On Tuesday I made my first visit to Parliament House Canberra for almost a decade and my first non-ministerial wing entrance for twice that time.
This will no doubt horrify some who will then wonder how on earth I could have been writing about politics and communications in that time without being at the coal-face. But the visit reminded me again that, while in science getting closer and closer can lead to revelations, in political science it often makes things darker and harder to see.
I went with a team of Save VCA campaigners — students, supporters and staff — organised by the National Tertiary Education Union to lobby backbenchers and advisers on rescuing VCA from the funding cuts made by Brendan Nelson and the subsequent changes imposed by the new VCA management.
With the normal lobbying rush of racing between offices, waiting around and having meetings shifted, it was interesting to watch people trying to gauge what was going on from the atmospherics, the brief conversations and the reactions to these.
The first observation is that because most press gallery members are expected to know what’s going on, but generally only know what they have been told, there is a paradoxically increased push to be authoritative. Like politicians they can’t say they don’t know, so instead create some appearance of authority, astute observation or report about something — colour, light, movement, leadership speculation, polls — which are interesting and are easy to report authoritatively.
For instance, probably no-one outside the PM and a couple of others (and perhaps not even them yet) really knows when the next election will be, but everyone has an opinion on it and a strong view on what the timing means.
For myself, perhaps the only authoritative judgment I have ever felt able to make after visiting Parliament House, is what the art on the wall of MPs offices say about the MP.
Parliament House inhabitants — like inhabitants of boarding schools, prisons and other unnatural environments — place much greater emphasis on incidentals and atmospherics than people in the real world. So someone’s mood, body language and off-hand comments assume far more significance than they might from a distance. And then the comments about the moods, body language and comments get interpreted and re-interpreted in the light of bigger questions about who will win the election.
The historian, Felipe Fernandez-Armesto in his book Millennium, asked his readers to carry out a thought experiment when thinking about the past. If you were someone sitting in another galaxy in a thousand years time looking at the Reformation, what on earth would it look like and how significant would the differences between Protestants and Catholics actually seem to you? In Canberra it is easy to create an analogous thought experiment just by getting on the plane back home.
But it is also easy to forget how willing to help some backbenchers and many political advisers are prepared to be. Admittedly we were auspiced by a union using their contacts, but MPs (and advisers) were prepared to put in a word for us and, more importantly, make suggestions about how we could further our campaign. So did Opposition advisers. Now arguably backbenchers are excluded from much significant decision-making and thus may have more time to help in between being required to participate in parliamentary rituals.
But when a backbencher from Brisbane, for whom we would be lucky to swing one vote, takes the time to engage with the issues and suggest a number of options we hadn’t considered, it reminds you that most of us got involved in politics in the first place because we wanted to change things.
On the other hand — while help is plentiful — getting commitments or decisions on core issues is as difficult as ever. Canberra lobbying visits are simply for consciousness-raising and not for commitments.
But that doesn’t stop the lobbyists coming. With what is almost certainly the last sitting of this Parliament underway, the place was crawling with them and I ran into several I knew even before I got out of the airport.
So — what did I conclude after getting back home?
First, it seemed that some backbenchers were nervous but neither the Coalition nor the Government really believed the Government would lose the next election even if this personal observation was probably only impressionistic confirmation bias. Second, there was no hint from anywhere that anyone had an inkling of last night’s events. Third, from the Fernandez-Armesto millennial galactic view — either everyone in Canberra knows nothing or nobody in Canberra knows anything.
This was misplaced effort. The Victorian College of Arts has been given the same funding rate as every other higher education conservatorium, performing arts academy and art school.
While we are all special in our own way, the VCA hasn’t demonstrated that it is more special than the Sydney Conservatorium, the Queensland College of Arts and the various other creative arts academies embedded in universities.
“Parliament House inhabitants — like inhabitants of boarding schools, prisons and other unnatural environments — place much greater emphasis on incidentals and atmospherics than people in the real world.”
I would add Offices to this list.
Art on the walls of Parliament house as a referent for policy? Sigh. Many years ago I was a principle press sec under Kernot, briefly for Keating and more recently of Lyn Allison to fight for the RU486 campaign. I spent a lot of time in Parliament house.
I also taught prof writing at RMIT and ran the creative writing courses. Noel is quite right. You don’t need to be in Canberra to know what’s going on, but it helps.
I used to marvel at people who would teach political comms at uni and who had not worked in politics. It’s a bit like teaching cooking without turning on the gas. The most authorative voices come from the Canberra Press Gallery. True. They don’t always know what’s going on but they’ll have a better understanding of policy changes than by staring at art in the foyer.
I have to agree with Gavin here. In fact I would say that the VCA trails the QCA and WOPA.
Thanx Malcolm
Do you mean the Western Australian Academy of Performing Arts? I have visited it and know it to be highly prized in Perth, but I did not know that it is one of the better academies.
Gavin – the reason SAVE VCA and the NTEU went to Canberra was to impart greater detail about VCA’s status – detail which you have clearly not sought out before posting your above comment.
VCA is NOT funded like any other elite arts education institutions such NIDA, National Institute of Circus Arts, Australian Ballet School, Australian National Academy of Music and the Australian Film Television and Radio School which are funded through the Arts Ministry as cultural institutions (see http://www.arts.gov.au/arts_training_bodies).
VCA (or VCAM as it has been renamed) is funded under the Education Ministry at substantially lesser rates than its Arts Ministry funded counterparts and does not enjoy the curriculum independence that comes with this funding structure.
To make matters worse, in 2005 VCA suffered a $5m p/a cut when the Howard Government altered the Education Ministry cluster funding system. Brendan Nelson ordered the University of Melbourne (which had a long running affiliation with VCA) to pick up VCA’s funding shortfall until 2011.
The merger with the University of Melbourne in 2007, and the expansion of the merger in 2009 to include UoM Music was approved the Victorian Government under the presumption they were safeguarding VCA financially, so the College could continue its work.
The opposite has proven true.
Despite UoM inheriting $103m of VCA assets upon merger, the University now charges VCAM substantial rental and admin costs for the honour of using its own facilities. In 2007 the rental alone was $6m plus $9.231m in additional UoM Admin Costs. We dont know figures post 2007 because UoM no longer makes VCA’s budget public, but you don’t need a calculator to work out what VCA’s books would now look like.
The University response has been to slash and burn – 8% of VCA staff gone in 2009 alone. VCA Music Theatre, VCA Film & TV Documentary and Visual Effects and VCA Puppetry, all “suspended”. Plans for a 154% increase in VCA Film & TV students by 2015 with no extra teachers and a desire to make students make films in pairs (instead of each doing their own which is the hallmark of VCA Film & TV). There is also a desire to use “Melbourne Model” breadth subjects as a new income stream for VCAM, regardless of whether the paradigm suits the College or not.
The University is doing its level best to make sure there is no need for a subsidy by 2011 – to hell with the cost to the students, staff and Australia’s creative economy.
Funds that previously went to producing world class performers (as we have just seen at Cannes – see reference 5 below) now goes to the UoM. And to date this has been unchallenged by the current State and Federal Governments.
Your assertion that “VCA hasn’t demonstrated that it is more special than the Sydney Conservatorium, the Queensland College of Arts” beggars belief. VCA is the only elite arts college in this country to teach every art form at a tertiary level – a qualification which is indeed rare globally.
A quick glance at VCA’s alumni is testament to the College’s sustained contribution to the arts industry across all art forms (see http://savevca.org/vca/alumni).
Despite the dark clouds, VCAM remains a rare gem – a multidisciplinary college where staff and students continue to punch above their weight across Dance, Drama, Production, Music Theatre, Art, Music and Film & TV –in the face of this imposed lunacy and through the knowledge VCA must survive.
Thankfully wonderful single-discipline institutions like the Sydney and Queensland Con’s do not suffer under University Melbourne mismanagement, are not suffering from an imposed financial crisis and are not being used as a political football. I sincerely hope they never find themselves in VCA’s financial and management position so they can continue to contribute to Australia’s artistic landscape (and the money it generates) to the high calibre they do now.
Last week Live Performance Australia announced this countries live entertainment industry was worth $1.1 billion in 2008 alone (see 3). When extrapolated out to the broader Creative Economy, CCI believe it’s worth $31.1 billion (see 4).
If something is not done about VCA’s funding and lack of independent management this year, Australia will have a problem that goes beyond the artistic – it will costs jobs and a lot of money.
VCA Puppetry has only been gone a year and the financial pain is already obvious (see 1). And that’s only one art form.
Furthermore, the fact that such a significant multidisciplinary elite arts training ground as VCA is being allowed to wither in the midst of a skills shortage (see 2) continues to astound the arts industry and will costs votes.
Thankfully though Gavin the politicians that met with SAVE VCA and NETU did get that point that you missed.
SCOTT DAWKINS
VCA Music Theatre Grad 2006
savevca.org
1 http://www.theage.com.au/articles/2009/09/18/1253209001428.html
2 http://www.theage.com.au/entertainment/movies/lights-camera-lots-of-action-20100614-ya7u.html
3 See http://www.liveperformance.com.au/default.aspx?s=newsdisplay&id=341
4 CCI Economic Report Card 2010 see http://www.cci.edu.au/publications/creative-economy-report-card-2010
5 http://www.theage.com.au/national/maker-of-the-stars-in-search-of-white-knight-20100521-w1yg.html