Draft outline - Submission to creative/cultural industries Inquiry
Okay - at time of posting, we’ve got one week before the deadline for submissions to the Federal Government’s Parliamentary Inquiry into Australia’s creative and cultural industries and institutions - due next Thu 22nd October.
Here is a draft outline of a submission addressing COVID and long-standing structural issues in the Australian jazz sector, with a view to focusing on the benefits and opportunities in response to the terms of reference. You can read it below, or download via this link:
Download - TUoA draft outline (PDF) - UPDATED VERSION 21/10 - excuse any untidy footnotes, will clean…
NB: For the latest version, please download the PDF - the web version has not been updated)
This has been informed by public consultation and research, including the recent Australian Jazz Forum as well as other submissions, surveys, conversations and a bunch of other resources. To get an idea of the background and to contribute, visit the interactive digital Australian Jazz Forum Mural - click here.
It is rough, its not complete - it is an outline. The idea is to have time to incorporate feedback as well as hopefully inspire other in their own efforts. You are welcome to use ideas and/or resources for your own submissions, but don’t simply cut and paste - remember to tell your stories.
If you want advice about how to write a parliamentary inquiry submission, here is a video of last week’s TUoA workshop on the topic. There are no secrets, so don’t be put off.
And keep reading below the video for the text of the draft outline.
Draft submission for Australian Jazz Sector – Parliamentary Submission
- prepared By Adam Simmons/The Usefulness of Art
- informed by community consultation, including Australian Jazz Forum (26 Sep 2020)
Responding to:
From press release, “the benefits the arts bring to Australia, and the significant impacts that COVID-19 has had on this important industry.”
“Australia’s creative innovation economy has made us a major player in the international arts arena, delivering benefits to our economy and helping shape our national identity. It’s time to reflect on and re-think the way we create and interact with art, as we react to the pandemic and the challenges we need to overcome.”
Terms of Reference:
· The direct and indirect economic benefits and employment opportunities of creative and cultural industries and how to recognise, measure and grow them
· The non-economic benefits that enhance community, social wellbeing and promoting Australia's national identity, and how to recognise, measure and grow them
· The best mechanism for ensuring cooperation and delivery of policy between layers of government
· The impact of COVID-19 on the creative and cultural industries; and
· Avenues for increasing access and opportunities for Australia's creative and cultural industries through innovation and the digital environment.
Things to remember
- This is for Federal Government – things like education and certain organisations are more state-based – but in some cases federal money is disseminated to states to disperse, eg, Regional Arts Australia/Regional Arts Fund – RAV in Vic
- The focus is on some issues more than others – some things will be easier, some things will be more relevant to the terms of reference, some things not – and there’s also the fact it is impossible to cover everything.
- With this in mind, some things may yet get pulled and saved for another day, in order to strengthen the main asks.
- This is a work in progress - mainly headings, dot points and notes to remind me of certain references/articles/ideas – so bare bones at the moment…
Read on…
OUTLINE DRAFT FOR SUBMISSION TO PARLIAMENTARY INQUIRY INTO AUSTRALIA’S CREATIVE AND CULTURAL INDUSTRIES AND INSTITUTIONS
Addressed to Committee
INTRODUCTION - more coming
· Jazz has contributed to Australian economy and culture for many years and continues to do so at at all levels including internationally.
· COVID-19 has totally decimated the jazz sector, along with the bulk of the arts sector.
· ‘Whole of ecosystem” or complex adaptive approach required:
o jazz is integral to the scaffolding of contemporary music
o music is interwined with hospitality, tourism, health, education and alcohol sectors
· Focus on jazz sector in this submission, but some recommendations would be suitable across music and/or arts more broadly
EXECUTIVE SUMMARY - more coming
· An overall picture of the submission
o Consultation & Community
o background to this submission
o snapshot of Australian jazz
o COVID impacts
o whole of eco-system links/thinking
o potential for jazz (arts) to contribute to broader recovery due to connections across other sectors
o cost benefits of investing in jazz sector through existing mechanisms and developing structural support
CONTENTS
1. Consultation & Community
2. Overview of current/normal state of Australian Jazz sector and role it plays within broader economy
3. COVID impact
4. Benefits/Opportunities
a. Direct/indirect economic
b. Non-economic
c. Innovation/digital
5. Mechanisms for communicating with government
6. Recommendations
7. Implementation
1. CONSULTATION & COMMUNITY
This submission has prepared by me, Adam Simmons, Director of The Usefulness of Art, in public consultation with a broad range of contributors and jazz industry members from around Australia, as well as informed by recent research and surveys.
The community consulted for this submission extends across the whole sector: major international festivals to small clubs; from traditional to contemporary jazz; from our leading professional artists to young emerging artists; and from other associated industry workers to the genre’s passionate audiences.
The Usefulness of Art (TUoA) is an arts consultancy business, which seeks to share learnings of a practicing artist/artsworker for the benefit of building a more informed, professional and sustainable artistic community. TUoA offers services in mentoring, grant-writing, career advice and engages in advocacy activities. TUoA extends and draws upon my experience from over 30 years of professional performance practice across most styles of music, performing internationally on saxophones, flutes, clarinets and shakuhachi. Primarily based in jazz, I have self-released over 20 CDs and contributed to over 100, including with major artists such as Gotye, You Am I, Australian Art Orchestra, Kutcha Edwards and others. I have also been artistic director for events including Wangaratta Festival of Jazz and Blues and Festival of Slow Music (Ballarat).
Since May 2019, I have been working via TUoA in a pro bono role outlined by Victoria’s Jazz Industry Strategic Action[1] to develop a model for a jazz industry platform. TUoA’s activity in regard to this role during this time includes:
· Researching/preparing a submission for Senate Inquiry into Government’s response to COVID-19
· Australian Jazz Forum - online consultation on Sep 26, 2020. Over 70 attendees participated in discussing the Australian jazz sector, creating an interactive digital workspace on the Mural platform, allowing ongoing public contribution to the consultation process.[2]
2. OVERVIEW - more coming
Overview of current/normal state of Australian Jazz sector and role it plays within broader economy.
Whole of eco-system… complexities of identity, but ultimately all connected by passion for what the music embodies -
Professional / hobbyist
Trad / contemporary / progressive
Sideman / leader – worker / small business
All contribute to the whole -
Jazz in Australia has a long history with internationally influential artists such as Wilma Reading, Graeme Bell, Don Burrows, Dale Barlow, Paul Grabowsky, The Hoodangers and The Necks.
3. COVID IMPACT - more coming
– significant, devastating – economically, disconnection, wellbeing impacts, potential loss of participants, lack of capacity
- pre-COVID many in the sector were already earning well below median income, now nothing.
I’ll refer to some of these documents, maybe attach one or two as an Appendix and quote others:
- refer to TUoA Senate Inquiry submission[3]
- Case studies of festivals
- Artshub article – COVID-19 Survey[4]
- TUoA Blog – Survey analysis[5]
- Venues – see Jon Perring submission to this inquiry[6]
- Artshub article – initial impact on jazz sector of pandemic[7]
ALMBC report[8]
4. BENEFITS & OPPORTUNITIES
Basically making the case for how jazz contributes to many things at a high level, some funded and some note, but basically that despite low funding the sector still contributes a lot economically and non-economically – both within its community as well as to other genres/artforms/industry sectors
· Direct/indirect economic – sustainability of artists, recording studios, IP/royalties, hospitality, weddings, musical theatre, education, tourism, health
· Non-economic – social connection/cohesion, creativity, mental wellbeing, national identity, urban
· Innovation/Digital – diversification of income streams, expansion of potential audience, connection to international networks/organisations/festivals
Opportunities
VicJazz Connection
I am setting up a pilot program for 2021, connecting 7 organisations for monthly online social connection gatherings – musical performances, listening party, story-telling, mentoring – driven by creating certainty and regaining a sense of purpose for the community.
Case for investing in jazz festivals
A second-tier, non-profit festival, run by volunteers, with a mix of professional and amateur musicians. All of the venues except one are indoors, and the outdoor one is small and uncovered. It attracts approximately 1400 attendees annually and the only funding they receive is $10,000 from local council.
From their research as well as the local council’s the impact on the town in terms of accommodation, food and beverage and shopping, contributed approximately $620,000 on conservative estimates. That is a huge boost for the small town’s economy but also the Federal Government benefits from the GST collected on the activity of approximately $56,000. No mention yet of alcohol excise or WET.
Not bad for a $10K investment by the local council.
But in 2021, there will be no festival and in 2022, they anticipate the festival may only have 50% capacity.
What if $25,000 per annum was invested in the festival over the next few years to help cover costs of presenting a new marquee stage to help double the capacity of the festival and cater for social distancing? If the festival doubled in size along, the economic contribution could rise to $1,200,000 for the town, with a GST total of $100,000.
An investment of this amount would still be revenue neutral for the Federal Government at 50% of normal attendance levels. But the return on investment rises steeply above that.
Or the festival gets no additional support and decides to call it quits.
There are many festivals like this across Australia – no state or federal engagement or support but contributing to , the festivals are all very low cost, which makes it easy for an investment to have a major impact.
Case for investing in jazz musicians
Actually… here is a list of musicians that have trained in jazz, perform regular as jazz musicians but contribute at a high level in mainstream/popular music also:
· Paul Grabowsky – recent recordings with Paul Kelly and Kate Ceberano
· The Cat Empire – started as a jazz trio led by Steve Sedergreen as mentor
· Zoe Hauptmann - plays with Missy Higgins and Ian Moss, Artistic Director of SIMA and Co-Artistic Director of Wangaratta Festival of Jazz & Blues
· Lawrence Pike – jazz drummer, played with Sarah Blasko on ABC’s Q&A last week
· Shannon Barnett - ex-Circus Oz Band
· Ben Northey – played jazz in school big band, now conducts Melbourne Symphony Orchestra
· Adam Simmons – recorded with Kutcha Edwards, Gotye, Bertie Blackman, You Am I
The list goes on and on… but finally:
· Cold Chisel – the members of this quintessential Aussie pub-rock band were/are great appreciators of jazz, with Jimmy Barnes stating:
"If I hadn't joined Cold Chisel they would have been a f---in' jazz rock band," Barnes says, dragging himself away from the hugs and smiling faces at the counter towards a table at the rear of Pellegrini's. "'Mossy wanted to play nice, Don (Walker) was into Miles Davis and Steve (Prestwich) was into Yes.”[9]
In November 2015, I presented “100:25:1”, a project featuring duets with 100 artists across 25 nights. Five broad musical categories were represented by 20 musicians in each.. One of the discoveries was that the jazz group was the most connected across all genres of performance, followed by classical. Of interesting note was how the most connected people in the network were not necessarily the “stars” but were those that crossed genre and worked across a number of musical traditions, channeling “people to other people, and likewise channeled capital through the network”.[10] In our writing, we argue that “to really support this creative economy, we need to fund people, places and their connections.”[11]
Education and support for their development and employment as jazz musicians is key for gaining transferable skills such as creative thinking and problem solving, that are utilisable across all kinds of music as well as in other aspects such as teaching, marketing, production, management, administration and hospitality.
For further background on the state pre-COVID of the Australian jazz sector, these documents identify a range of challenges and opportunities being identified through documents such as:
· Creative State 2020+ (TUoA submission for Victorian jazz sector statewide)[14]
The Current Circumstances of Jazz in Australia (2020)[15].
5. MECHANISMS FOR COMMUNICATION WITH GOVERNMENT
Currently, there is no central organisation or collective voice speaking for the Australian jazz sector to the various levels of government. This has not always been the case, nor does it mean that jazz has been ignored. In fact there are conversations underway to address this – the consultation behind this submission is evidence of that.
Jazz and other niche styles have slowly slipped out of the commonly used term of “contemporary music”, despite the continuing influence of jazz in other genres[16], the utilisation of jazz artists across genres due to their skillsets[17] and/or simply for employment. The organisations involved in Government level discussion about arts/music sectors have not been actively engaging with the jazz community. Nor have the specific initiatives to date for addressing the COVID impact on the arts been of any significant assistance. – this is born out in the TUoA COVID Survey results showing a huge disconnect between the jazz sector and the Government with 93% stating there is not enough support for Australian jazz and only 1.2% saying there was.
But there is an identified need for from different quarters – these groups have informed this submission and hence the role I am in to develop a model for a supportive jazz industry platform.
The Australia Council for the Arts (ACA) has been supporting development of jazz in various ways over many years. In more recent years, funding has been more competitive, particularly due to lingering negative impacts from the introduction of the now defunct Catalyst program – discussion of this is beyond the scope of this submission, but this was the subject of a Senate Inquiry in 2015.[18]
ACA supported initiatives that have recently contributed to Australian jazz include the ongoing support of Sounds Australia and more recently the Australian Music Centre in promoting and developing export into the European market via Jazzahead industry showcase (Germany). From personal experience, as an artists and/or festival director, I have seen and benefitted from the increase in awareness, profile and activity this targeted industry support has generated.
But so much more could be done if there was more support for development of the jazz sector to be able to engage more efficiently and effectively with these larger organisations like ACA, Sounds Australia, Australian Music Centre, APRA AMCOS, AMIN and others, in order to develop strategies in conjunction with the specific needs and strengths of the jazz sector in mind.
Retaining arm’s length funding for the arts via ACA is important. From experience as a peer assessor for other bodies (not ACA), I have faith in the integrity of the systems in use across the arts, which makes it easy to engage and encourage others. With the aforementioned Catalyst program as an example that drew widespread criticism for its implementation and outcomes, it would be imprudent to consider moving in that direction again.
6. RECOMMENDATIONS
The Terms of Reference refer to “how to recognise, measure and grow” the benefits and opportunities – hence the groupings…
Recognise
- Data of economic benefits related to activity by jazz sector (jazz clubs, festivals, weddings, cafes/restaurants) – no government engagement/reporting/support so it is hidden/invisible - lack of representation by larger organisations – LPA, APRA AMCOS, ARIA, AMIN
- Opportunity to fill this knowledge gap
Measure
- Commission scoping document – properly identify and measure the size, impact and benefits of Australian jazz sector – venues, festivals (regional/metropolitan), public events, education, community/school ensembles,
- Build organisational capacity for measuring/data collection – skills/resources, training, increase workforce opportunities
Grow
SUPPORT SECTOR GROWTH/VISIBILITY/CAPACITY
- An alternative model to be applied for jazz to get Major Performing Arts funding support from Australia Council, acknowledging the size of the sector, audience and impact in comparison with other funded artforms
TOURISM/FESTIVALS/REGIONAL opportunities – social connection, professional development/networking, employment, hospitality/local business
- Funding for existing regional festivals (many that normally survive without Federal or State funding but run by volunteers with limited capacity) to survive COVID – paid internships for young, emerging professionals – marketing, logistics, production, IT, managerial, accounting, etc – creating employment opportunity, increasing productivity and developing networks and audiences.
- Tourism – jazz festivals to work in conjunction with Tourism agencies to promote domestic and international cultural tours.
- Establish regional circuits – often more sustainable than national touring – provide support for jazz presentation via RAV/VAPAC and similar – mini-loops that could ultimately connect -
- Encourage combined concert/education touring – currently funding is usually actively for one or the other, diminishes financial viability and reduces ability to connect completely with communities in wholistic fashion.
VENUES
- See Jon Perring’s suggestion for venue support through sourcing revenue based on turnover through WET
- See also below regarding Artist Sustainability
EXPORT
- Support international connections especially in lieu of flight restrictions.
- Eg. Sounds Australia’s Global Music Match, Wangaratta Fest, The Boite, TUoA
- Showcase event – invite target regions – example of The Visit (supported by Creative Scotland) (either here or below)
HEALTH/WELLBEING
- see below – Launceston General Hospital example – expand nationally… to put here or leave below?
- for artists/artsworkers - provide certainty of opportunity, support - see below
Other (not sure whether I put this separately, or within the three categories above – or in an Implementation section below?)
Other opportunities for jazz to be part of COVID recovery and develop structural capacity:
- An alternative model to be applied for jazz to get Major Performing Arts funding support from Australia Council, acknowledging the size of the sector, audience and impact in comparison with other funded artforms – could a collective of jazz organisations qualify for the $1.6million revenue combined?
- Support international connections especially in lieu of flight restrictions - see also below
- Support national celebration of International Jazz Day (UNESCO)
- Multi-year funding options for existing jazz presenting organisations to allow certainty and innovation in planning – eg, SIMA, Melb Jazz Cooperative, COMA, major festivals including Melbourne, Perth, Wangaratta
- Targeted showcase event for Australian artists – example, Scotland’s The Visit which promotes both Scottish music and culture to industry professionals from different regions each year. The 2018 iteration resulted in a first time project, “The Year of Scotland” planned for Australia in 2020.
Artist Sustainability
– vital for developing skills/training that contribute across different sectors – these could apply to arts sector in general, including but not limited to jazz sector:
Non-competitive funding programs – existing models include:
- countries that offer guaranteed travel support if certain conditions are met, eg. minimum 3 concerts
- Australian Govt construction stimulus package – non-capped funding for renovations that meet eligibility criteria
- Business development program (Victoria) – consultant to help complete application and meet all criteria
Venue subsidy for presenting live music
- JobKeeper model – venue pays artists and receives money in arrears
- Fund drawn from turnover, based on WET Tax paid by venues – refer to Jon Perring’s idea
Various other examples of artist support
- French IDS System for artists
- Universal Basic Income
- Job Guarantee
7. IMPLEMENTATION
Much of this could be implemented through existing avenues, but the key recommendation of this submission is that support to the sector’s efforts in creating a more united and active network.
Existing avenues
- Funding organisations, ie, Australian Council, Regional Arts Australia and state bodies - infrastructure, processes and networks are already in place
- Jazz organisations and other music bodies – SIMA, Melb Jazz Coop, festivals, venues, Music VIC, Music NSW (& similar), APRA AMCOS – identify which strategies they could implement directly – things that are basically supporting and extending their core activities
New body – for the extra stuff
No one has capacity to do extra stuff (that has been articulated more than once!), so there is an identified need – bigger picture, develop consistency of measuring, work in cooperation with other major organisations for better strategic planning and communication for specific needs of the various (and varied) parts of the jazz sector.
Any new body will need to aim for self-sustainability. Financial support and engagement from within the community will be vital to ensure its longevity and relevance. Extra assistance would come from a mix of public, private and philanthropic funding.
The aforementioned VicJazz Connection pilot program for 2021 is already creating an active network and a dedicated platform. This statewide initiative could develop a model for other states to implement, ultimately with a view to uniting in a national platform as a conduit for the jazz sector to connect and complement the activities of other organisations. In the spirit of a jazz ensemble, all the parts would aim to work together for a whole greater than the sum.
Finally - there is a lot here, but that’s because there are many positive opportunities that the jazz sector can respond to, and in some cases are already being acted upon. For relatively small investment financially, certainty can underpin the jazz sector’s recovery and prosperity, and in doing so assist the broader recovery in generating positive economic and social wellbeing outcomes.
Adam Simmons - 15/10/2020
- The Usefulness of Art
[1] Commissioned by Port Fairy Jazz Festival with Moyne Shire Council -https://www.portfairyjazz.com.au/strategic-plan.html
[2] Australian Jazz Forum Mural - https://app.mural.co/t/ghddigital7445/m/ghddigital7445/1600583747987/321d48315ad8e36d6f19a75026eda9c603993b27
[3] https://www.tuoa.com.au/blog/submission-to-senate-inquiry-on-govt-response-to-covid-19
[4] https://www.artshub.com.au/news-article/features/covid-19/adam-simmons/jazz-sector-looks-to-the-future-despite-covids-discord-261155
[5] https://www.tuoa.com.au/blog/survey-results-australian-jazz-amp-covid-19
[6] https://www.aph.gov.au/DocumentStore.ashx?id=ff5367b0-c152-4e1e-9f42-2ab27633220f&subId=692245
[7] https://www.artshub.com.au/news-article/opinions-and-analysis/covid-19/adam-simmons/coronavirus-australian-jazz-on-the-edge-260060
[8] https://almbc.org.au/news/survey-results-confirm-crisis-in-australian-live-music-business
[9] https://www.smh.com.au/entertainment/music/lunch-with-jimmy-barnes-20170525-gwcy2i.html
[10] Appendix 2: Fit for Purpose? : Funding the creative economy beyond venues and stars – Fitzgerald/Simmons - https://www.tuoa.com.au/blog/fit-for-purpose-funding-the-creative-economy-beyond-venues-and-stars
[11] ibid.
[12] The Music Trust, http://musicinaustralia.org.au/index.php?title=SWOT_Analysis_of_Jazz
[13] Commissioned by Port Fairy Jazz Festival with Moyne Shire Council -https://www.portfairyjazz.com.au/strategic-plan.html
[14] https://www.tuoa.com.au/blog/submission-to-victorian-governments-creative-state-2020
[15] The Music Trust, http://www.musicinaustralia.org.au/index.php?title=The_current_circumstances_of_jazz_in_Australia#SWOT_Analysis_of_Jazz
[16] https://www.amacad.org/publication/why-jazz-still-matters
[17] https://www.tuoa.com.au/blog/fit-for-purpose-funding-the-creative-economy-beyond-venues-and-stars
[18] Senate Inquiry into the Impact of the 2014 and 2015 Commonwealth Budget decisions on the Arts