Australia Yearbook - 2001

Chapter 12—Culture and recreation 561
18 For discussion of the objectives of arts policy
in another time and place, see K. King and M.
Blaug, “Does the Arts Council know what it is
doing?” in Mark Blaug (ed.) The Economics of the
Arts (London: Martin Robertson, 1976),
pp. 101–125.
19 See further on this point in CPD, vol. H. of
R. 19 (1976), p. 1822.
20 Industries Assistance Commission, Assistance
to the Performing Arts (Canberra: AGPS, 1976).
21 See further in CPD, vol. H. of R. 19 (1976)
p. 1802.
22 House of Representatives Standing Committee
on Expenditure, Patronage, Power and the Muse:
Inquiry into Commonwealth Assistance to the
Arts (Canberra: Parliament of the Commonwealth
of Australia, 1986).
23 For a review of the McLeay Report, which
draws attention to the Committee’s neglect of
the individual artist, see contributions to Philip
Parsons (ed.), Shooting the Pianist: the Role of
Government in the Arts (Sydney: Currency Press,
1987). For further discussion of arts funding
during this period see: Tim Rowse, Arguing the
Arts: the Funding of the Arts in Australia
(Ringwood: Penguin, 1985);
John Gardiner-Garden, Arts Policy in Australia: A
History of Commonwealth Involvement in the
Arts (Canberra: Department of the Parliamentary
Library, Background Paper No. 5, 1994); and
Donald Horne, Into the Open (Sydney: Harper
Collins, 2000), chs. 12 and 13.
24 See the useful series of statistical compilations
published by the Australia Council under the
generic title The Arts: Some Australian Data, of
which the first appeared in 1982, with subsequent
editions in 1984, 1989, 1991, 1996 and 2001;
these reports map trends in key economic
variables relating to the arts over time. For an
assessment of the economic size of the arts
industry, see Hans Guldberg, The Arts Economy:
1968–98 (Sydney: Australia Council, 2000).
25 See a range of studies cited in National Centre
for Culture and Recreation Statistics, Measuring
the Impact of Festivals (Adelaide: ABS, 1997).
Cultural Economics: The Arts, the Heritage
and the Media Industries (Cheltenham:
Edward Elgar, 1997), vol. II, pp. 499–719.
27 The original study was published by the
Australia Council under the title What Price
Culture? (1984); for further detail see David
Throsby and Glenn Withers, “Measuring the
demand for the arts as a public good: theory
and empirical results”, in William S. Hendon
and James L. Shanahan (eds.), Economics of
Cultural Decisions (Cambridge: Abt Books,
1983), pp. 177–191. Our study was
subsequently replicated in Canada, with
broadly similar results; see William G.
Morrison and Edwin G. West, “Subsidies for
the performing arts: evidence on voter
preference”, Journal of Behavioral
Economics, vol. 15, (1986), pp. 57–72.
28 See Department of Communications and
the Arts, Creative Nation: Commonwealth
Cultural Policy (Canberra: AGPS, 1994).
29 The theme of this conference, held in
Parliament House, Canberra, on 11–12 August
1994, was built around the questions “What
are the cultural industries? How can they
make the most of links with other industries
such as tourism, new technology,
manufacturing? How can they break into the
export market?”; see Department of
Communications and the Arts, Creating
Culture: the New Growth
Industries—Conference Papers (Canberra;
DOCA, 1994).
30 See the original survey reported in The
Artist in Australia Today, and then the
subsequent surveys reported in David
Throsby and Devon Mills, When Are You
Going to Get a Real Job? (Sydney: Australia
Council, 1989), and David Throsby and
Beverley Thompson, But What Do You Do
for a Living? (Sydney: Australia Council,
1994).
31 See Major Performing Arts Inquiry,
Securing the Future: Final Report,
(Canberra: Department of Communications,
Information Technology and the Arts, 1999).
26 For some of the contributions to this debate,
see papers collected in Ruth Towse (ed.),