writer & thinker
I donโt see a divide between literary and genre. Writing spec fic and horror connects me to a sense of who I am, my roots and psyche where the world of the real and the world of the unreal isnโt so binary.
Lian Low
Lian Low is a writer and a former editor-in-chief of Peril. I interviewed her for Liminal, mining her insights on the queer, the monstrous, and the last thirty years of Asian Australian arts and culture.
But essentially space is also land. I think thatโs where I contest this differentiation between โIRL and URLโ digital and physical space. They arenโt separate. Thereโs no third space that we occupy online. Our government dictates how we access digital spaces and connections, and infrastructures are imbued by the people who made them.
Sab D’Souza
I loved talking to artist Sab D’Souza about feelings and the internet for the Liminal Magazine x Hyphenated Biennial series. Read it here.
For Liminal magazine, I spoke to Hyphenated Biennial artist Jenna Lee about art versus craft, whatโs behind a book cover, and the history of the pearling industry.
I put together a playlist for Double J – hear and read here.
I was on the radio last week chatting to Tim Shiel about Wuhan punk and Chinese rock music more broadly. Catch up here if you missed it. Big thanks to Tim and Dylan for having me on!
For The Guardian, I wrote about the migrant workers behind the ‘made in Australia’ label and how their winning campaign for equal rights might be instructive for other gig economy workers today.
I talked to Emma Do and Kim Lam, the writer and illustrator of Working From Home, a graphic narrative about Vietnamese outworkers in the garment industry, and Nguyet Nguyen and Beth McPherson, veteran manufacturing workers and organisers in the textile, clothing and footwear union.
Is indie music in China growing up or selling out? My story for ABC TV on Wuhan’s punk history and what it means for underground scenes to land in the spotlight.
Ft Li Ke (Wild Records/Vox Livehouse), Krish Raghav (comic artist, Chaoyang Trap House), SMZB, Shii, Hualun, Re-TROS, Bohan Phoenix, Wutiaoren, and a flash of the cringe anti-Blackness of Higher Brothers because we have to talk about that.
‘Arts funding is a cancer. Applying for it has become its own job, a job no one enjoys or wants.’
For un Magazine 14.2, ANTI/ANTE, I wrote about the perverse relationship between art, money, and survival, and why I want to set it on fire and start over. Read or listen at the link.
Jinghua Qian, ‘I can’t apply for another grant’, Un magazine 14.2 (print, audio and digital), November 2020. Edited by Elena Gomez.
My friends keep sending me grants and opportunities. I appreciate it, I really do. Itโs nice to know that people are thinking of me. But I never want to apply for a grant again. I canโt. My body recoils. It feels like taking my skin off for nothing.
Weโve all been talking a lot this year about the perverse relationship between art, money and survival. โArtists are in a constant state of precarity and crisis,โ I wrote in July.ย โFor many of us, thereโs nothing to return to, nothing to recover. The status quo is already broken. Itโs an empty bowl โ with a smear of racism, sexism and ableism to boot.โ
In August, I followed up with an opinion piece in The Guardian about going on the dole and navigating the sadistic and absurd mutual obligations system for welfare recipients: โIt does nothing to help people find work. Itโs just a complicated, expensive way of penalising people for being poor.โ But as awful as Centrelink is, arts funding is somehow even worse. At least the dole is ongoing and not a lottery. Arts funding bodies, on the other hand, want you to craft a 10-page proposal to compete for a minuscule chance at a trickle of money. One template rejection I received this year said that only six per cent of applicants had been successful. Another rejection came to me five months after applications had closed. In both cases, the grants themselves were less than $5,000 โ not even three weeksโ worth of the average weekly earnings for a full-time adult worker in Australia.1
The quick-response grants that emerged during the COVID-19 pandemic were often no better. My eyes glazed over as I scanned the same buzzwords: resilience, adaptability, relief. Each time I was left confused about whether these grants were intended to provide for my welfare or to fund new projects and activities โ whether they were offered as charity or investment. Each time I felt like I was handing in my CV and portfolio at the soup kitchen counter. Each time my shoulders seized, awaiting judgement, anticipating rejection. This is not relief.
For all its faults, JobSeeker is easily the most effective arts funding program in this country. Going on the dole has helped my career and my craft far more than any arts grant ever has. Knowing that the fortnightly payments will at least cover my rent is a huge relief, pulling the plug from my brimming tub of baseline anxiety. Itโs also given me more intellectual and creative freedom because Iโm less reliant on fitting my vision to the categories and priorities of funding bodies. I donโt have to contort my work so that it speaks to diversity instead of antiracism, inclusion instead of decolonisation, identity instead of ideology, or other bureaucratic definitions that are always just slightly misaligned with my own thinking.
Thanks to JobSeeker, Iโve done some of my best work this year. In fact, Iโve been weirdly prolific, pitching and publishing more than ever. Iโm much more comfortable pitching to editors than applying for grants. Media and publishing is still subject to commercial imperatives, of course, and that comes with its own set of problems and limitations, but the grant process feels particularly alienating, disheartening and disruptive. All I ever want from the arts funding bureaucracy is time to write, and JobSeeker gives me that without getting between me and my audience. I think if more people could access the dole, and the rate were higher, it would make an enormous difference to cultural life. I would rather arts organisations fight for that than for more arts funding.
Most independent artists are already working across a range of industries in order to survive, and many rely on welfare, but often arts advocacy tends to emphasise how art is exceptional. I think itโs worth taking note of the peculiarities of making art, but we canโt lose sight of the bigger picture. We need to organise in solidarity with workers in education, media, publishing and other cultural industries, and even beyond. Iโm not convinced that itโs useful or even truthful to focus narrowly on how artists are special when our needs are the same as those of all precarious workers โ of all people.
The pandemic has generated plenty of chatter about saving the arts, but itโs also burnished the deep ambivalence many of us feel about this sector and how it operates. In the conversations Iโve had with other artists, thereโs always an undercurrent of revolutionary rage. Weโve all been talking about how this year offers an opportunity to rethink this sector โ what if we set it on fire and started over?
Arts funding is a cancer. Applying for it has become its own job, a job no one enjoys or wants. Iโm not sure that anyone is even funding the arts, really โ it feels more like art happens by accident as a decorative footnote to the work of endless applications, assessments, acquittals and evaluations. Iโm sure some of these elements were once designed as accountability mechanisms, but they have grown monstrously out of control. Like the mutual obligation system for welfare recipients, the arts funding process is disproportionate and counterproductive. There are easier ways to give artists money.
I think a competition-based funding model is inherently destructive. I donโt understand why itโs accepted that in the arts, sport and entertainment industries a tiny elite should profit and everyone else should suffer in poverty for daring to try. Even under capitalism, thatโs not how it works in most professions. Funding shouldnโt be a prize or an honour, it should provide a living wage so people can make art without some other source of wealth or income.
Weโve all been talking about this for such a long time and Iโm so tired of it. I donโt want to tinker with this system, shifting the priorities and massaging the language. Iโm not excited about heralding a new cohort of gatekeepers. Iโm not interested in diversity and inclusion. I just want to overthrow capitalism already.
Ultimately, I donโt believe in meritocracy. I donโt believe in excellence. Survival is not a reward. We all deserve to have our basic needs met.
I donโt understand why itโs easier to get paid to administer arts funding than to make art. I donโt understand most of the jobs that exist in this society โ they seem to bear no relation to the world that I live in or what it needs. They bear no relation to what I understand as value or a life worth living. Capitalism devalues so much work thatโs important and necessary while creating jobs that just tick boxes and move money around. I think that might be the most dystopian thing in this hellscape. We live in a time when no one needs to be hungry, homeless or overworked. It should be possible for all of us to thrive. I want a radical redistribution of time and resources, a reimagining of labour and value. I want to unravel this tangle of art, money and survival so that the next time we talk about this, itโs an entirely different conversation.
1. For May 2020, full-time adult average weekly earnings in Australia were $1,713.90. See: โAverage Weekly Earnings, Australia,โ Australian Bureau of Statistics, 15 August 2020.
Jinghua Qian is a Shanghainese writer living in Melbourne, on the land of the Kulin Nations. Ey has written on desire, resistance and diaspora for Overland, Meanjin, Sydney Morning Herald and The Guardian.
My first profile for The Saturday Paper is on musical theatre icon Nancye Hayes – aka ‘Nancye with an E’ – who will soon celebrate six decades in show business.
Jinghua Qian 