creative nation _ commonwealth cultural policy, october 1994

8/14/2019 Creative Nation _ Commonwealth Cultural Policy, October 1994

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18/04/13 Creative Nation : Commonwealth Cultural Policy, October 1994

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Creative Nation:

Commonwealth Cultural Policy, October 1994

Contents

Introduction

Preamble

The Commonwealth role in Cultural Development

Australia Council

Commonwealth Support for the Arts

Film Television and Radio

Multi-media

Protecting Australia's CreatorsHeritage - our past and future

Cultural industry development

Education and training

Information for all Australians

International projection of Australian culture

Investing in our culture

Cultural tourism
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18/04/13 Creative Nation - Introduction

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Introduction

To speak of Australian culture is to recognise our common heritage. It is to say that we share ideas, values,

sentiments and traditions, and that we see in all the various manifestations of these what it means to be Australian

Culture, then, concerns identity - the identity of the nation, communities and individuals. We seek to preserve ourculture because it is fundamental to our understanding of who we are. It is the name we go by, the house in which

we live. Culture is that which gives us a sense of ourselves.

Culture, therefore, also concerns self-expression and creativity. Not only do we seek to preserve our heritage

and tradition, we cultivate them. We preserve the things that make us what we are and cultivate the means of

reaching what we can be. We recognise that the life of the nation and all our lives are richer for an environment in

which art and ideas can flourish, and in which all can share in the enjoyment of them.

With a cultural policy we recognise our responsibility to foster and preserve such an environment. We recognise

that the ownership of a heritage and identity, and the means of self-expression and creativity, are essential humanneeds and essential to the health of society.

Because culture reflects and serves both the collective and the individual need, because it at once assures us of

who we are and inspires us with intimations of the heights we might reach, this cultural policy pursues the twin

goals of democracy and excellence. It will make the arts and our intellectual and cultural life and heritage more

accessible to all. And it will help to create the conditions under which the finest expressions of our creativity can

be reached and enjoyed. The ultimate aim of this cultural policy is to enrich the people of Australia.

This is the first national cultural policy in our country's history, but if that suggests a lack of will in the past, there

was never a lack of interest. The debate goes back to the foundations of European settlement. ColonialAustralians generally equated cultural goals with the successful transplantation of British civilisation to Australia;

with the creation of `a new Britannia in another world', in the famous words of William Charles Wentworth. This

refrain continued well into this century, of course, but it has had to share the stage with the distinctly Australian

voice that emerged with the birth of the nation 100 years ago.

The works of writers and artists, like Lawson and Furphy, Roberts and Streeton, offered an Australian

perspective of Australian life - a distinct set of values and views reflecting a distinctly Australian experience.

Broadly speaking, debate about the culture of Australia has followed the same lines throughout this century. At

the extremes there have been outbursts of fervent Anglophilia and rampant jingoism. For years we endured whatA.A. Phillips called the `cultural cringe' - the belief that nothing Australian should be considered of cultural value

until it has been approved in London, or perhaps New York - and its no less excruciating opposite, the cultural

strut - the belief that little of cultural value is produced outside Australia, and even less is `relevant'.

Neither position is edifying or helpful. The destructive effects are real ones. A polarised debate is always

debilitating, and when talented Australians drew the conclusion that their own country was a cultural desert, and

packed their bags for Europe, the loss to our national life was incalculable. This cultural policy comes at the end

of our first century of nationhood. At one level it might be viewed as a declaration that the `cringe' and the `strut'

are both over for good. The policy is delivered with every hope that in the twenty-first century talented


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This cultural policy is also an economic policy. Culture creates wealth. Broadly defined, our cultural industries

generate 13 billion dollars a year. Culture employs. Around 336,000 Australians are employed in culture-related

industries. Culture adds value, it makes an essential contribution to innovation, marketing and design. It is a

badge of our industry. The level of our creativity substantially determines our ability to adapt to new economic

imperatives. It is a valuable export in itself and an essential accompaniment to the export of other commodities. It

attracts tourists and students. It is essential to our economic success.

This is the first Commonwealth cultural policy in our history. It is long overdue.

In July 1992 the Commonwealth Government appointed a panel of eminent Australians to advise on the

formulation of a Commonwealth cultural policy. Creative Nation owes much to their work. A preamble

to the cultural policy was prepared by the Panel prior to the last election. It is here reprinted.

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18/04/13 Creative Nation - Preamble

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Preamble

Democracy is the key to cultural value

The future of australian culture

There has probably never been a better time than the present to re-assess our national cultural policy. Australia,

like the rest of the world, is at a critical moment in its history. Here, as elsewhere, traditional values and

ideologies are in flux and the speed of global economic and technological change has created doubt and cynicism

about the ability of national governments to confront the future. What is distinctively Australian about our culture

is under assault from homogenised international mass culture.

Ironically, our culture has never been more vital than it is now. At every level of society, Australians are engaged

in cultural activities that are helping to re- invent the national identity, and most Australians would agree on the

need to enhance and enrich our culture. To achieve this, cultural policy must enter the mainstream of federal

policy-making.

What is australian culture?

Culture arises from the community, even when the community may not be fully aware of it. It encompasses our

entire mode of life, our ethics, our institutions, our manners and our routines, not only interpreting our world but

shaping it. The most highly developed and imaginative aspects of our culture are the arts and sciences which are

fed back to the community by the most talented individuals.

For too many years, Australia's most gifted artists and writers had to seek recognition overseas.

This has changed. Over the past 25 years, Australian culture - now an exotic hybrid - has flourished. Enlightened

government support for the arts, an equally enlightened migration policy, a growing respect for Aboriginal and

Torres Strait Islander peoples, the now common experience of overseas travel, the expansion of education

opportunities and the global awareness created by the electronic media have all contributed to this change. Also

important is the growing awareness that our culture possesses unique attributes.

For cultural policy-makers, however, there remains a dilemma. Australian notions of egalitarianism and fair play

are at odds with the idea of encouraging, let alone honouring, the talented few at the expense of the many,

especially in an era of cultural and moral relativism and cultural commercialisation.

At risk in these circumstances is the very concept of quality, along with the belief in the manifold and enduring

benefits that might flow to a society that is exacting in its cultural standards and generous in its recognition of

excellence.

It is time for government to elevate culture on the political agenda, to recognise that it has a natural place in the

expectations of all Australians. In the light of this, it is important to assert that:

culture is the expression of a society's aesthetic, moral and spiritual values, indeed of its understanding of


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the world and of life itself;

culture transmits the heritage of the past and creates the heritage of the future;

culture is a measure of civilisation, at its best, enhancing and ennobling human existence; and

in the Australian context, implicit in our use of the word `culture' is the value we attach to expressions of a

recognisably Australian spirit'.

How might the Commonwealth enable Australian culture to flourish and Australian artists and writers of all kinds

to excel? How might we celebrate and make the greatest use of the cultural assets of the nation? How might we

best offer everyone access to the richness of our culture and enable young Australians to discover and realise

their creative potential?

Some of the key disseminators of culture - education, broadcasting, tourism, international affairs - fall outside the

portfolio of the Minister for the Arts, but a cultural policy must extend to all areas of government. We need to

ensure that all Commonwealth agencies consider the cultural implications of their policies and that the

Government accepts its responsibility for creating an environment in which culture may flourish.

So intricately is culture interwoven into the fabric of our life, so sensitive is it to government policies in all areas,

so crucial is it to our national and our personal sense of identity, that the Panel is unanimous in recommending:

a new Ministry of Culture to include both the Arts and Broadcasting; and

recognition of the Cultural Ministry at Cabinet level.

Charter of cultural rights

We recommend the Government's commitment to a charter of `Cultural Rights' that guarantees all Australians:

the right to an education that develops individual creativity and appreciation of the creativity of others;

the right of access to our intellectual and cultural heritage;

the right to new intellectual and artistic works; and

the right to community participation in cultural and intellectual life.

Cultural policy advisory panel

Left to right: Jill Kitson, Bruce Petty, Leo Schofield , Michael Leslie, Jennifer Kee, Peter Spearritt,

Rodney Hall AM, Thea Astley AO.

(Absent: Gillian Armstrong AM and Graeme Murphy AM)

8 February 1993

The Commonwealth Government sincerely thanks the members of the Panel for their generous

assistance.

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18/04/13 Creative Nation - The Commonwealth's Role in Australian Cultural Development

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The Commonwealth's Role in Australian

Cultural Development

Few would maintain that governments can or should create cultures or national identities. The creation of

Australian culture and an Australian identity has been, and will be, the work of Australians themselves throughwhat they do in their everyday lives, as communities and as individuals (whether it be as writers, workers in

industry, farmers, parents or citizens). What is `distinctly Australian' is what we create out of that unique

combination of factors that derives from our inheritance, our environment and our position in the world. This

includes an indigenous culture, both ancient and continuing; a British cultural legacy (imprinted through language,

the law and our institutions); the diverse inheritances of immigrant groups; the distinct experiences of class and

region and the impact of place. We are genuinely and distinctly `multi-cultural' with meanings that extend beyond

ethnic diversity.

The Prime Minister said on 10 July 1992:

The Commonwealth's responsibility to maintain and develop Australian culture means, among many

other things, that on a national level;

innovation and ideas are perpetually encouraged;

self-expression and creativity are encouraged;

our heritage is preserved as more develops; and

all Australians have a chance to participate and receive - that we invigorate the national life

and return its product to the people.

Commonwealth Governments have long taken the view that they have a responsibility to preserve the nationalheritage and cultivate the arts. Over the years, the Commonwealth has established national cultural institutions

and provided varying degrees of support for creative artists and organisations. The Commonwealth Literary

Fund, for instance, was established as early as 1908; Film Australia's origins date back to 1911; and the

Commonwealth Art Advisory Board was created in 1912.

Governments and individuals of all political complexions have made significant contributions to Commonwealth

support for the arts. Among the most significant interventions was John Gorton's when, in 1968, he created the

Australian Council for the Arts - which in 1973 became the Australia Council.

Since then, the role of the Commonwealth has expanded dramatically. In 1994-95, through the Department ofCommunications and the Arts, direct Commonwealth expenditure is estimated to be over one billion dollars.

Additional funding for Australian cultural development is provided through other portfolios, including Foreign

Affairs and Trade; Employment, Education and Training; Prime Minister and Cabinet; and Environment, Sport

and Territories.

The cultural portfolio includes a dozen agencies and statutory authorities. A variety of mechanisms are employed

to achieve the Commonwealth's objectives. These include, for example, limited investment and loans programs

requiring high levels of private sector participation, such as the Film Finance Corporation; an indemnification

scheme which assists exhibitions to the value of $500 million to tour; the Public Lending Right Scheme, which


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compensates the creators of works used in public libraries; and programs which fund companies and individuals

directly, such as the Australia Council and the Australian Film Commission.

The Government fulfils its responsibilities through various means: direct Commonwealth expenditure; indirect

support through the taxation system; partnerships with other levels of government, communities and the private

sector; and legislative and regulatory provisions, such as protection of intellectual property through copyright, and

local content requirements for radio and television.

commonwealth financial support for cultural activities (1994-95

budget)

Through the Communications and the Arts Portfolio, Commonwealth expenditure is estimated to be more than

one billion dollars in 1994-95. This includes funding of $515.1 million to the ABC and $75.7 million to the SBS.

Funding of $117.1 million has been provided to the Australian Cultural Development Office (ACDO) for 1994-

95. ACDO provides policy advice to the Minister for Communications and the Arts on Australian culture; liaises

with cultural bodies and coordinates cultural activities with other agencies; and administers a number of financial

assistance programs aimed at enhancing and encouraging the development of Australian culture.

Funding is provided to the national collections institutions for operating and capital costs through this portfolio.

For 1994-95 budget allocations are estimated to be $33.2 million for the National Library of Australia, $19.1

million for the National Gallery of Australia, $9.1 million for the National Film and Sound Archive,; $13.5 million

for the Australian National Maritime Museum, $30.5 million for the Australian Archives, and $6.2 million for the

National Museum of Australia.

Assistance to the film industry is provided through direct funding to the Australian Film Commission ($18.7

million in 1994-95) and the Australian Film, Television and Radio School ($10.7 million in 1994-95). Funds arealso provided in the ACDO budget to the Film Finance Corporation ($54 million in 1994-95), Film Australia

($6.4 million in 1994-95) and the Australian Children's Television Foundation ($2.1 million in 1994-95).

Financial support to the arts is dominated by funding to the Australia Council of $59.2 million in 1994-95.

Funding is also provided through the ACDO budget to The Australian Opera ($7.4 million in 1994-95), the

National Institute of Dramatic Art ($3.1 million in 1994-95) and the Australian Ballet School ($0.6 million in

1994-95)

Funding is provided to the National Science and Technology Centre ($4.9 million in 1994-95).

The Government recognises that it is just one player among many in the process: indeed the Commonwealth

counts among its principal roles that of encouraging greater contributions from the States, local government and

private industry.

In the past decade, State and Territory Governments have taken on a much larger share of the responsibility.

Although the Commonwealth Government believes that it could be more effective than it presently is, the Cultural

Ministers' Council has created the potential for a more comprehensive and coordinated approach to issues of

cultural development. Commonwealth-State cooperation is highlighted in this statement by jointly funded new

national institutions.


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The proportion of private sector sponsorship of the arts and humanities compared to sport has fallen

substantially. The Commonwealth recognises the need to balance the equation, and create a trend towards the

pattern of private benefaction which so richly endows cultural activity in some other countries, most notably the

United States.

The Commonwealth takes the view that responsibility for our creative life is shared, and that, not least among

those who must work to develop self-reliance and self-sufficiency are the artists and their agencies and

audiences. Without endorsing the view that government support tends to stultify creative output, the

Commonwealth Government is determined that our cultural development will be driven as far as possible by the

creative energy of individuals, groups and communities and that, wherever possible, government will not be the

sole means of support for their efforts.

In recognition of their essential role in our nation's life, in 1993 the Commonwealth Government made the arts a

full Cabinet portfolio. Early this year the Government decided to combine the Arts and Communications

portfolios, because in the modern era there are natural synergies between them. These two measures are in part

the fulfilment of the Government's promise to bring cultural issues into the mainstream of our national life, and

accord them their rightful place in all decision- making. This cultural policy is another major step in that direction.

The Commonwealth's role in cultural development falls into five principal categories:

nurturing creativity and excellence;

enabling all Australians to enjoy the widest possible range of cultural experience;

preserving Australia's heritage;

promoting the expression of Australia's cultural identity, including its great diversity; and

developing lively and sustainable cultural industries, including those evolving with the emergence of new

technologies.

In various ways, the specific initiatives described inCreative Nation

embody these ambitions of theCommonwealth.

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18/04/13 Creative Nation - Australia Council

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Australia Council

The Australia Council is one of this country's most important cultural resources.

That arts activity and cultural industries have grown so dramatically over the 21 years of it's existence is

testament to the success of Commonwealth policies in general and the Australia Council in particular.

However, there are now three times as many practising artists and four times as many arts organisations as there

were 20 years ago, and most rely substantially on the Council for their continued existence. It is not surprising

that the Australia Council is finding it more difficult to respond to the demands placed on it by this expanding

community, in an environment where funding and staffing levels, and particularly the support from non-

Commonwealth sources, have failed to keep pace with client growth.

The Government realises that the Council has dealt well up to now with assisting artists who practice their skills in

a small market which faces intense pressure from abroad. It has achieved this success principally through its

support for the creation and presentation of the arts.

But it also believes that the Council, as a matter of some urgency, has to turn its attention away from the `supply'

side of the arts equation to the creation of a higher level of demand from arts consumers.

It would be unfair to deny that the Council has devoted a significant proportion of its funding and energies to

promoting and marketing the arts, both locally and internationally. But the Council's efforts in this area have to

some extent been hamstrung. New initiatives towards new directions are constantly foundering on a lack of

resources. Short-term consultancies carried out outside the Council have not been an adequate answer.

The Commonwealth believes that the Council has to undergo a process of structural change to meet the newrequirements of its role. It has already to some extent embarked on this process with its recent announcement of

a wide-ranging review of peer assessment processes in order to streamline them and make them more flexible

and suitable for future needs.

The Government strongly supports this initiative on the part of the Council. It reiterates its support for arms length

funding and peer assessment. But it believes that a peer assessment system which is not efficient of time and

resources for both Council staff and its clients should be changed. It further believes that the process of applying

for, and being assessed for, funding should be simple and transparent, so that those clients who are unsuccessful

in their applications can clearly understand the reasoning behind the decision. The Australia Council should also

squarely address the question of whether any change is needed to its current means of defining `peer'.

Changing the peer assessment processes will not of itself, however, be enough to equip the Council to carry out

the role the Government requires of it. The Australia Council structure, which has evolved over 20 years, should

be simplified in order to enable the organisation to respond more flexibly to the changing needs of the arts

community.

The Government believes that the Australia Council should continue to break down the existing rigidities between

the art form Boards. These Boards face common problems of audience and sponsorship development, and an

across Board approach is needed.


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set up was designed to encourage film and television in association with other art forms. The arts are now much

more interdependent than they were then.

The Government believes that the Australia Council, with the accumulated knowledge from dealing with

thousands of artists over the years of its existence, its skilled staff and its formidable research base, should be

able to play a vital role in encouraging the translation of the arts to screen-based media. It considers that the

Council should give a high priority to the process of generating Australian content for the information highway.

New access to the arts should be widely developed across free-to-air and subscription based broadcasting,

thereby bringing into play a much wider range of niche, specialist, educational and mass audiences.

By instituting the above measures, and others which the Council is in the process of implementing already, there

can be a substantial increase in domestic audience development. But we also need to look for markets for our

cultural products offshore. There is at present only a minimal market for cultural exports, and this can be best

addressed by developing international strategies across art forms, in co-operation with the other cultural agencies

and indeed other portfolios, particularly that of Foreign Affairs and Trade.

The Government believes that the Australia Council is the obvious body to develop an international cultural

marketing structure that encourages cultural exchange; it does not subscribe to the theory that we need toestablish a British Council look-alike, although our diplomatic posts and specialist agencies within the Foreign

Affairs and Trade portfolio and other relevant portfolios will obviously continue to play their important roles.

In summary then, the Government believes that the Australia Council needs to deploy an increasing amount of its

resources in areas of audience development, linkages with broadcasting technologies, marketing and sponsorship

stimulation and international export development. The outcome of these processes will, in the medium term,

substantially impact on artists' incomes and on the well-being of the community in general.

The Government is confident that the Council has the will to take up the challenge. It also recognises that will

alone is not enough. The Council must also have the capacity to institute change without penalty to those whom itcurrently assists.

The Government therefore will provide a range of measures for the Council to enable it to succeed.

We have long recognised that the Council and its clients deserve to operate in an atmosphere of stability and

predictability. Funding the Council on a triennial basis will provide this atmosphere for its own operations, and

will enable the Council to make continuing commitments to a larger number of clients than it is currently able to

do.

With a greater knowledge of future funding levels, arts organisations will be able to undertake more accurate

forward planning and enter into long-term and more efficient financial commitments.

The Government will introduce triennial funding for the Australia Council.

The Government will also honour its commitment to provide predictable and stable funding to major performing

arts organisations by setting up a new board of the Council, the Major Organisations Board. This follows on

from a recommendation of a joint working group from the Council and the Australian Cultural Development

Office, and provides government recognition of the special requirements of major performing arts organisations

as significant business enterprises.


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The Board will address the underlying financial difficulties of certain major companies and will obviate the need

for ad hoc requests for assistance from the Government.

Organisations will be included in the Board by the Council on the basis of an assessment of their national

significance and their financial viability. It is anticipated that some organisations will need to receive an injection o

funding to overcome current financial difficulties before they are placed within the Board.

Once within the Board, the organisations will receive guaranteed funding for up to three years. They will enter

into a performance agreement with the Commonwealth based on a business plan covering the period of the

agreement. All organisations will be reviewed before the renewal of the agreement.

The Council has already carried out some preliminary work to identify possible organisations for the new board.

Membership of the Board will be announced in the near future and it is anticipated that the Council will announce

which organisations will be funded by this mechanism shortly thereafter.

The Government will establish a Major Organisations Board of the Australia Council

While we expect the Major Organisations Board to be widely welcomed, the Government recognises that

smaller organisations and individual artists would benefit considerably from a greater level of support. It has

decided, therefore, to provide an increase in the base level of assistance to the Council which can be used across

existing Council programs, and particularly for assistance to individual artists. By so doing, the Government will

be helping both the Council and subsidised performing arts bodies to meet the cost of increased wage obligation

caused by the recent arbitrated wage increase for actors and dancers.

The Government will increase the Council's base funding level to provide additional assistance for

individual artists.

One of the most successful programs of recent years has been the Australian Artists Creative Fellowships

Scheme. The Government has now agreed that the scheme be extended to include a separate component for

talented young artists to receive a level of support in order to concentrate on their artistic development. While the

details of the proposal will be announced shortly, it is anticipated that it will operate under a mentorship

arrangement, with the number of the new junior fellowships depending on the number of the senior ones.

A system of junior creative fellowships will be established to complement the existing Australian

Artists Creative Fellowships Scheme.

This policy has already addressed the need for the Council to develop an international marketing strategy to

increase export potential. The Government will provide the Council with additional funds for this purpose. The

strategy should be developed in conjunction with Austrade.

The Government will fund the Council's development of an international marketing strategy.

The Government will also provide additional funding to the Council to develop alternative mechanisms of funding

for the arts and stimulate increased private sector support. As has been argued above, the stimulation of

benefaction is an essential step in the development of the arts.

The Government will fund a new Council program to develop private sponsorship of the arts.


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The Government proposes to transfer the operation of the Foundation for Australian Cultural Development,

based in Melbourne, from the Department of Communications and the Arts to the Australia Council.

As a result of the transfer the Foundation will have access to the administrative support and the arts network of

the Australia Council and the opportunity to explore and develop partnerships with a wide range of cultural and

humanities organisations.

The Foundation will give the Council a Melbourne presence, something for which there has been support for

some time. The Foundation, while located within the Council, will retain its own Board and local management.

It is intended that the Foundation's goals and mode of operation will resemble - albeit only in the broadest sense

- those of the American Endowment for the Humanities. The Foundation will gather more effectively into the

cultural development of the nation the knowledge and talents of the humanities and the social sciences. It will

initiate and support projects of national significance, including multi-disciplinary projects such as those between

film-makers and historians.

It will also stimulate private sector sponsorship for projects and for individual scholars and artists, and encourage

partnerships between the corporate and public spheres. As such, it will provide a linking framework between

key agencies (libraries, universities, heritage), the public and private sectors and communities.

The Foundation's aim will be to extend Australians' understanding of their own country and its future. It will play

a particularly important creative role in the preparation of 2001 celebrations.

The Council will assume responsibility for the Foundation for Australian Cultural Development.

These new measures will, in the Government's view, make for a dynamic and progressive Australia Council

which is equipped to meet the challenges confronting the arts as we move towards the next century.

An organisation with a task such as this requires its chief officer to devote full-time attention to its operation. TheGovernment, therefore, will in future make the position of Chair of the Australia Council a full-time executive

position.

The Government will establish the Chair of the Australia Council as a full-time executive position.

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18/04/13 Creative Nation - Commonwealth Support for the Arts

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Commonwealth Support for the Arts

Through funding the arts the Commonwealth pursues the following objectives:

the creation and realisation, through performance, broadcasting, publishing and display, of original

Australian creative product;excellence in artistic practice;

the widest enjoyment of the arts, and the widest involvement in them;

reflection through the arts of the riches of multicultural society; and

ensuring that Aboriginal and Torres Strait Islander culture is sustained through the preservation of cultural

traditions and the development of contemporary cultural expression by Australia's indigenous people.

These aims are promoted through:

direct funding of the arts;

developing legislation on copyright and related rights which will encourage creativity and investment;

creating the conditions which will allow the arts and cultural industries, where possible, to achieve

sustainability and to integrate cultural and economic life;

taxation and other incentives to encourage private sector funding of the arts through investment and other

support; and

ensuring that development in the cultural sector keeps pace with developments in communications

technology.

As artists gain access to new tools and media for creating art, existing art forms will expand and develop, and

conventional boundaries between art forms will tend to blur. Projects which integrate the live arts with other

technologies, such as video and film, are expected to become more commonplace in the near future.

performing arts

aboriginal and torres strait islander performing arts

The expression, development and preservation of unique indigenous art forms and cultural heritage is fundamenta

to the emergence of a contemporary Australian cultural identity.

Indigenous art forms must be protected and allowed to flourish. They need specific support from theGovernment, which cannot be provided through the existing national training institutions.

The National Islander Skills Development Association (NAISDA)was founded in Sydney in the early 1970s

and has always been known as a creative and dynamic organisation. It consists of two components - the

NAISDA College and the Aboriginal Islander Dance Theatre (AIDT) - and is primarily devoted to dance.

NAISDA training has provided cultural protection as well as employment. Many graduates have found

employment as professional dancers, arts administrators, and in the fields of general production and vocational

training.


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The performance arm, AIDT, became an active group in the late 1970s, and is now a professional dance

ensemble, well-known in Australia and overseas, with a repertoire based on both traditional and contemporary

dance styles.

NAISDA and AIDT have played a vital role in preserving and developing Aboriginal and Torres Strait Islander

dance and indigenous cultures in general. However, their undoubted success over 19 years has been hampered

by inadequate resources and facilities which are inappropriate to their worth and jeopardise their companies'

future.

One of the measures announced by the Prime Minister inDistinctly Australianwas that the Government would

`examine the possibility of raising the status of NAISDA as a national performing arts and training organisation'.

This examination by an expert Committee is now complete and after consideration of the report, the Governmen

accepts its finding of the need for such an organisation.

With the assistance of the Queensland Government, the Commonwealth will establish a national

centre of training excellence for Australian indigenous performing arts. It will provide $14.45 million

over four years to establish, in Brisbane, the Australian National Institute for Indigenous Performing

Arts.

The Institute will be a national centre of youth training excellence of the same status as other Commonwealth

portfolio agencies such as the National Institute of Dramatic Art (NIDA), the Australian Film, Television and

Radio School (AFTRS) and the Australian Ballet School.

The NAISDA report recommended that the Institute be housed in purpose-built premises. However, given the

substantial capital costs involved in that approach, the Institute will be housed in leased, refurbished premises.

The Government notes the committee's recommendation that the new body be located in Sydney, but believes

that its placement in Brisbane is appropriate, given that a number of NAISDA students and AIDT performers

are from remote communities in Queensland and the Northern Territory. It is anticipated that more students fromthese areas will be drawn to the upgraded facilities and training opportunities. Placing the centre in Queensland

conforms with the Government's policy of locating new national enterprises throughout the country in cooperative

ventures with State and Territory Governments.

The Government shares the view of the expert committee that this initiative is a significant step in the

reconciliation process, which includes the recognition of the importance of indigenous arts and cultural traditions

to the whole of Australia. It is also timely in other ways. Aboriginal and Torres Strait Islander arts are assuming

increasing significance for Australia, in tourism and the projection of Australian culture overseas.

Surveys have found that nearly half of all international visitors to Australia are interested in seeing and learningabout Australia's indigenous culture. Surveys have also found that the employment demand for performing artist

graduates is greater than the supply.

Many existing performing arts training institutions throughout Australia succeed in attracting Aboriginal and

Torres Strait Islander enrolments and it is hoped this will continue. However, the Government believes the

Institute will offer a special environment for indigenous Australians to engage in training that draws on their own

cultural traditions and values.

The Institute will retain a strong focus on dance, which has been a key element of its program, but it will be


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extended to include training in drama, music, stage management and arts promotion. Joint arrangements with

other institutions will be encouraged to assist in the broadened curriculum. Partnerships are envisaged with

institutions such as NIDA, the AFTRS, the Queensland College of Art and arts academies within the post-

secondary system.

The expanded program will be initiated over three to five years, following detailed discussions with appropriate

organisations and members of the Aboriginal and Torres Strait Islander arts community.

The Government recognises that there remains a degree of uncertainty about the indigenous culture funding

responsibilities of Commonwealth agencies. The Minister for Communications and the Arts and the Minister for

Aboriginal and Torres Strait Islander Affairs are addressing this matter, and will consult relevant organisations

and individuals as part of that process.

access to the performing arts

The Commonwealth provides support for the performing arts to bring to all Australians high quality theatre,

opera, music and dance through:

funding companies of national importance and individual artists of excellence to develop and present the

best performances;

its national training institutions; and

providing access to this work through the national broadcasters and by using new technologies where

appropriate.

Playing Australia

Bringing the arts to Australians wherever they live is a major priority of this Government.

In 1992-93Playing Australia, the national performing arts touring program, was established to give more

Australians access to high quality performing arts, by enabling performing arts companies to tour a wide range of

productions including those which could not be guaranteed to be commercially practicable. In less than two year

Playing Australiahas brought productions of world standard to audiences in Darwin, Broome, regional

Tasmania, North Queensland and many other communities. Audiences in the capital cities have also been able to

experience some of the dynamic work being created in regional areas.

Playing Australiais designed to encourage new levels of cooperation between performing arts companies in

different States and Territories and regional areas, and to create new networks and partnerships for the future.

The Government believes that a decentralised approach to professional theatre has worked well in Australia.

There is significant cooperation between the main State companies. A pilot scheme, supported byPlaying

Australia, has enabled the Confederation of State Theatres to present works from their own seasons as part of

a subscription season in Perth, Canberra and Hobart.

This initiative has strong support from local presenters and State Governments and it is hoped that companies

can extend these seasons to other cities in the future. It has the potential to lead to the development of a national

network of theatre companies, embracing regional and local companies - a truly national theatre.


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The Commonwealth will continue to commit $3 million each year towards the development of

performing arts touring in Australia through this program.

playing australia

Playing Australiaprovides assistance to venues and presenters, such as arts councils, performing arts centres

and performing arts companies to arrange for tours to areas where this might not otherwise have been

commercially practicable.

The program has committed almost $5 million since January 1993 towards tours of theatre, dance, opera, circus

jazz, classical and contemporary music, performance art and puppetry which have included each State and

Territory of Australia.

In the first round of funding alone, approximately 200,000 Australians from over 100 towns saw over 500

performances of high quality performing arts. WithoutPlaying Australiathe majority of these tours would never

have occurred.

Festivals

Regional centres benefit strongly from a thriving cultural sector, in terms of employment and income generation,

the encouragement of tourism and the potential for earnings from sale of local goods for regional economies.

Cultural activity also acts as a stimulus to regional regeneration due to its ability to draw people to particular

localities. The arts help establish a creative and productive environment.

Business and industry are attracted to strong, active communities, and the range of cultural activity available in a

particular centre is a good measure of this. The arts provide greater opportunities to market what is individualabout an area to business, industry and tourists.

The Government believes that festivals are an important way of bringing the arts, audiences and whole

communities together. They give communities a creative focus, help celebrate achievements and forge community

identity, and are of significant assistance in generating increased tourism. They provide invaluable opportunities

for marketing the arts to broader audiences and a catalyst for touring throughout the country.

In recent years, established festivals such as the Bougainvillea Festival in Darwin have expanded to cover a more

diverse range of creative activity, particularly for people from a non-English speaking background. Music

festivals such as the Barossa Music Festival have made links with festivals at Huntingdon and Port Fairy.

The Government has extended cultural access in regional Australia throughPlaying Australia, its performing

arts touring program and Visions of Australia, its exhibition touring program. A new complementary program,

designed specifically to support regional festivals, will also be established by the Government. A priority of this

program will be youth festivals.

The Government will provide funding for a new program called Festivals Australia, to be

administered by Playing Australia, which will assist in bringing high quality arts activities to

Australian regional festivals.


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Musica Viva in Schools

Young people are already significant arts producers and consumers. It is important that during their education, in

developing their imagination and creativity, they are exposed to the widest possible range of the arts, including a

comprehensive program of music. The Musica Viva program, which was established in 1981, sponsors tours of

live performance groups to primary and secondary schools. Musica Viva supplies schools with information and

resource packages in advance of visits and maintains a continuing relationship with the schools and teachers

involved. It is substantially more than a provider of one-off school concerts.

The program currently operates in New South Wales, Victoria, Western Australia and Tasmania, with assistance

from the Commonwealth through the Australia Council, the States and private sponsorship. The program

reached 300,000 young people in the last year and involved 25 musical performance groups.

Following the success of this program, which provides a fine example of the sort of funding cooperation that the

Government believes necessary for the arts, it is appropriate that it be extended to those States which do not

currently participate. By doing so, by 1998 it will reach 500,000 young people with performances from over 50

groups.

The Commonwealth will provide additional funding of $2 mill ion to extend the current Musica Viva

in Schools program to Queensland, South Australia, the ACT and the Northern Territory.

Opera

Opera in Australia has never been more popular than it is today. Australian artists, directors and designers have

achieved prominence in world terms. The video of Baz Luhrmann'sLa Bohemehas been the fastest selling opera

on video ever to be sold in this country. Following its successful telecast in the USA, a contract has been

negotiated for its release there. The tour of Baz Luhrmann'sMidsummer Night's Dreamto the Edinburgh

Festival this year was an outstanding success.

Recently, much has been done to make this art form, which it is fair to say has been thought by many to be elitist

and inaccessible, available to many more Australians, especially through concerts and an extensive series of

television and radio simulcasts. The partnerships established between the opera companies, the ABC and the

private sector have contributed greatly to larger opera audiences.

One way in which access can be improved is by enabling The Australian Opera to perform more widely

throughout Australia. Because of the substantial costs involved in this exercise, the Government believes that this

can only be achieved by a cooperative venture between the The Australian Opera, other opera companies and

the private sector. The Government will therefore provide assistance for a consortium which will be set up byThe Australian Opera and the State opera companies. This will provide an additional production each year in

Melbourne, Brisbane, Perth and Adelaide, plus up to 40 regional performances a year.

The Commonwealth will provide $850,000 per annum for increased touring to extend access to opera

to Australians in all States and Territories.

The Commonwealth will also continue to support The Australian Opera's program of recordings and simulcasts

and other ventures by which it extends its audience reach.


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Following the recent review of the budget and operations of The Australian Opera the Government will provide

additional funding of $300,000 per annum to enable it to fund arbitrated wage increases for singers.

The Government will provide additional base funding assistance to The Australian Opera.

music

Music has always formed an important part of Australians' lives, whether through listening to the radio, homeentertainment, or a concert performance.

Many Australian artists have achieved international success, but most have had to go overseas after their initial

training in order to build their careers. Australian singers have perhaps been the most recognised of these artists

in their own country.

Among current successes, the Sydney Symphony Orchestra, the Australian Youth Orchestra and the Australian

Chamber Orchestra have also been fine ambassadors for Australian performance and Australian music.

For 50 years, Musica Viva Australia has been engaged in bringing high quality ensemble music to as manyAustralians as possible. It is now the largest chamber music presenter in the world and continues to bring many

groups and soloists of world standing to halls and schools across Australia. It has fostered the highest standards

in chamber music performance by Australians and made an invaluable contribution to strengthening our cultural

presence overseas. As outlined above, the Government will be providing additional assistance to Musica Viva.

National Academy of Music

It is estimated that there are approximately 3,800 music students enrolled in higher education institutions

throughout Australia.

Young Australian players are as talented as any in the world, as are our youth orchestras. However, a lack of

comprehensive training and an indifferent career structure have proved major obstacles to achieving greater

international standing. There has been some unwillingness by top international artists to travel to Australia and

teach our most talented students.

The need for better training was identified inDistinctly Australian. Funding was consequently provided to the

Australian Youth Orchestra to enable advanced training for our most talented young orchestral players.

Assistance was also provided for young performers in more remote areas, and those in difficult financial

circumstances.

The Government is now moving to the second stage of its plan to assist the development of music in Australia.

This involves the establishment, in conjunction with the Victorian Government, of a National Academy of Music -

a complementary training institute to NIDA, the Ballet School, the AFTRS and the new Australian National

Institute for Indigenous Performing Arts.

The Academy will be situated in Melbourne. It will develop highly gifted musicians to international standards and

enable them to establish careers from an Australian base. The focus will be fine music, including contemporary

and Australian works.


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The proposal involves bringing outstanding students into contact with the most distinguished national and

international performers and teachers at an age when they will most benefit from it. Training will cater for the

principal spheres of Australian professional music activity, in particular solo performance. Benefits will flow

through to symphony orchestras, opera and chamber music ensembles.

The Academy will draw on the administrative resources and facilities of the University of Melbourne and the

Victorian College of the Arts. It will establish professional linkages with a range of relevant organisations

including State symphony orchestras, the ABC and the SBS. It will cater for up to 40 students at any one time,

some of whom may be young school-age students of outstanding promise. Courses will vary in length according

to student needs. The Academy will also attract fee-paying overseas students.

By providing more effective music training for outstandingly talented musical performers, the Academy will play a

key role in raising the standard of Australia's orchestras, and other areas of music performance, to internationally

competitive standards.

The Commonwealth, in a joint venture with the Victorian Government, will establish a National

Academy of Music in Melbourne as a centre of training excellence for musicians of outstanding

talent.

Orchestras

Another major step will be to augment the resources of the Sydney Symphony Orchestra and to establish it as a

separate organisation. This will provide greater opportunity for it to develop to world standard and set a new

benchmark for orchestral performance in Australia.

The Government will transfer the Sydney Symphony Orchestra from the ABC to local control and

provide significant additional funds for developing it to world standard.

The ABC's six symphony orchestras are the Sydney, Melbourne, Queensland, Adelaide, West Australian and

Tasmanian Symphony Orchestras. Currently managed by the Concert Music division of the ABC, they are

among Australia's major performing arts organisations.

The orchestras grew out of early radio broadcasting in the 1940s. Their creation early in that decade was an

enlightened act at a time when there was virtually no performing arts infrastructure or funding. They have carved

out a central role in Australia's cultural history.

However, the Government believes that centralised control has led to some inflexibility which has inhibited the ful

development of our leading orchestras. Many problems of centralised control were highlighted in the Tribe reportin the mid-1980s - the Study into the Future of Orchestras in Australia- which, after extensive research,

advocated the decentralisation of Australia's orchestral base. Some of the problems highlighted by the Tribe

report have since been addressed by the ABC through empowering local management of orchestras and raising

their profile through ABC marketing.

The world's finest orchestras all operate under local control, and are accountable first and foremost to their cities

of residence. As the Tribe report pointed out, our aim should be `to provide Australia with orchestras of vitality,

international achievement, distinct character, and passionate community support'.


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The Government believes in principle that this is better achieved if the activities, responsibilities and accountability

of an orchestra's live performances are seen as primarily local, distinct from performances broadcast to a nationa

audience. Vigorous and loyal community support, increased State support and opening the door to greater

private sponsorship are all crucial to an orchestra's success.

Centralised management has tended to be concerned with equalising standards and programming across the

country, especially for broadcasting, recording and marketing purposes. While democratic in spirit, and

important in terms of maintaining the viability of orchestras in States with lower populations, this can have a

flattening effect on quality, style and enthusiasm. It is time for the Sydney orchestra to be given the opportunity

and freedom to excel.

Existing funding for the Sydney Symphony Orchestra will be transferred from the ABC to the Australia Council

and will be administered through the proposed Major Organisations Board of the Council. Following the

transfer, the orchestra's funding will be guaranteed for five years in real terms.

Additional funding will also be set aside from 1995-96 to increase the number of players to the international

standard of 110, increase salaries, provide funds for more international quality guest artists and allow for more

touring and recording ventures.

This flagship orchestra will tour throughout Australia, become a major cultural export and strengthen its program

of international recording.

The Government will consult closely with all affected parties, including the ABC, the orchestra and union

representatives, to ensure that the transfer proceeds with minimum disruption to conditions of employment or the

operations of the orchestra generally. A priority will be maintaining optimum access to ABC facilities and

services.

It is intended that the present award conditions with orchestral musicians relating to broadcasting should be

continued under any new administrative arrangements, and that the ABC, in the spirit of its Act, will continue to

broadcast the orchestra's performance with comparable frequency.

As outlined above, a number of reports have recommended divestment of the ABC orchestras as the best way

of fostering their natural development. However, the viability of some orchestras may be more difficult to secure

in the medium to long term if their status changed at this point. While all the existing orchestras will remain as

major elements of the national music infrastructure, they also must have the opportunity to develop further, if

necessary outside the ABC. The Government has accordingly decided that the remaining ABC orchestras may

put a case to the Government for divestment if they see fit.

The opera and ballet orchestras in Sydney and Melbourne also have an important role in Australian musical life

through their support of the national opera and ballet companies.

The Commonwealth has considerably increased the resource base of these companies following the

establishment of new management structures.

The increase in base grants provided by the Government will enable the orchestras to continue operations and

meet the continued costs of arbitrated wage increases for musicians.

The Government will provide an increase of $700 000 per annum to the base grants of the opera and


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employment.

Australian publishing has grown through a combination of activities by a varied range of independent and

multinational publishers. Over the last 15 years in particular, the overall proportion of locally created and

published material has increased. There has been a gradual growth in exports of these same works.

The total value of the Australian book industry in 1993 was estimated at $2 billion at retail value.

The Australian publishing industry has always worked at exporting intellectual property. The industry has recentlytargeted Asian markets as possible destinations for Australian books, particularly in the educational field.

The Government supports this focus of the publishing industry, and is working with the Australian Book

Publishers Association on a research project that will give publishers information and advice on exploiting the

characteristics of the different markets for books in Asia.

The Government is also providing funding to bring together independent publishers from around Australia to

investigate synergies, competitive advantages and economies of scale they can achieve by networking' on

particular activities.

Around 30 publishers now participate in joint activities under Publish Australia Group Enterprises (PAGE).

Export projects, consolidation of domestic marketing and distribution infrastructure have been identified as major

goals. A catalogue featuring 90 titles from 27 publishers has been produced and will be used for domestic

marketing purposes and international rights trading.

To date, members of the network have received funding and facilitation assistance from government, and

administrative assistance from the Australian Book Publishers Association. Plans are under way to have all

members of the network communicating on-line in the near future. It is envisaged that PAGE will be self-funding

within five years.

Copyright

The trend to electronic publishing is gathering strength and challenging traditional product and market concepts.

While technological change opens new opportunities for increased access to a wider range of cultural materials, i

also presents significant challenges which could threaten the viability of Australia's writers and publishers. The

Government recognises that it is likely that a major form of delivery of written material in the future may be in

digital multi-media form.

Even now in Australia there are educational institutions which provide materials for students which have been

scanned into digital form, stored in computers and then downloaded for readers. The convergence of

technologies and digital broadband technology will allow material to be transmitted internationally and

manipulated without authority or payment.

In the new technological and communications environment, it is no longer possible to adequately protect

copyright owners or to facilitate the development of industries based around the exploitation of copyright materia

under the existing Act.

Multi-media is a new form of work and it was acknowledged at the recent Copyright Convergence Group


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seminar that, as a work in its own right, it is not protected under the Copyright Act.

This Statement sets out the Government's intention to examine protection of copyright in the new

communications environment.

Book Lending Right

The Government has long held the view that Australian authors and publishers should be compensated for the

loss of potential income represented by their books being borrowed free of charge.

The current Public Lending Right Scheme (PLR) was introduced in 1974 to compensate eligible creators and

publishers for loss of royalties on sales of books when copies of their books are available in public libraries. PLR

has distributed approximately $25 million to writers and publishers.

InDistinctly Australianan undertaking was given by the Government to examine the feasibility of introducing an

Educational Lending Right (ELR).

The Government having considered this examination has come to the conclusion that it is logical to extend PLR

to educational libraries. While PLR has compensated many Australian writers and publishers, a great number of

books attract no compensation for library use because they are held in the libraries of education institutions.

Australian writers and publishers will now receive a fee for the use of their books in the libraries and textbook

rooms of primary and secondary schools and tertiary institutions. Not only will this measure compensate writers

for use of creative materials, but it will also assist in the task of making available more Australian books for

Australian students.

The Government will introduce Educational Lending Right in full as an extension of the existing

PLR Scheme.

Dance

The high standards achieved by Australian dancers and dance companies, as reflected by their successes both at

home and overseas, are underpinned by the Government's support for training and performance.

The Government provides substantial funding, through the Australia Council, for contemporary dance. This has

enabled consolidation and sustained growth by a number of outstanding companies.

Playing Australiahas enabled more Australians to experience outstanding dance performances and alsoencouraged groups in different States and Territories to work together to develop new productions.

The Australian Ballet School has contributed very substantially to Australia's fine international reputation in

dance. Its graduates can be found as principals, soloists and artists in major companies throughout the world.

The School works in close liaison with the Australian Ballet and, since its inception, has produced, on average,

95 per cent of the dancers for the Australian Ballet.

The Government is a strong supporter of the Australian Ballet - a national flagship company. It recognises that it


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18/04/13 Creative Nation - Film, Television and Radio

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government and international trade in content

The inclusion of the audio-visual services sector in recent international trade agreements (General Agreement on

Trade in Services) may have an impact on the longer term viability and growth of the Australian film industry.

Australia will not feel any immediate impact from this but as negotiations proceed towards liberalisation of trade,

the Government recognises its responsibility to ensure that our cultural objectives are not jeopardised.

film

The Australian film industry has enjoyed enormous success since its renaissance in the 1970s. In 1992-93, total

expenditure on Australian film and video production was more than $1.2 billion. A number of Australian films,

including the recentMuriel's WeddingandPriscilla Queen of the Desert, have achieved local box office

revenues equal to foreign movies made on vastly bigger budgets.

Australian creative personnel - directors, actors and cinematographers - have been remarkably successful in the

international film industry.

The energy and expertise of independent producers have made Australian film today what it was in the 1920s - a

cultural treasure. Independent production has created a film industry which has a diversity of voices, promotes

efficiency and is cost-effective.

The Government will continue to support the development of the Australian film industry by:

regulating local content on television;

providing funding for the production of Australian films and television programs, together with taxation

incentives; and

working to ensure that international trade liberalisation does not jeopardise cultural objectives.

government support for film production

In 23 of the 24 OECD nations, governments subsidise film industries, through either passive or active investment.

Even in the United States, various regulatory and other incentives are offered at federal and State levels.

The Government confirms that it will continue to provide direct funding to support production of Australian films

and our film idustry as part of our creative infrastructure. The cultural dividend alone makes it wise for

governments to invest in the Australian film industry. And it has been in pursuit of this dividend that the

Commonwealth has supported the industry for the last quarter of a century. There is no intention to turn back theclock and provide film industry support through accelerated tax incentives.

Integrated support for the film industry is provided through the Department of Communications and the Arts and

portfolio specialist agencies.

The Government contributes to the production of films, documentaries and television programs through

assistance programs under the auspices of the Australian Film Finance Corporation (FFC), the Australian Film

Commission (AFC), Film Australia Pty Ltd and the Australian Children's Television Foundation.


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The Government-funded Australian Film, Television and Radio School plays a significant role in industry training.

Further indirect assistance is also provided through a range of taxation and local content requirements.

The FFC was established in 1988 to invest in qualifying Australian films as set out in the Income Tax

Assessment Act 1936. Since its establishment, the Government has invested over $400 million in Australian films

and television programs with total budgets of around $830 million. The Government believes that the involvemen

of the private sector is essential to the development of our film industry, and the target for FFC private sector

participation has been set at 40 per cent across all projects funded. In addition there is a minimum of 15 per cent

private sector participation with respect to each project, except for children's programs and some documentaries

which may drop below 15 per cent. The only exceptions to this are special `Feature Film Fund' projects in which

the FFC provides up to 100 per cent of the budget.

The requirement for private sector participation means that in a large number of cases, funding will only be made

available if there is marketplace interest in the project demonstrated through a pre-sale or a licence fee.

In recognition of the increasing internationalisation of the entertainment industry, and the opportunities presented

for creative collaboration, the Government will also continue to provide funding for certain international co-

productions. The FFC will continue to invest in films made pursuant to treaties with other governments, includingthe United Kingdom, Canada and Italy. These are certified by the Department of Communications and the Arts

on the advice of the AFC.

The Government also promotes the development of film and television projects through the AFC, which was

established in 1975. In addition, tax incentives remain available under divisions 10B and 10BA of the Income

Tax Assessment Act.

Active investment by the Commonwealth in film production and film tax incentives is only available to

productions which are identifiably Australian, having a preponderance of Australian elements, including Australian

creative control, cast and crew, themes and location.

national broadcasters

The ABC is one of Australia's primary cultural institutions and our pre-eminent national broadcaster. The SBS

provides a unique window onto multicultural Australia. It is a service without parallel in the world - and the

Government will continue to support it.

The performance of our national broadcasters has never been more closely scrutinised by the community than at

present.

One of the features which makes our national broadcasters so valuable is that their editorial and programming

independence is guaranteed through legislation. Accordingly, the Government will require effective adherence by

the ABC and the SBS to the charter responsibilities.

This year, the Government committed to a three-year funding agreement for both the ABC and the SBS--

guaranteeing funding in real terms. This has given them the opportunity to engage in significant forward planning

without uncertainty about the level of future funding. This further strengthens their independence.


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government funding of our national broadcasters

YEAR ABC SBS

1994-95 $515.1million $75.7million



the australian broadcasting corporation

The ABC, as the national broadcaster, plays a vital role in the encouraging, developing an Australian culture. It

employs more creative talent and disseminates more cultural product' than any other Australian organisation. It is

a major part of Australia's artistic and cultural life. ABC Television presents over 100 hours of quality Australian

drama each year, along with in-house documentaries and documentaries commissioned from independent

Australian film-makers. In 1992-93 the ABC spent some $222 million on programming for television.

The ABC forges links with the artistic and cultural community by:

adapting the arts to television and radio, and encouraging arts funding bodies to contribute to this process;

innovating and experimenting with radio and television programming, through commissioning and

production;

showing the work of Australian independent film producers; and

encouraging Australian composers and musicians through presentation in performance, competitions and

orchestral workshops.

abc television

ABC television reaches 98 per cent of Australians through terrestrial broadcasts to capital cities and regional

areas and the Homestead and Community Broadcasting Satellite Service to remote areas. It operates 24-hour

broadcasting, seven days a week.

In 1993, ABC Television broadcast over 100 hours of first run Australian drama to reach its highest ever

Australian content levels. On average, more than 75 per cent of ABC TV's evening programming is Australian.

Much of the drama broadcast on ABC TV has received Australian and international accolades. Programs such

asBrides of Christ, Police Rescue, PhoenixandJanushave set new standards in productions.Children'sprograms such asPlayschoolandBananas in Pyjamashave also achieved unprecedented success.

ABC TV has also maintained a strong commitment to coverage of the arts. Sunday Afternoonpresents five and

a half hours of interviews, arts, documentaries and performance programs each week.

As the communications revolution unfolds, the ABC's role in developing Australia's national identity, fostering

cultural diversity and encouraging cultural expression will become even more important.

australia television


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In February 1993, the ABC commenced a satellite television service to South-East Asia in accordance with its

charter. Australia Television is an English-language service which provides regionally focused news, current

affairs, education and general entertainment programming.

It has retransmission arrangements in place with regional broadcasters and cable operators in the Philippines,

Thailand, Vietnam, Singapore, China and Laos.

The challenge for the service is now to attract the large potential audience in South-East Asia able to receive the

direct satellite signal.

abc radio

ABC Radio is a world class radio service offering high quality news, current affairs, entertainment, music, drama,

and arts programming. It has a commitment to high levels of Australian content across all its networks.

ABC Radio broadcasts more than 120 plays each year, and over half of these are Australian. ABC Radio

networks also ensure that a minimum of at least 20 per cent of all music broadcast is performed by Australians,

and 5 per cent of the music is of Australian composition.

The ABC provides five domestic radio services:

Radio Metropoli tan:which has stations in all State capitals, Canberra, Darwin and Newcastle;

ABC Regional:with stations and outposts in 48 regional centres throughout Australia;

Radio National:which is a specialist network with studios and production units in every State;

ABC Classic FM:a national network devoted to music (particularly classical music), performance, audio arts

and features; and

Triple J:an FM youth network which reaches all State capitals, Canberra, Darwin and Newcastle. Triple J has

achieved great success in the radio youth market and is currently being extended to 44 regional centres.

People in rural areas are provided with at least one radio service (ABC Regional). When the Second Regional

Radio Network is completed in 1995--96 they will also have access to Radio National and in some areas ABC

Classic FM.

The Government has recently given the ABC permission to establish a news radio service (the Parliamentary and

News Network) to be transmitted on the down time of the Parliamentary Broadcasting Network. This servicewill cover the capital cities and Newcastle.

The ABC's international radio service, Radio Australia, provides a 24-hour English and foreign language service.

Radio Australia broadcasts news and information-based programs designed primarily to encourage awareness

and understanding of Australia within its target regions of the Central and South-West Pacific, South-East Asia

and North Asia.

the special broadcasting service (sbs)


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The SBS delivers quality radio and television to a multicultural Australian audience.

SBS's programs are carried by satellite and rebroadcast terrestrially in centres around Australia. The television

network is available to around 14.5 million Australians (75 per cent of the population), and SBS's multilingual

radio service is available in most capital cities. The SBS is funded primarily by the Government, ($75.7million

allocated in the 1994-95 Budget) but is permitted to supplement this through sponsorship and other activities.

Current SBS Board policy is that neither commercial sponsorship nor advertising is permitted on SBS Radio.

The S

creative nation _ commonwealth cultural policy, october 1994

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