Performing Arts Advocacy In Australia - APO
Performing artsadvocacy in AustraliaJohn Daley
About the authorJohn Daley is one of Australia’s leading policy thinkers. He was Chief Executiveof the Grattan Institute for its first 11 years, and led it to become the leadingdomestic policy think tank in Australia, publishing extensively on governmentpriorities, institutional reform, budget policy, and tax reform.He has 30 years’ experience spanning academic, government and corporateroles at the University of Melbourne, the University of Oxford, the VictorianDepartment of Premier and Cabinet, consulting firm McKinsey and Co, andANZ Bank.John is currently the Chair of the Australian National Academy of Music, whichis one of the Arts8 performance training and education institutions that receivefunds from the Commonwealth government. He is also a Director of the MyerFoundation. Previously, he was the Deputy Chair of the Malthouse Theatre,Deputy Chair of the Next Wave Festival, and the Chair of the Strategy andResearch Panel of the Australia Council for the Arts. He spent his youth well,playing violin with the Australian Youth Orchestra, studying the piano withMax Cooke at the Melbourne Conservatorium of Music, and producing musicalsat the University of Melbourne.John graduated from the University of Oxford in 1999 with a DPhil in publiclaw after completing an LLB (Hons) and a BSc at the University of Melbourne in1990.A discussion paper commissioned by the AustralianMajor Performing Arts GroupThis discussion paper was commissioned by the Australian Major PerformingArts Group as its last substantial project. The members of AMPAG were giventhe opportunity to comment on a draft of the discussion paper, but the author isresponsible for its contents, and all remaining errors or omissions.This discussion paper was written by John Daley in his personal capacity. BelMatthews and Bethwyn Serow provided research assistance for some aspects ofthe discussion paper.The author thanks for their extremely helpful contributions numerous membersof Australia’s arts and culture community, in organisations, peak bodies,government agencies, universities, and their personal capacity.The paper is based on information available in April 2021.This discussion paper may be cited as:Daley, J. (2021). Performing arts advocacy in AustraliaISBN: 978-0-6451833-0-6 John Daley 2021.Cover image: Malthouse Theatre, 2021. Photo: Ian LaidlawThe material in this discussion paper is licensed under a Creative Commons AttributionNonCommercial-ShareAlike 3.0 Unported License.
Performing arts advocacy in AustraliaOverviewThe performing arts in Australia have much to celebrate. Live audienceshave grown 50% in 8 years. Box office revenues and philanthropy forpublic organisations have grown similarly. Participation levels arehigh. Aboriginal and Torres Strait Islander performers and works areincreasingly prominent and appreciated.us all how precious it is. Voters believe that the performing arts makeus happy – as they have in every known human culture, not least thatof indigenous Australians. Because this is the biggest impact of theperforming arts on people’s lives, it should be their central storyline foradvocacy.But there are challenges. The public organisations are focused onartforms that are losing share of audience to contemporary music andcomedy. The ethnic composition of Australia has changed, but is notyet proportionately reflected in the work of many performing artsorganisations. There are calls for more engagement with diverse groups,particularly young people and the socially disadvantaged. Both publicand commercial productions have been hit harder by COVID than almostany other sector in Australia.Of course, different stories appeal to different audiences. The performingarts also matter because they can help bring together an increasinglydivided society. They can build social connections that improve bothindividual well-being and social outcomes. They can foster a sense ofnational pride.Public performing arts organisations are losing influence with theCommonwealth Government, and its support for them is declining inreal terms. Arts and culture received support through COVID laterthan in many other countries. Their advocacy is under-resourced andinconsistent, while political winds are unfavourable.The performing arts in Australia will do better with government ifthe public, commercial, and community sectors make common cause.They rely on each other. Government regulations of festivals, livemusic venues, and COVID health measures have forced these sectorsinto the same trench, and the RISE funding shows the CommonwealthGovernment is already treating them collectivelyAdvocacy should focus on the key benefits of the performing arts.Performers, audiences and governments all believe that arts and culturemake people happy, increase their understanding of each other and theworld, and connect them together. Connecting to an audience is themain reason that performers get up on stage, and COVID has remindedWhile economic numbers can attract attention, the economic impact ofthe performing arts is a supporting plotline. Stories about the economicvalue of arts and culture are often told by people who don’t believethem to people who don’t believe them. Few perform in order to growthe economy. Economic impacts are not the main aim of governmentsupport. Governments care about a lot more than GDP. Over half of allgovernment spending is directed to ends such as health and welfare,which primarily serve ends that the community values rather thangrowing the economy. That said, the performing arts do employ a widerange of people, produce valuable exports, attract tourists, and attractpeople who are highly skilled in other industries, and these outcomes areoften important to governments, particularly for regions concerned aboutdeclining population.The performing arts can also help those who are disadvantaged withthe self-belief to do better. And they can enhance health, education,international diplomacy, and understanding of social issues.Arts advocacy can work, as shown by campaigns for COVID support,to overhaul regulation of live music in NSW, for regional arts fundingin Western Australia, in response to the diversion of Australia Council3
Performing arts advocacy in Australiamoney to the Catalyst Fund, and for long-term boosts in funding inCanada and Ireland. In each case, governments responded to a unitedsector, well organised for the long term.In Australia, a broadly supported performing arts umbrella organisation– a modified Live Performance Australia, or a new body formed as an alliance of more specialised peak bodies, or some other structure – shouldbe considered. Advocacy bodies for individual artforms, organisationsfrom the public, commercial, and community sectors, producers bothlarge and small, and advocates for a diversity of backgrounds that caneasily be overlooked could become members and get behind it, possiblyusing a federated structure similar to the National Farmers Federation.The peak body would need to show it is acting for all of them. And it isonly likely to be effective if it has substantial dedicated resources of itsown.This peak body could improve the advocacy ground game of theperforming arts. Like every other industry, the performing arts needto explain their value, and define their ask – not always about money.The peak body needs to select and brief individual messengers who arecredible with decision-makers. And they need a broad approach andconsistent messages across all responsible ministers, other ministers,their advisers, and local members, on all sides of politics, and at all threelevels of government.This approach to advocacy would have other policy consequences. Itwould reframe advocacy as about “arts and culture”. It would focus onissues where governments need to step in to promote valuable outcomesthat no-one else is likely to pay for. These include training, education, industry development, and local content across a broad range of artforms,and for all parts of the sector, including commercial and communityperforming arts. It would document more carefully the contributionsof public organisations to the community sector. It would lead to neworganisations that take artforms from Asia, the Middle East and Africamuch more seriously given the changing make-up of Australia’s people.And it would measure the direct impact of performances on happiness,understanding and togetherness, however imperfectly, rather than justmeasuring attendance and awards.There has been little substantial change in Australian performing artsadvocacy, policy, and institutions in over 30 years, despite radical shiftsin artforms, community tastes, and ethnic composition. More of the sameadvocacy is likely to lead to more of the same outcomes. Given theirimportance, arts and culture in Australia deserve better advocacy.The first ask of advocacy could be for governments to rethink theirimage of Australia. Australia’s public culture is overwhelmingly aboutsport, perhaps because a few events draw very big crowds. But theprivate lives of Australians are much more about arts and culture. MoreAustralians buy tickets more often for performing arts performancesthan live sport, they watch twice as much drama as sport on television,and they are more likely to create arts and culture for themselves than toplay sport. Australia’s leaders could be persuaded to rework Australia’spublic symbols so they better reflect the actual lives of their people.4
Performing arts advocacy in AustraliaTable of case studiesTable of contents1Introduction and scope61Commonwealth arts support in response to COVID152The performing arts in Australia72Regional development arts funding initiatives353Performing arts advocacy could be better203Music export success stories: South Korea and Sweden374Better advocacy for the performing arts – a summary244Externally focused national arts and culture organisations495A compelling rationale (for both public and politicians)255The rise and fall of the Catalyst fund516A common cause – commercial and community arts and culture396Arts funding through the UK National Lottery527A defined ask477International advocacy campaigns for the arts578Stronger askers568Overhauling live music regulation in NSW689Approach to government6710 Policy implications7311 Coda785
Performing arts advocacy in Australia1Introduction and scopeThis discussion paper was commissioned by the Australian MajorPerforming Arts Group (AMPAG) as its last substantial contributionto Australian arts policy. It asked how advocacy with governmentfor the performing arts in Australia might be improved. AlthoughAMPAG’s members – the National Partnership Organisations – are animportant part of performing arts in Australia, the brief was wider: toconsider advocacy for the performing arts produced by public companies,commercial producers, and community organisations.Finally, it outlines some of the potential policy implications of theseapproaches (Chapter 10).In preparing this discussion paper, the author consulted broadly acrossthe performing arts sector, both with AMPAG members and others. Theircontributions have been extremely helpful, but the discussion paperultimately reflects the independent views of its author.The discussion paper discusses performing arts in their context of artsand culture (particularly visual arts and screen), and also draws on theexperience of artforms more broadly. While advocacy for arts and culturebeyond the performing arts is outside this discussion paper’s scope,analysis of them is relevant. But these broader sectors have not beenextensively consulted in its preparation, and firm conclusions about theiradvocacy would require further investigation.This discussion paper reviews the current state of the performing artsin Australia – both their successes, and where they are struggling(Chapter 2). It identifies gaps in advocacy for the performing arts, andhow these are often leading to ordinary outcomes with government(Chapter 3). The remainder of the discussion paper sets out howadvocacy for the performing arts might be improved (Chapter 4): with a better rationale (Chapter 5), better coordination between public, commercial and communitysectors (Chapter 6), a more clearly defined ask (Chapter 7), a broadly supported and well-resourced peak body (Chapter 8), and a more sophisticated advocacy ground game (Chapter 9).6
Performing arts advocacy in Australia2The performing arts in Australia2.1The performing arts are popularThe performing arts, and arts and culture more broadly, are popular.1There are almost 23 million paid attendances at performing arts eventsin major venues per year (Figure 2.1). Total performing arts attendancesare more than double this if smaller music venues, all local councilvenues, and all festival events are included.2 For comparison, about19 million tickets are sold each year to sporting events.3 Pre-COVID,attendances at performing arts events had grown about 50% in 8 years.54% of the population attend at least one live performance per year, and20% attend more than one live music performance.4 For comparison, in2010, 43% attended a live sporting event, with 16% seeing an AustralianRules football match, the highest for any individual sport.5Beyond the performing arts, cultural audiences are also large andgrowing rapidly. In 2017, 82% of Australians attended at least onecultural venue or event (including galleries museums, libraries andcinemas). There are over 16 million attendances at public and nationalFigure 2.1: Performing arts audiences have grown rapidly in the lastdecadeNumber of ticketed attendances to Australian performing arts at major venues(million)2038% growth(13% population growth)2.3.4.5.This discussion paper adopts a definition of “culture” from A New Approach (2019,p. 10). Sometimes “arts and culture” refers to a set of institutions, individuals andactions that produce and distribute texts, performances, exhibitions an events,including galleries, libraries, archives and museums, music, screen, radio, videogaming and digital arts, performance, literature, visual art, community-engagedpractice, hybrid and experimental forms, language, festivals, craft, heritage, design,and live art. At other times, “culture” refers to beliefs, values, ways of living andeveryday forms of creativity that we share with other members of a community.Obviously each of these affects the other: artworks can shape a community’s beliefs;a community’s beliefs shape its artworks.Carter (2015, pp. 19–21).Based on data from Austadiums (2020) for the largest codes for 2018-19 or 2019. Thisdoes not include tickets for athletics, cycling, golf, hockey, and swimming.ABS (2019a, Table 1).ABS (2010, Table 3).Music theatre15Contempmusic10Contempmusic festivalsSpecial eventsArts festivalsCircusChildrensTheatreDanceOperaClassical music501.ComedyAverage rformingartscompaniesAverage 2016-2018Notes: Excludes unticketed free events. Three-year averages smooth annual volatility. “Artsfestivals” only includes multi-artform festivals; festivals dedicated to a particular artform(such as the Melbourne Comedy Festival) are classified with that artform.Source: LPA (2019a).7
Performing arts advocacy in Australiagalleries per year.6 About half of these are attendances at the major stateand national galleries, and they have increased by almost 50% over thelast decade (Figure 2.3 on the next page). The programming of publicgalleries is increasingly contemporary, with exhibitions such as theArchibald Prize, Melbourne Now, and the Asia-Pacific Triennial some ofthe biggest draws. Attendance in 2017 at local council cultural activities(which includes performing arts, galleries, museums, library exhibitionsand book readings) was estimated at 58 million, with another 13 millionfestival participants.731% of Australians make art.8 16% participate in community arts activitysuch as choirs or theatres.9 By comparison, about 28% of the populationare involved in organised sporting activities.10With high and increasing levels of participation both as audiences and asartists, individuals increasingly see the arts as important to their lives, toAustralia, and to their children (Figure 2.2).First Nations performing arts are thriving. First Nations artists havean outsize presence in major Australian arts awards and internationalfestivals and events, although there are concerns that there are still toofew First Nations performing arts companies.11 Their work is almost6.Museums & Galleries Queensland and Public Galleries Association of Victoria(2020). Although this discussion paper only includes data from about half ofall public galleries, it includes all of the larger institutions, particularly the big“national” galleries such as the Art Gallery of NSW that attract almost half of allattendances.7. CDN (2018, pp. 12–13).8. ABS (2019b, Table 4). An Australia Council survey found higher rates, with theproportion of the population creating art increasing from 40% to 45% between 2009and 2019: ACA (2020b, p 15, 17) and ACA (2020b, p. 133). Care should be takenin comparing these Australia Council surveys given shifts in methodology. Theproportion making art in the major categories (visual art, theatre, dance, writing,and music) has not changed materially.9. ACA (2020b, p. 143).10. ABS (2015).11. ACA (2015, pp. 32–33); and Brix (2021).Figure 2.2: About two thirds of the population agree the arts areimportant because they directly increase well-beingProportion who strongly agree or agree0% 10% 20% 30% 40% 50% 60% 70%20162019The arts make for a richer and moremeaningful lifeThe arts help you understandperspectives different to your ownArtists make an importantcontribution to Australian societyThe arts should be an importantpart of educationThe arts have a big impact on theeconomy2014Notes: 2016 based on online respondents only so as to be consistent with 2019 survey.Source: ACA (2020a, p. 48) and ACA (2014, p. 34).8
Performing arts advocacy in AustraliaFigure 2.3: Attendances at major art galleries have grown steadily overthe last 15 yearsNumber of attendances, major state and national art galleries (million)10AGWANGAAGSA8QAGOMA6NGV4Figure 2.4: Opera Australia has grown its audience mainly throughmusical co-productionsNumber of attendances at Opera Australia performances700,000600,000Musical co-pros500,000400,000Schools & regionalOpen air freeOpen air 102012201420162018Notes: Attendance for AGSA in 2016-17 estimated, based on previous and subsequent year.Visitor numbers for AGWA before 2007-08 not shown, as they included website visitors.Excludes TMAG and MAGNT that only provide combined numbers for gallery and museum(452,000 and 332,000 in 2018-19). Does not include private and regional galleries, the largestof which based on the last available year of attendance are MONA Tasmania (347,000),Ballarat (237,000), Bendigo (214,000), Geelong (159,000) and Newcastle (77,000).Mainstage opera100,0000200920112013201520172019Source: Opera Australia Annual Reports; and Nugent et al. (2015).Source: Art gallery annual reports; Report analysis.9
Performing arts advocacy in Australiauniversally seen as an important to Australia’s culture, and audienceinterest and attendance is growing.122.2Public performing arts companies are growing“Public performing arts” companies are defined in this paper as thenot-for-profit companies that receive significant support from government, and largely engage professional performers.13 They can becontrasted with “commercial performing arts” producers, who aim tomake profits, largely employ professionals, and are sometimes supportedby government (although this support is often less explicit). Bothcommercial and public sectors can be contrasted with “communityperforming arts” groups, where many of those involved (includedperformers) are unpaid. They are usually not-for-profit organisations,often supported by government (particularly local government). Whilethese distinctions are questions of degree, this paper will show thatadvocacy has suffered because public, commercial and communitysectors have often not cooperated closely.Figure 2.5: All NPOs have grown their audience over the past 20 yearsNumber of attendances at National Partnership Organisation performances(million)1.2STCSABlack SQTCM’houseM oirSSO1997 2019MusicCirca1997 2019Opera1997 2019Dance1997C Oz20191997 2019CircusTheatreThe public performing arts organisations are primarily classical music,opera, theatre, dance and circus companies. Audiences for these artformsare growing, although some people are shifting from traditional seasonsto arts festivals (Figure 2.1 on page 7).Notes: 1997 does not include free admissions, which are included in 2019.Source: Nugent et al. (1999, p. 119); Company annual reports.The 30 major public performing arts companies once known as theMajor Performing Arts companies (MPAs) are now described as NationalPartnership Organisations (NPOs).14 They sell about half the tickets totraditional performing artforms. Over the last two decades, the audiencesof almost all the ensembles grew, and their collective audience more thandoubled (Figure 2.5), while the population only grew by 70%.1512. ACA (2015, p. 32); and ACA (2020a, p. 71).13. This is the implicit definition of “publicly funded organisations” in the work of theArts Council, England: Arts Council England (2020, p. 33).14. For a list, see ACA (2020c), to which the Victorian Opera was added in 2019-20.Since 1997 the only changes to this group were to add the Australian BrandenburgOrchestra, Circa, and the Victorian Opera, and to subtract the Australian DanceTheatre: Nugent et al. (1999). In 2019, Australian Arts and Culture ministersreplaced the Major Performing Arts Framework with the National Performing ArtsPartnership Framework: Cultural Ministers (2019a) and Cultural Ministers (2019b).Audience growth largely reflects more mass open-air events, andco-productions with commercial producers: open air events and musicalsare now almost half of Opera Australia’s audience (Figure 2.4 on theprevious page).15. ABS (2020a).10
Performing arts advocacy in AustraliaTotal NPO revenue is growing through box office, philanthropy andsponsorship (Figure 2.6). Philanthropic funding is growing much fasterand now provides more revenue than corporate sponsorship.162.3Challenges before COVID-19Figure 2.6: While NPOs have increased total attendances and revenues,mainstage audiences and government revenues have been flatNational Partnership Organisation attendances and revenuesBut the performing arts in Australia faced challenges well before COVIDbrought down the curtain.million2.3.14Government support for performing artsGovernment support for NPOs is effectively shrinking. Governmentfunding for NPOs, adjusted for wage inflation, has barely moved since1997, while the population increased by 70%, and attendances morethan doubled (Figure 2.6). The pattern is the same for all major artforms(Figure 2.7 on the following page).Support from the Commonwealth is shrinking even faster for smallerpublic performing arts companies. In addition to annual funding of 115 million to 30 NPOs, the Australia Council provides 32 million ayear under four year funding arrangements to 95 arts organisations,17mostly in the performing arts, and 44 million for other initiatives. WhileAustralian Council funding for NPOs fell by 6% over the last 10 years(and a little further given minor changes in membership), its funding forother initiatives (typically for smaller organisations) fell by 20% in realterms (Figure 2.8 on the next page).AttendancesAllattendanceRevenues million (in 2019)70060032OtherPhilanthropy& private500400Capital 99720112019Notes: “Other” attendances include regional performances, schools concerts, free events,and commercial co-productions, which were all excluded from 1997 attendance statistics.Revenues deflated by Wage Price Index to 2019.Source: Nugent et al. (1999); Company annual reports; Report analysis.The NPOs did worse than other areas of arts and culture. Support fromall levels of government for arts and culture increased by about 8%,adjusted for wage inflation, between 2011 and 2018.18 But growth insupport lagged population growth, and so government spending perperson fell by 5% in the decade to 2018. Commonwealth Government16. ACA (2015, p. 40).17. ACA (2020d).18. A New Approach (2019, p. 13).11
Performing arts advocacy in AustraliaFigure 2.7: NPO revenues grew in all artforms over the last 20 years,mainly through non-government revenuesNational Partnership Organisation revenue, million (in 2019)Figure 2.8: Australia Council funding has fallen in real terms,particularly for smaller initiativesAustralia Council funding (real 2020 million)200200150150Sponsorship,fundraising, &investments100Earnedincome50Government01997 2019 1997 2019 1997 2019 1997 2019 1997 2019MusicOperaDanceCircusTheatreNotes: 2018-19 financial year, except Queensland Ballet and Musica Viva based on 2017-18financial year. Revenues deflated by WPI. Excludes companies not funded by the AustraliaCouncil in both 1997 and 2019 (less than 2% of total in each year).GovernmentinitiativesCouncilinitiativesFour 010201220142016Financial year ending20182020Notes: Deflated by Wage Price Index. Four Year Funding equated with Key OrganisationsProgram.Source: Australia Council Annual Reports.Source: Nugent et al. (1999); Company annual reports; Report analysis.12
Performing arts advocacy in Australiafunding fell by 19% per person, outweighing the lift in State and localgovernment funding per person.19 In many regional areas, the localgovernment is the largest funder of arts and culture, often predominantlyfor capital works.20Government support for commercial performing arts is material,although it is less transparent, and often delivered outside arts budgets,which makes it difficult to identify funding trends. As discussed inSection 6.1.3 on page 40, governments support the commercial sector indirectly by supporting public performing arts companies that contributeto training a pool of staff shared with commercial producers.Government also provides more direct support to commercial producers.Destination NSW (the NSW Government tourism agency) describedsecuring Hamilton as the “pinnacle” of its efforts to secure efforts forNSW in 2018-19’, although it refused to disclose how much it had paidto secure the rights.21 Visit Victoria (the Victorian Government tourismagency) highlighted in its annual report its support for three musicals(Harry Potter and the Cursed Child, Come From Away, and Moulin Rouge),and blockbuster exhibitions at the National Gallery of Victoria.22Commonwealth and State governments support contemporary musicin a variety of ways. The Commonwealth Government announced anew program in May 2019 that provided 7 million a year to supportlive music venues, to support Sounds Australia to raise the profile ofAustralian music in Asia, to provide mentoring programs for femalemusicians, and to provide grants to indigenous musicians.23 Thisprogram has been adjusted to support live music venues to becomeoperational again in the wake of COVID. The Victorian Government’sMusic Works program started in 2014, and provided 22 million over19.20.21.22.23.Ibid. (p. 5).Cunningham et al. (2020, p. 5).Destination NSW (2019a, p. 18); and Collins (2020).Visit Victoria (2019, p. 5).Treasury (2019, p. 60).four years to support live music venues to reduce sound spill; to supportindustry development, to promote Victorian musicians internationally,and for professional development.24 This program was extended throughCOVID, in addition to a variety of new programs to support live musicperformances in outer-metropolitan Melbourne and regional Victoria,live music venues, new recordings, and professional development.25 TheNSW Government has supported contemporary music less: for-profitproducers can receive support such as the 1 million Music Now programto support contemporary music, although the ALP promised much largersupport of 35 million ahead of the 2019 State election.26 The NSWgovernment announced a COVID recovery package of 23 million forcontemporary music in 2021.272.3.2Audience artform preferencesThe public performing arts companies focus on artforms that are losingaudience share to contemporary music and comedy – artforms mostlyproduced by commercial organisations (Figure 2.9 on the next page).Audiences are also shifting from the main seasons of public performingarts companies to arts festivals. Individually these artforms reach arelatively limited audience. For example, the main classical music radiostation, ABC Classic, reached 855,000 people per week in the 5 majorcities in 2020, with a 3.2% share of the broadcast radio audience, itshighest level since 2009.28 The background of Australia’s population mayexplain some of these changes. Australia’s culture is diversifying awayfrom the Western backgrounds that dominate traditional artforms. Theproportion of Australians born in Asia has grown from small numbers in24. Live Music Office Victoria (2021).25. Creative Victoria (2021); and Victorian Department of Treasury and Finance (2020,Budget Paper 3, pp.83, 86–87).26. Challenor (2019).27. Berejiklian (2021).28. Personal communication from ABC Classic.13
Performing arts advocacy in Australia1976 to 11% in 2016, while European and British born have fallen from17% to 9% (Figure 5.3 on page 31).2.3.3Public profile and social trendsWith a declining share of audiences, public performing arts are losingpublic profile. When David McAllister competed in the Inter
Performing Arts Group (AMPAG) as its last substantial contribution to Australian arts policy. It asked how advocacy with government for the performing arts in Australia might be improved. Although AMPAG's members - the National Partnership Organisations - are an important part of performing arts in Australia, the brief was wider: to
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