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- Sales Rank: #14387747 in Books
- Published on: 2006-01-01
- Binding: Paperback
- 80 pages
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Relieving Australia's Cultural Poverty
By Donald Knowles Richardson
Throsby answers the question of his title with a resounding 'yes!'
This is because he finds - quite validly - that there are a number of inconsistencies and irrationalities in the life of the nation which reflect on its culture and which need to be resolved. Australians see themselves as culturally independent, but this is questionable, he says. And the issue is never discussed. We see ourselves as a tolerant, fair-minded people, yet we show insensitivity to refugees and indigenous Australians alike. We profess the virtues of international cultural dialogue, yet (following the USA) we refuse to support the UN convention on the protection and promotion of the diversity of cultural expression. Throughout history there has never been a civilization that did not have government arts patronage, yet - while our government talks support for the arts - our artists live in penury.
Australia is a cultural pariah, he concludes.
While recognizing that we cannot blame all these problems on government, Throsby nevertheless gives an economist's argument for the government to address them. He recommends a cultural policy that is aligned to economic policy. While technological hardware is produced more economically in other countries, Australia's cultural sector would thrive on on producing software in the form of films, videos, games, publicity and so forth.
Supporting the alignment of cultural policy with foreign policy, he declares: 'Where culture leads, trade follows.' Australia needs a cultural body like France's Alliance Francaise and Germany's Goethe Institute. He does not think that the Australia Council - which appears to be 'keeping its head down' - is in the class of these institutions.
And he deplores the fact that neither the ABC nor the SBS receives enough government funding to enable them to fulfill their charters.
And a cultural approach to social policy would have wide-ranging possibilities. But there should first be a program of informed public discussion on the concept of 'Australian values' - 'the subterranean aspects of our culture.'
The engine for change is the existing 'creative core' of the arts and heritage. It is not a matter of special pleading for cultural elites but one which would yield general community benefits, such as jobs and wealth generation, social cohesion and urban revitalization. Although the market can assist, it cannot alone provide all the necessary energy.
However, Throsby shares the belief current in both government and industry internationally that studying the arts will equip youth to engage in the new creative/knowledge economy. This attitude has frequently been criticized as reducing the arts to a mere instrument of business, economics and material prosperity, rather than being valuable in their own right.
The other weakness in Throsby's approach is that his definition of culture is far too narrow. It is commonly accepted that culture includes all the activities, rituals and values a community holds in common - not restricted to the arts and cultural heritage. A cultural policy must include sport, religion, entertainment, recreation and functional design as well as the arts or it will appear 'elitist.'
Throsby's solution to the problem is similarly proscribed. He can only suggest forming groups of cogniscenti to brainstorm discussion papers and write manifestos to inspire public debate. Like most arts administrators and academics he misses the solution most likely to succeed - education, in particular school education. Australian culture will remain ill-defined and unsupported until the country has a consistent national school curriculum in culture and the arts.
What Art Is - and Isn't: An Aesthetic Tract
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