RE: Impact of the 2014 and 2015 Commonwealth Budget decisions on the Arts
My name is Jessica White and I’m a writer and researcher based in Brisbane. As of next year, I will have been writing for twenty years. My first novel, A Curious Intimacy, was published by Penguin in 2007 and won a Sydney Morning Herald Best Young Novelist award, was shortlisted for the Dobbie award for debut women writers and the Western Australia Premier’s awards, and longlisted for the international IMPAC award. My second novel, Entitlement, appeared in 2012, also published by Penguin. My short fiction has been published in a range of literary journals, including Southerly, Island, Overland and the Review of Australian Fiction. I was recently shortlisted for the 2015 Commonwealth Short Story Prize which attracted nearly 4000 entries from around the world.
I am also a researcher and non-fiction writer. My PhD at Birkbeck College, University of London, was funded by a scholarship from the University of Melbourne. I have been shortlisted for the Calibre essay prize and Peter Blazey Prize for life writing, and my essays have been published in Griffith Review, Southerly, Island and Cordite as well as national and international academic journals.
I have been deaf since I was four, when I lost most of my hearing to meningitis. My disability was responsible for my decision to become a writer and it has also strongly influenced my subject matter and style. I am passionate about giving space to voices which have been overlooked, including those of people with disability.
In 2013 I was the recipient of my first ever grant, $5000 from Arts Queensland, to further my research on 19th century Queensland novelist Rosa Praed. In the course of that research, I located new archival material in England relating to her daughter Maud, who was deaf. This included a 17 page letter Maud wrote to her doctor and, given the history of the suppression of the voices of the deaf, this find was of immense significance. My research on Maud has been woven into a memoir which will help general audiences understand the history and impact of deafness, which is surprisingly little known.
This grant gave me much-needed recognition, particularly in Queensland where I was a relative newcomer. In 2014 I received my first grant from the Australia Council for the Arts ($9,820) from their Artists with Disability programme to write a novel, The Sea Creatures, which is almost completed. In June 2015, I was fortunate to receive a New Work grant from the Australia Council ($15,750) to write a young adult novel, When the World Shivered. Both of these books are about disability, and once they are published I will take them into schools and use them to prompt discussions about disability, and to show that the lives of people with disability are of worth. I am not using these grants to write esoteric pieces of art, but to help knit together our social fabric.
I have been applying to the Australia Coucil for funding since 2008 and these grants were from my 11th and 13th applications respectively. Although they are not large grants, their impact on my life cannot be understated. They have given me the time to write and mean that I do not have to take on additional teaching work to survive (something that, because of my disability, makes me too exhausted to write). They have given me financial stability, which means that I can think about having a family before it’s too late (something I’ve put off because the life of an artist, let alone one with a disability, is precarious at the best of times). They have also allowed me to become financially independent of my parents, who supported me repeatedly while I found my feet as a writer and learned to manage with a disability.
My tenacity in applying for these funds came from desperation: without that money, I would not have been able to write. I have heard many artists say that they have been put off by the competitiveness of the Australia Council’s application process for funding, and I don’t blame them; it is no easy thing to be rejected year after year. Yet I often wonder about these people, and the books they would have written or the art they would have created. How much more culturally enriched would Australia be if the Australia Council had the money to fund these artists?
You can see, then, that George Brandis’s cut of $104.8 million from the already-tight budget of the Australia Council will have huge ramifications, not least by limiting the voices of emerging writers and those with disability. The arts in Australia are in threat of becoming homogenised.
In addition, the new funding mechanism, the National Programme for Excellence in the Arts (NPEA), does not have the same arms-length peer review process as the Australia Council and decisions will be up to the Minister. These undemocratic overtones are alarming, but not unsurprising from a government whose language ever more closely resembles the doublespeak of George Orwell’s dystopian novel about totalitarianism, 1984. In 2014, for example, there was a budget crisis, but in 2015 the Arts Minister thinks it fit to waste money but duplicating administrative processes through the NPEA.
In 2012, Anna Funder won the Miles Franklin Literary Award for All That I Am, a novel about the insidious creep of Nazism in the 1930s. In her acceptance speech, she criticised the then Queensland Premier Campbell Newman who had just binned the Queensland Premier’s Literary Awards (one of his first acts of parliament). ‘I have spent my professional life studying totalitarian regimes and the brave people who speak out against them,’ Funder said, ‘And the first thing that someone with dictatorial inclinations does is to silence the writers and the journalists.’ It is telling that there is no mention of literature or writing in the NPEA guidelines.
I have been deaf for as long as I can remember and I know what silence and silencing can mean. Artists reflect the culture that is around them. A government that hobbles the creativity of artists by cutting off funding is a government that does not want to listen to what is said of the society it moulds.
After World War Two, my relative Patrick White returned to Australia from England. In 1958 he published an essay, ‘The Prodigal Son’, in which he wrote of his experiences of returning. He commented, ‘In all directions stretched the Great Australian Emptiness, in which the mind is the least of possessions.’ Given the attenuation of the Australia Council through budget cuts, and the meagre amounts offered to artists in general, we are at risk of returning to the culture of which Patrick White wrote. Furthermore, what chance does Australia have of finding a new Nobel Prize for Literature winner when the NPEA guidelines make no mention of literature or writing? How will we find the emerging voices of Indigenous people, migrants, people with disability, or queer/gay writers when many of these minorities, as you can see from my own experience, are just struggling to get by, let alone make their art? Is the voice of Australia to become one that, as Patrick White was panicked to find, merely exalts the ‘average’?
As an emerging author with a disability, the Australia Council has irrevocably changed my life. It distresses me deeply that so many other artists may not have the funding they need to practice their craft or acquire recognition. I urge you to reverse the cuts to the Australia Council – it is so little money, and yet to Australia’s artists and Australian culture, its worth is inestimable.