's throw from where I live. The film became a cult classic, and its influence can still be seen in popular culture today. But it wasn't just the action and suspense that made Mad Max a beloved film. It explored themes of survival, justice and human spirit in the face of adversity. It was a game changer for the Australian film industry. It was one of the first films to use Australian locations, crew and talent in such a significant way.

Mad Max paved the way for many other great productions on the Surf Coast and the Bellarine. These have included the Tomorrow, When the War Began series, which saw the production blow up a car on a bridge at Barwon Heads, and the iconic ABC program SeaChange, which we may all remember. That's why I'm so thrilled to see Netflix's Summer Love continue this proud tradition. Surviving Summer returns to our region as well, and the government's steps to improve funding will ensure, hopefully, that films like this will continue to be made in my region. Not only do they support actors but they support our economy and, as I've said earlier, they showcase our region, our country, to the world.

As a consequence of this bill, my home region is also thriving. It has a live music scene. We've got the Queenscliff Music Festival and the Meredith Music Festival, through to the likes of Midnight Oil and the soon-to-arrive Rod Stewart at the Mt Duneed Estate and, of course, the infamous Torquay Hotel, which is an icon on the Surf Coast. This venue will soon feature the likes of Peking Duk and the Grogans and has previously hosted famous Australian band Skegss.

Finally, I'd like to acknowledge the importance of this funding in ensuring that First Nations stories are supported and told through our creative arts sector. The stories of First Nations people go back tens of thousands of years. Their stories have been told in painting, in dance, in music and in ceremonies. They have been told on country, in caves, on beaches and under stars. Stories of country have survived and defied colonialism. We find ourselves at an astonishing moment in the Australian arts, culture, heritage and nationhood. First Nations writers, filmmakers and artists are producing energising works, producing some of our best novels, paintings, poems, films and theatre. It's these new and unique stories from First Nations people and the creative arts sector as a whole that bring us together. Our artists help us celebrate what makes us different and rejoice in what we share. It is through these many and varied forms of art that we build our national identity and that our regions are promoted to the world.

This bill represents an exciting chapter for the future of the creative workforce and how we share our unique stories across diverse mediums. It builds on a proud legacy of prime ministers Gough Whitlam and Paul Keating. These strong advocates of Australian arts understood the vital role of the sector in developing national identity, social unity and economic success. Julia Gillard and former minister for the arts Simon Crean established Creative Australia in 2013. It is this government's proud privilege to continue the tradition of these Labor leaders. I'm confident that this bill would provide the support artists need to thrive and grow, and I'm excited to see our extraordinary and diverse Australian stories continue to be told with originality and creativity. To return to the words of our great former prime minister Gough Whitlam:

… we are creating the conditions for a renascence of Australian creativity.

I hope that everyone endorses this bill. It will make a huge difference to our creative arts sector and all those who work in it.

Dai Le (Fowler, Independent) Share this | Link to this | Hansard source

Before I begin, I'd like to wish a happy International Women's Day not only to the women members in this House but also to the wonderful team in my office, who are all women. I wish them a very wonderful International Women's Day.

There are Paramount+ billboards out at the moment about the new series called Last King of the Cross. I can proudly say it features one of our own local creatives, Australian Asian female martial artist Maria Tran, who grew up in Cabramatta, in Fowler. Maria is passionate about stories and creatives in south-west and western Sydney. I have witnessed her career trajectory and passion for filmmaking over the years. She has worked on projects both in Australia and Asia and has helped many of our local aspiring filmmakers produce their own stories and showcase them locally and, at times, internationally. She has lamented to me over the years that those from south-west Sydney—our voice—and particularly those from non-English-speaking backgrounds barely get major investment or a look-in from cultural funding bodies. It is often people from outside who are funded to write our stories.

Khaled Sabsabi, an internationally renowned artist in Fowler and an Australian of Lebanese heritage, shared with me that he's more successful overseas than in Australia. Why is it that the Australian creative industry still struggles to fully reflect the rich cultural diversity of modern Australia? Artists such as Maria Tran, Khaled Sabsabi, Annette Shun-Wah or Diane Nguyen are some of our culturally diverse artists at the forefront of a wave of new artists from culturally and linguistically diverse backgrounds creating works which resonate not only with our communities but with people worldwide. For example, Dorr-e Dari from the Powerhouse Theatre in Fairfield is a Persian play, produced by Afghan refugees in my community. Hasiba, the leading female performer, fled Afghanistan during the fall of Kabul in 2021, not knowing if she could pursue her dream of being an actor ever again. It was heartwarming to hear, though, that she and the Dorr-e Dari ensemble performed at the prestigious Sydney Opera House and Melbourne Arts Centre last year.

One in 10 Australians live in Western Sydney. In my electorate of Fowler, almost 70 per cent of our population is born overseas or has a parent born overseas. Yet our region receives only one per cent of Commonwealth arts and culture funding, according to a study by Deloitte. There needs to be more representation on screen, behind the camera, in production and in artworks as well as appropriate funding for artists and creatives in Sydney's south-west. Last week I held an arts and culture forum in my office to discuss these very issues. It was incredibly insightful to hear from creatives from all backgrounds and practices share their experiences. I thank representatives from Curious Works, Co-Curious, Kimlligraphy, PYT Fairfield, Fairfield Museum and Gallery and artists Sheila Ngoc Pham, Khaled Sabsabi and Linda Brescia for their contributions. While they commended the government's plans to prioritise First Nations stories in the new policy, many of them also want further recognition for Australians with culturally and linguistically diverse stories which they believe are still not appropriately represented in the sector.

This has been my driving force: our culturally and diverse communities, migrants and refugees are still not represented widely in the creative sector, nor at leadership levels of mainstream institutions. Is it unconscious bias, lack of talent or lack of a talent pool? When I left my local journalism role at the Liverpool and Fairfield Champion newspapers decades ago, I took a leap of faith and began my journey in the ABC. I started out as a researcher for a current affairs program and was placed in a room with one other person who was of Indian heritage. I remember she turned to me and said, 'You know why you've been put in here, right?' And I looked at her and said, 'No.' She said, 'It's called the "dark room".' She wasn't referring to the lack of natural light. While I ended up having a very long and fulfilling career at the ABC surrounded by incredibly supportive peers, this initial interaction has stayed with me over the years. There may not be as direct discrimination present in these sectors today, but there are still many barriers of entry for those from Western Sydney, south-west Sydney and those from non-English-speaking backgrounds.

The conversations with some of the local artists highlighted to me that the very opposite is now happening. Instead of being shunned like I was, creative organisations and funding bodies are now using us as a measure that they have ticked the box for fulfilling a diversity requirement. One creative at my office forum told us that major organisations would reach out to her to help find workers from low socioeconomic and migrant backgrounds. She said it was actually more detrimental to recommend any POC, or people of colour, artists to certain organisations as it was very obvious they were not wanted for their ideas but for the colour of their skin and for the purpose of ticking off their CALD box. Often artists feel exploited after they have finished their contract. A local filmmaker and producer told us this is a very common occurrence. She said: 'They pair you up with some inner-city producer and give the lowest possible ranking on a film, just so you have zero control over your idea. But it works for them because they get credit for your work, while fulfilling their diversity quota.' It may be completely unintentional but unconscious bias is very insidious in many industries, and the arts is no different.

However, it's not just racial issues but issues of class and the tyranny of distance. In my consultation with my local artists, I was told there is a very distinct disadvantage to growing up and living in the west and south-west of Sydney. The stigma of being in the west is still pervasive into these creative spaces, where artists feel they're judged because of their postcode. PYT Fairfield Theatre Company, in my neighbouring electorate, is the only place in my community where aspiring CALD creatives get the opportunity to practise their craft and have some paid creative work. But PYT representatives have said their students are also working long hours as security guards, as hairdressers or stacking shelves at Woolies to make ends meet while they pursue their dreams. It is not a sustainable lifestyle if you have to pay for petrol, pay for long travels, pay for rent and pay to put food on the table for your family. They don't have the advantage of having wealthy parents who can bankroll their education and financially support them through unpaid internships, many of which are full-time and span across many months.

Furthermore, a career in art is built not only on the internships you do but also on the connections you make or already have. I was told that artists from more affluent suburbs would have gone to school or uni with people whose parents are connected to the influential producers, filmmakers or musicians, who can get them a foot in the door. My creatives lamented that the industry workers from Western Sydney, who often have migrant or refugee parents, have to work harder for recognition and rely on each other to get work. As a result, this negative experience leads to young emerging artists feeling demoralised and ultimately turns them off from pursuing a career in the long term. But we need artists and creatives from our community because their stories and their interpretations will help shape Australia's identity for the future. Therefore, I support the government's programs that will be implemented under the rebranding of the Australia Council to diversify an arts and culture scene that neglects to recognise and support our community.

Recognising the need for more CALD arts is a start but we also need to tackle the systematic issues. I call on the government not to forget south-west Sydney when it comes to allocating funding for arts and creatives. Do not follow the previous government's behaviour of investing just in marginal seats. In recent days I've heard the government attacking the opposition on this issue, so I challenge the government to fund a south-west Sydney arts precinct not just in Parramatta but in Fowler, so that creatives can thrive. They would no longer need to travel the long distance for work or internships while also doing what they're passionate about. This will hopefully see less exploitation of CALD workers, as they will have their own community support and have agency over their own stories and ideas. I acknowledge the government's work in implementing recommendations of the Jenkins review within the arts sector, and that the Centre for Arts and Entertainment Workplaces will be established to provide a platform for creatives to learn more about pay, welfare and safety.

Representatives from CuriousWorks based in Liverpool have told me their social enterprise program helps emerging artists avoid exploitation by bigger organisations. They assist them in negotiating rates of pay, and educate emerging artists and industry workers on how to properly value their worth. It's fantastic to see creatives supporting each other. However, this needs to come from the top down, not the other way around. The government must ensure these reforms genuinely support grassroots art and culture, not just help fund the administrations. Our local artists say that perhaps the money spent on the rebranding could be used to tackle systematic issues first. Artists must feel supported in their projects at this very base level. The money could also be spent to support artists to grow themselves internationally. After all, they are understandably wary about whether these new changes will really improve the Australian arts and culture scene, and believe that success comes from going abroad. It just shows that, in order to retain our talent, we need to make them feel valued and supported in their careers here in Australia, otherwise we risk losing them to other countries.

The government has promised a multicultural review into ensuring our arts institutions are reflective of modern Australia. Annabel Davis, CEO of Co-Curious, in Liverpool, told us that it's exciting there is more appetite to create a more diverse art sector overall. However, she says, some expertise is required around how to properly implement these changes and to ensure those who aren't always able to enjoy a platform are given an opportunity to speak up and give a voice to the experience of multicultural Australia. There must also be tangible real support for creatives from multicultural and marginalised communities, given the myriad issues our artists also face in the sector. If we want our arts and culture sector to be truly reflective of modern Australia, then we need to make sure that everyone from the top down also reflects that. And when I say 'top down', I mean not just the boards and committees that dole out the grants funding but also the major employers of the arts and culture sector.

I must say that the mere debate about whether SBS should move to Western Sydney is incredibly disappointing. This should not even be a question. SBS services many of my constituents who rely on non-English-speaking programs for news and community updates, and it's where many Western Sydney creators cut their teeth in the industry. However, during peak-hour traffic, it could take up to an hour and a half one way for us 'westies' to get there. How can our multicultural broadcaster reside so far away from our country's multicultural heartland? SBS's move to the west will incentivise many young local aspiring journalists, producers and creatives to stay in the sector while also boosting the local economy.

We have a wealth of creative and cultural knowledge right here in south-west Sydney and, in particular, in Fowler. Engaging marginalised communities will help revive our arts and culture sector by inviting new ideas, eye-opening stories and brave projects that will inspire the next generation of our artists. Our creatives will feel supported in their endeavours and not just used as another diversity token. They will feel empowered to share their stories on the screen, in art and in music. Then our children—the children of refugees and migrants—can confidently contribute to creating an arts culture that truly reflects our country's diverse heritage. Those who are simply consumers of the arts deserve to be seen and represented in the films they watch, the gigs they go to and the art galleries they visit. Let's shine a light on the arts and the creatives in Fowler and greater south-west Sydney.

Alicia Payne (Canberra, Australian Labor Party) Share this | Link to this | Hansard source

I rise to speak in support of the Australia Council Amendment (Creative Australia) Bill 2023 and of the arts in Australia. It has been a very tough few years for the arts in Australia, with the pandemic and before that the Black Summer bushfires and a decade of coalition cuts, so I'm very pleased to be standing here today with good news for the vibrant and innovative arts sector.

Art is a crucial expression of our humanity. It is a central part of how we express and define ourselves as a community, and how we tell our stories. It's where we turn for inspiration, comfort and entertainment. It was a lifeline for so many during the pandemic when lockdowns meant so many of us had to turn to the arts for support and distraction. I thank the Minister for the Arts, Tony Burke, for his hard work and leadership in this area through that difficult time in the previous parliament and for now bringing forward this work and getting the national cultural policy off the ground. I acknowledge his genuine passion and commitment to the arts in Australia, which is very obvious for all to see. It is a very refreshing change.

The minister has, of course, consulted far and wide to get the national cultural policy right, including last year holding a town hall in my electorate here in Canberra. I know representatives of the local arts sector were relieved and excited to finally have a minister willing to meet with them and discuss the challenges they face and the policy settings required to help them to thrive again. I've been very proud to advocate for Canberra's arts community through what has been an incredibly challenging few years for the sector. I'm very, very proud to represent an electorate so rich in artistic talent and creativity and also blessed with amazing access to experiencing the arts at our galleries, theatres, museums, festivals, markets and so on. A wonderful example of this creativity can be seen around the national capital at the moment with the delightful Enlighten festival, which includes this building being lit up at night with the work of local artists. I encourage members and senators to get out and have a look at that if they get the chance this week.

Special events aside, Canberrans and visitors need attend only one of our many national institutions to be immersed and inspired by some of our nations and the world's great artists. One of the great highlights of the Canberra calendar is the opening of the National Gallery's blockbuster art exhibitions. Over the years I've attended many of these exhibitions and seen some of the world's greatest works of art. I know that many visitors come to Canberra to see these, but, as Canberrans, we are so lucky to have this on our doorstep all the time. One such exhibition is the Cressida Campbell exhibition, the most recent exhibition at the gallery. I was really pleased, when I had my parents-in-law visiting, to go and visit it one afternoon with my mother and my mother-in-law. And we were just blown away by that exhibition. It's just another example of the fantastic art they have there at the gallery.

Last year, I was thrilled to join in a very special celebration, as well, at the National Museum of Australia, to open two new galleries: the Great Southern Land gallery, and the Tim and Gina Fairfax Discovery Centre, which is a very special section for children, and I can report that my two children absolutely love it. The free public event included a performance by iconic Australian band Icehouse, a wonderful example of the artistic talent that our nation has to offer. It was especially memorable because it was wonderful to see so many people—over a thousand, from memory—come together after the incredibly challenging few years that our community and our national institutions had been through.

It was a valuable reminder of the central place that our national institutions have in Australian life and of how we, as the Canberra community, are so privileged to live here where they are and to be able to visit them anytime. But just a reminder: these institutions actually belong to all Australians. They are critically important to Australian life, to telling our stories, to maintaining our history and to inspiring and delighting visitors from around our nation and the world. It's incredibly important that they are supported and resourced in the way that they need to be, not just to maintain that work but to build on it and to deliver on the great visions of the people running these organisations, to continue to deliver for all Australians. They have really been neglected over the last decade, and I am very hopeful that our government is going to address these issues.

These institutions bring us together to learn, to relax, to be inspired and to have our thinking challenged. As I say, over the last decade we have seen them become the subject of devastating neglect, dealing with issues such as leaking roofs, and looking at needing to lay off staff or even close on certain days of the week in order to keep running. There are urgent repairs needed in the National Gallery, for example; it alone says that it needs more than $67 million to repair the 40-year-old building. Those repairs will help protect its art collection, which is worth an estimated $6.1 billion, and it urgently needs to come up with those extra millions to cover repairs to the building.

So I was pleased to hear the Prime Minister, earlier this year, confirm the importance of our institutions and commit to address this problem through the budget. Further evidence of the Australian Labor government's commitment to properly funding the arts can be seen in my electorate, through the $5 million in funding announced in the October budget to revitalise Canberra's beloved Gorman House arts centre, in preparation for the house's centenary in 2024, and to support our vibrant arts community.

Of course, the arts community in Canberra is not just about our national institutions, either. We have a thriving and vibrant local arts community, which, despite the challenges of the past few years, continues to produce some of the most incredible art in this country. Just to name a few spaces—and I apologise; I will probably leave some off the list—our arts community here in Canberra thrives in spaces such as: the Ainslie Arts Centre, the Canberra Contemporary Art Space in Manuka, Canberra Glassworks, Gorman Arts Centre, Manuka Arts Centre, the Street Theatre, the Canberra Theatre Centre, the Watson Arts Centre and the Megalo Print Studio and gallery.

I'd also like to take the opportunity to acknowledge the leadership and advocacy of the ACT government and the arts minister, Tara Cheyne, which includes a $28 million commitment to revitalise Civic Square and expand the Canberra Theatre Centre, which is a very exciting project for Canberra; I'm hoping to see that develop into somewhat of a national theatre centre.

It has been a stark turnaround since the Albanese Labor government won government last year, because, for 10 years, Australia was without a national cultural policy. For 10 years, the arts in Australia were neglected by the coalition, as part of, essentially, a culture war. I'm happy to say that Labor will end that lost decade and end the policy drift with our national cultural policy, Revive. This builds on Labor's already-proud history of delivering for the arts in Australia. Revive will be the third cultural policy of its kind, following Paul Keating's Creative Nation and Julia Gillard's Creative Australia. Revive will give direction to the $17 billion industry that employs an estimated 400,000 Australians.

At the centre of this policy is the establishment of Creative Australia, which will be governed by the Australia Council. Since 1975, the Australia Council has had a strong profile in the arts sector as the principal Commonwealth arts investment and advisory body. The Australia Council supports and promotes creative arts practice, which is recognised both nationally and internationally, and provides research and advocacy on issues affecting the sector. A restored and modernised Australia Council, through Creative Australia, will strengthen the capacity of the Australia Council, provide for greater strategic oversight and engagement across the sector and ensure that funding decisions continue to be made on the basis of artistic merit and at arm's length from government, which is critically important. It will also include the establishment of independent bodies and funds for First Nations arts and culture, for contemporary music and for writers, as well as a Centre for Arts and Entertainment Workplaces.

The implementation of the Australia Council reforms under the national cultural policy will be staged to allow for necessary consultation across the sector. However, there are a number of elements that require implementation from 1 July. This bill amends the Australia Council Act 2013 to give effect to elements of Revive that need to be in place by 1 July.

The bill provides for the Australia Council to operate under the name Creative Australia and provides new functions to allow the commencement of work related to Music Australia and the Centre for Arts and Entertainment Workplaces. The Centre for Arts and Entertainment Workplaces will work with artists, industry workers and employers to raise and maintain safety standards for all art forms and ensure matters are referred to relevant authorities as appropriate. Music Australia will support the Australian music industry to grow, including through strategic initiatives and industry partnerships, research, training, skills development and export promotion. A follow-up bill will be introduced later this year to establish these critical bodies. Ongoing consultation with the sector will inform this legislation.

This bill will provide authority for the Australia Council to deliver the functions of Creative Partnerships Australia, including to attract and recognise private-sector support for the arts and undertake research on public and private investment in the arts. This increased access to private-sector funding for the arts will maximise the impact of public investment and support a sustainable arts sector. The transfer of Creative Partnerships Australia will leverage the Australia Council's expertise, bring together arts philanthropy and arts funding within one entity, and create synergies between public and private partnerships as well as between government and philanthropic investment.

The bill allows the Australia Council to assume responsibility for the Australian Cultural Fund from 1 July, including for all donations made into the fund prior to the transfer. The Australian Cultural Fund is an important mechanism utilised by Creative Partnerships Australia to deliver its objectives to grow the culture of giving to arts and culture and bring donors, businesses, artists and art organisations together. Through this legislation, the Australia Council will assume responsibility to assist Australian artists and arts organisations to attract and maintain support from donors and businesses, diversifying their sources of revenue and encouraging and celebrating innovation and excellence in giving to and partnerships with the arts and cultural sector.

The bill includes transitional elements to support a smooth transfer of functions and ensure continuity of business between Creative Partnerships Australia and the Australia Council. These transitional elements cover the transfer of assets, liabilities, records and staff entitlements and will ensure that at the time of transfer employees of Creative Partnerships Australia will be taken to be Australia Council employees and receive equivalent accrued entitlements to benefits.

This government is truly committed to improving the quality of Commonwealth investment in the arts sector and to strengthening and streamlining access to support, including for artists and arts organisations. A properly resourced Australia Council is key to delivering on this commitment, and the transfer of the functions of and funding for Creative Partnerships Australia to the Australia Council will align with this objective. Most importantly, we have a government that recognises the importance of the arts and that they are essential to all facets of Australian life. It supports our artists not only as creatives but also as workers. That was a really important point that came through in the pandemic when artists were left out, in many ways, from the JobKeeper scheme and were essentially not seen as workers. Aside from the real cultural importance of the arts, the arts have a huge economic significance for Australia. This should not be ignored either.

Here in Canberra I will continue to stand with our arts community. I am so proud to advocate on your behalf in this place as we continue to consult and implement our national cultural policy.

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

I rise to speak on the Australia Council Amendment (Creative Australia) Bill 2023. I support and welcome the amendments that the government has proposed in this bill, which are long overdue. The arts are integral for our wellbeing and critical for a flourishing society. They tell our stories, propagate our culture and inspire us to be the best that we can be. The arts and creative industry in Australia is worth some $17 billion.

Launched on 30 January 2023 the national cultural policy Revive is a comprehensive policy to revive the arts, entertainment and cultural sector after COVID caused its most difficult period in decades for so many in that sector and I know many in my community in Warringah. Between 2013 and 2022 we saw the federal arts portfolio contract and funding stagnate. Then we saw the COVID-19 pandemic further devastate so many in the arts. The previous government offered temporary crisis support but it was distributed in an inequitable manner. Ultimately, the arts did not get the same support that other sectors did.

But let's get real. It was the artists and their content and the culture that sustained us through the COVID pandemic. It was the Australian TV shows, comedies, arts, music, films and documentaries that entertained us and kept us sane during those long days in lockdown. When creatives couldn't work and had no source of income during the pandemic it really highlighted how tough it is to work in the arts in Australia. The pandemic saw the live entertainment industry decline by 69 per cent in 2020, losing some $1.4 billion in revenue.

This bill proposes changes and provides much-needed funding to boost and revive Australia's arts, entertainment and cultural sector. It's the first in a series of bills supporting the implementation of the national cultural policy. This bill will allow the Australia Council for the Arts to operate under the name Creative Australia. Four new entities will be rolled out over the next four years from 1 July 2023: the Centre for Arts and Entertainment Workplaces, Music Australia, Writers Australia and the First Nations body.

Music Australia will grow our music industry and help secure global audiences. We have such a rich tradition. Think of some of our iconic rock bands that really led the way overseas—from Midnight Oil to INXS. I remember growing up with such Australian artists. It was so exciting.

Writers Australia will provide funding, research and advocacy for writers, because we need to tell our stories. We need to ensure that future generations have the benefit of those hard-learned experiences and also the inspiration that can really help them set their sights on what they can achieve.

Appropriately, one of the first changes is the establishment of a First Nations led board to make decisions about investment in First Nations art and culture. This is an area that has just grown in recognition. It is so incredibly symbolic of Australia. It will recognise the crucial place of First Nations stories and the importance of self-determination. Legislation will protect the copyright of Indigenous artists, including blocking the sale of fake Indigenous art. It's quite eye opening when you start to appreciate the statistics of what goes on there. I have previously supported this issue in this place, by seconding a bill introduced by the member for Kennedy in relation to the sale of fake Indigenous art and how abusive that is.

There'll be a First Nations languages policy partnership, supporting 60 primary schools to teach local First Nations language. That's exciting. It's something that I've seen develop recently in acknowledgements of country, where we're starting to hear more First Nations language spoken. I hope that one day we will have a verse of the Australian anthem in Indigenous language, like New Zealand has. I think it really would be exciting, from the point of view of reconciliation, to acknowledge that, in Australia, we have the longest living culture in the world. We should be proud of that and celebrate it. There will also be an undertaking to pursue the repatriation to Australia of First Nations ancestors and artefacts from overseas, as well as the formation of a national resting place, which, I think, is incredibly important and overdue.

The Centre for Arts and Entertainment Workplaces will stimulate new employment and training opportunities and ensure access to fair remuneration and safe work environments. This is a big step forward; it's acknowledging arts workers as legitimate workers. The centre will address complaints about fair pay, sexual harassment, bullying and discrimination in the industry. Government funding will be withdrawn from organisations if they fail to adhere to new workplace safety standards. These are good things. We have to remember that the Me Too movement started in the arts sector and industry, because of the acknowledgement of the harassment, bullying and assaults that were occurring in that industry.

Under the bill, the intellectual property rights of our creators will be protected. The bill will ensure that funding decisions will continue to be made on the basis of artistic merit and at arm's length from government. I know this bill is very much welcomed by the production industry, as is the introduction—and I note the minister is here, and I thank him—of local content quotas for streaming services, which I've previously spoken about in this place. However, the exact percentage has not been announced, and I will be following up with the minister about those issues.

I've received many emails from Warringah constituents calling for streaming services such as Netflix, Disney+, and Prime Video to have a fixed percentage of local content. Quotas are vital, and industry would like to see the government make a firm commitment to a quota of 20 per cent or 30 per cent local content. In Warringah, we have a number of great local content producers, including Cheeky Little Media, Kapow Pictures and Sticks among others, and they're under threat and constantly challenged by international streaming services that are crowding them out. It's important to remember that companies like these employ the creatives and the programmers, and give birth to so much in that industry, so we need to ensure that streaming services do respect local content and that the quotas are in place.

I'm pleased to see other key measures within Revive, including, from July, a digital lending rights scheme, through which authors, illustrators and editors will be able to earn money when their ebooks and audiobooks are borrowed from a library. This could add thousands of dollars to their income. I've spoken with Pantera Press in my electorate about the issue, and they very much welcome this. The creation of a works of scale fund to commission new Australian works is of course very welcome. There's $11.8 million of extra funding for the National Gallery of Australia for a pilot program to tour its collection to galleries around Australia, which is incredibly exciting.

In February I had the chance to tour the National Gallery of Australia and see, and be inspired by, the works of Cressida Campbell, as part of the program of the Know My Name campaign, which is designed to elevate the knowledge, recognition and understanding of female artists in Australia. So many of Cressida's works take into account beautiful Sydney foreshores—there were some sites, in fact, from Warringah—and it was just incredibly serene and inspiring to go and see that exhibit. It's incredibly wonderful to know that it will have the opportunity to tour.

I do look forward to future events, and I hope that there will be a continuation of the Know My Name campaign. For too long, women's contribution to our cultural and social fabric has not been properly recognised. In particular today, on International Women's Day, it is incredibly important to acknowledge that.

An arts and disability plan will be developed under Australia's Disability Strategy 2021-31 to enable people with disability to access and participate fully in the cultural and creative life of Australia. The Australian Interactive Games Fund, which was abolished by the coalition government, will be restored under Screen Australia to support local video game development. The package will also include an increase in funding to the Regional Arts Fund and pilot funding for an art and music therapy program. There is a lot to celebrate in this package. I think that many around Australia will take heart in knowing that creative industries in Australia, both in our urban centres and in our regions, will be supported.

There are always a few things that can be done better. Some criticisms in the media have been that there wasn't sufficient consultation with the GLAM sector—that is, galleries, libraries, archives and museums. I received correspondence from concerned professors that the minister's panel did not include any historians and that funding is desperately needed for the National Gallery of Australia and some of our other institutions, like the National Library of Australia, for infrastructure repairs and collections maintenance, including for the free online research portal Trove. I've received dozens of emails from Warringah constituents requesting further funding to save Trove. Trove, for those who don't know, has more than six billion digital items. With the Australian public at a cultural crossroad, it's more important than ever to secure Trove's place in Australian storytelling. On 20 February 2023, I wrote to the minister, requesting funding. I acknowledge that he has indicated that it is front of mind and being considered by the government.

There is still work to be done in the sector around wages. I know this is a sector with very strong casual employment; there is a lot of insecure work. There tend to be rolling contracts. I've strongly advocated for the literary and visual arts communities, which need more recognition as well. It's easy to grasp onto the high-profile industries while some of the others struggle a little. The literary and visual arts communities have proposed a universal basic income program for artists, in line with international models, as well as tax-free prizes. The bill makes a limited commitment to include consideration of minimum wages for the sector as part of the broader review of modern awards, and I think that is something that really should be considered. The National Association for the Visual Arts has concerns about support for individual artists and arts workers in the proposal and wants to see payment standards that are enforceable.

In Warringah, our community is highly engaged in the arts, with almost one in 10 of Warringah's workforce employed in cultural or creative occupations. There are over 450 businesses in Warringah in the arts and recreation sector. Across the Northern Beaches, the number of people working the arts sector is expected to double by 2025. Live music in Warringah is seeing a revitalisation, particularly in Brookvale, through the creation and integration and with the emergence of many microbreweries in the area. It's just nearly cool to be in Brookvale! As council completes its consultation on the Brookvale structure plan, I urge them to ensure that the arts are front and centre of the design and that live music can be blended within the new environment. The Brookvale Arts District is a consortium of local individuals, companies and institutions who have come together to maintain and enhance the existing creative and industrial fabric of Brookvale. They've done this so successfully to integrate it with future development in the area, creating a valuable and flourishing Brookvale as much as possible. There's so much potential and creativity already brimming out of Brookvale, so I really look forward to seeing what this group can achieve and develop further.

Last year, I had the opportunity to attend the highly successful activation of the Sydney Harbour Federation Trust lands at North Head Sanctuary. This was a Live at the Barracks night—and it will be coming again this year, so I'll invite the minister to come and attend. We will have great Australian acts. It's a concert series bringing national musical talent to North Head at Manly. So you're standing in these iconic locations listening to great Australian music—the live music, the unique natural environment of the trust lands and the surrounding national park.

In the wake of years of funding cuts to the arts and creative industries, this bill is incredibly welcome. It's been welcomed by the industry. It's a major step forward. I congratulate the government for acknowledging the importance of the arts in Australian life by introducing the Creative Australia bill, and I commend the bill to the House.

Mr Tony Burke (Watson, Australian Labor Party, Minister for Employment and Workplace Relations) Share this | Link to this | Hansard source

I want to thank everybody who's contributed to the discussion on the Australia Council Amendment (Creative Australia) Bill 2023. Everyone's been supportive of the bill, and people have used the bill to talk more broadly about the cultural policy in Revive, and I want to thank members for that.

There are a couple of issues that I should raise in response to different contributions that have been made. The concerns that have raised about the collecting institutions have been heard loudly and clearly, and I respect the many members who have put those views forward. Decisions of government, hopefully, are not too far off in terms of being able to respond to that. It is true that both the money available for wages to pay staff and the money available to physically keep together the structures of our collective institutions—they have been underfunded for a long time, and a whole lot of decisions now are more difficult as a result of that. But those decisions of government, I think, are coming soon and certainly have to be made in time for the budget.

On the issue of historians with respect to the galleries, libraries and museums sector that was raised specifically by the member for Warringah, I put down that that particular objection was after we'd formed the first five panels—a panel for each pillar. It was at least in part addressed, when we put together the panel of seven that would look overarchingly at the policy, by making sure that Clare Wright, an extraordinary Australian historian, was a member of that and then co-wrote, with Christos Tsiolkas, the vision statement at the front of Revive. I always take the view that, if you want a document to be good, you'll always find that the best bit of writing is written by professional writers, and one of those was the esteemed Australian historian Clare Wright.

I should also refer to comments that were made right at the start by the shadow minister, where he put out a genuine concern, and, I think, a concern that we all have to watch closely, which is that, in moving Creative Partnerships across to the new Creative Australia, that does carry an expectation that Creative Australia will operate differently to how the Australia Council operated. I'm glad the shadow minister brought forward that expectation. It is important for the new body to hear that. Up until now, the Australia Council very much has been a funding body, and that's been its role. We are asking Creative Australia to be a body that will deal with the funded sector, with the philanthropic sector and with the commercial sector. While I describe them as three different sectors, members who have a large number of artists in their electorates, such as the member for Warringah, know well there's crossover between those workforces all the time. That's why we want there to be a single organisation, in Creative Australia, to be able to deal with them. I want to say I'm glad the shadow minister has raised those concerns, and the message about those concerns will be sent clearly to the new body.

That shift is the primary shift that is in the bill before us right now. I will return with new legislation in the coming months that will establish Creative Australia as an entirely new body. Obviously, staff and everyone will transfer across, but it will be established as a new organisation—not just a change of label. That is in part to make clear the expectations that the parliament have of the new organisation that it be able to deal with all those different sections of Australia's creative sector and creative economy. That bill will also established Music Australia and the Centre for Arts and Entertainment Workplaces. We will have later legislation that will establish the First Nations body, and legislation after that will establish Writers Australia. The reason for the delay on the First Nations body is that we really want to make sure we get the consultation right and to work out exactly what forms of governance will be the right forms of governance. So that will be in separate legislation. With Writers Australia, given that the funding for that starts a bit later, I want to have the benefit of seeing how Music Australia goes to then use the knowledge we have from that in exactly how we design Writers Australia.

All that legislation is to come, but the first step is the legislation before us now. I thank everybody for their contributions and commend the bill to parliament.

Question agreed to.

Bill read a second time.

Ordered that this bill be reported to the House without amendment.