Ben Quilty’s essay, adapted from “A Time for Bravery,” isn’t about entertainment in the traditional sense, but it’s a brutal takedown of Australia’s cultural priorities – and a stark warning for anyone trying to build a career in the arts. It’s a reminder that the “industry” isn’t just about premieres and box office numbers; it’s about the systemic forces that decide *who* gets to tell stories, and which stories get told.
- The essay highlights a historical undervaluation of the humanities in Australia, exacerbated by recent policy decisions like doubling fees for humanities degrees.
- Quilty draws a sharp contrast between the financial and societal support given to athletes versus artists, pointing to funding for the Australian Institute of Sport.
- The piece argues that a thriving arts scene is crucial for building “social fibre” and a confident national identity, a role sport alone cannot fulfill.
Quilty’s personal anecdote – being steered away from art school towards economics by a careers advisor who then alerted his parents – is a microcosm of a larger problem. It’s not simply about individual thwarted ambitions; it’s about a system that actively discourages creative pursuits. This isn’t a new battle. The essay references Gough Whitlam’s reforms in the 1960s as a period of cultural awakening, suggesting that progress isn’t linear and requires constant defense.
The comparison between sport and the arts is particularly pointed. While sporting victories provide a fleeting sense of national pride, Quilty argues that art offers something more enduring – a deeper understanding of ourselves and our history. The fact that Australian prime ministers consistently align themselves with sporting teams speaks volumes about where national value is placed. The essay subtly critiques a media landscape that’s quick to attack creative problem-solving while simultaneously demanding originality.
This isn’t just an Australian issue, of course. Globally, the arts are often seen as “soft” and expendable, particularly when budgets are tight. But Quilty’s argument – that supporting the arts is an act of courage in a society that often despises the very idea of art – resonates powerfully. The essay’s closing sentiment, that we need to value “dreamers and visionaries,” feels less like a plea and more like a desperate call to action. The future of Australian culture, Quilty suggests, depends on it.
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