Getting Serious About Australian Unemployment

September 11, 2017

Is the Australian Government giving up on reducing unemployment

It’s time to get serious about reducing Australia’s unemployment rate. We need a national training policy that gets Australians to work.

Those were the words that came to me when I read Stephen Koukoulas’ article, “Australia has given up on solving unemployment”, (The New Daily, 17 August 2017).

“It is a sad state of affairs to realise that the current crop of Australian policy-makers have effectively given up on reducing unemployment. Treasury reckons that the lowest the unemployment rate can go without there being a wages and inflation breakout is around 5.25 per cent,” Koukoulas writes.

“The Reserve Bank of Australia notes something similar, forecasting that even when the economy is growing strongly at an above-trend pace, the unemployment rate will hover between 5 and 6 per cent,” he continues.

Australian unemployment remains persistently high

Australian Bureau of Statistics (ABS) July 2017 figures show unemployment in Australia at 5.6%, an official figure of 728,100 people: “Enough to fill the Melbourne Cricket Ground about seven times,” Koukoulas writes.

Koukoulas analyses Australian Treasury and Reserve Bank of Australia (RBA) reports, and concludes that, “Australia will never see fewer than about 700,000 people unemployed – no matter what kind of improvement we see.”

He’s not the only one outlining that prospect. Trading Economics, a New York City company that analyses 196 countries, including “official sources of historical data for more than 20 million economic indicators, exchange rates, stock market indexes, government bond yields and commodity prices”, also predicts that Australia’s unemployment rate in 2020 – 3 years from now – will be … 5.6%. That’s correct, no change at all.

Koukoulas compares Australia internationally: “It seems to be a peculiarly Australian issue. In the US, the unemployment rate is 4.3%, in the UK it is 4.5%, in Japan it is 2.8% while in Germany, the unemployment rate is 3.9%. It is clear the government has given up on reducing unemployment.”

Unemployment hits the most vulnerable and most disadvantaged in Australian society

What Koukoulas does not detail are the social, economic, regional and generational costs of persistent unemployment. This is how the Australian Parliament’s Standing Committee on Employment, Education and Workplace Relations describes the consequences of unemployment:

Unemployment is a major life event. It can have a devastating impact on people’s lives. It affects not just the unemployed person but also family members and the wider community. The impact of unemployment can be long-lasting. As unemployment becomes more long-term, its impact becomes more far reaching, often affecting living standards in retirement. The loss of income by the parents can damage the prospects of the next generation.

Unemployment disproportionately impacts Australia’s most disadvantaged groups: young people, Indigenous Australians, rural and regional residents and people with disabilities.

Young people (generally ages 15 to 24) in Australia had an official unemployment rate (July 2017) of 12.9%, more than double the national rate of 5.6%. According to Dr Patrick Carvalho:

– The damaging effects of youth unemployment can persist into adulthood, with different intensity and longevity depending on the length of the unemployment period and on individual conditions such as education levels and socioeconomic background.

– There is no minimal or safe threshold regarding the length of early unemployment experience…. the longer a person is unemployed, the longer the perversive effects are likely to last.

– Such negative long-term consequences of early jobless spells are commonly referred to in the literature as the “scarring effects”. (p. 19, Youth Unemployment in Australia, Centre for Independent Studies, November 2015)

Youth unemployment impacts are not felt uniformly, with the national figure masking high concentrations in many locations, especially regional and rural Australia: unemployment rates of 28.4% in outback Queensland, 21.8% in NSW Hunter Valley (outside Newcastle), 20.5% in Cairns, 19.6% in southeast Tasmania, 19.5% in mid north coast New South Wales, 19.4% in mid north South Australia and 18.4% in south eastern New South Wales. (Source: “Australia’s Youth Unemployment Hotspots: Snapshot”, The Brotherhood of St Laurence, March 2016.)

The growing youth under-employment – those who wish to work more than they do – now at 18% (February 2017), “is the highest in the 40 years since the count officially began,” according to the Brotherhood of St Laurence’s “Generation Stalled” Report. Add the two figures together – unemployment and under-employment – and you get a staggering 31%, almost one-third, of young Australians who are “underutilised”. Surely this “underutilisation rate” will be much higher – possibly 50% or more – in many regional locations. Are we in danger of allowing a sub-generation of unemployed and underemployed young people to “fall through the cracks”, with long-term life consequences for them, their families, their communities and our country?

It’s not just young people:

It’s time for a national training policy that targets reducing unemployment

Australian unemployment should be below 5%, not drifting towards 6%. “In addition to the obvious social benefits of having a highly skilled population, maximising training and educational attainment should be an uncontroversial policy aim,” Koukoulas says.

Koukoulas believes that the Australian “unemployment rate is being skewed by a number of longer-run structural factors,”, including an “education and training system mean that those who are unemployed do not have the requisite skills for the modern Australia economy.” Australia is “heavily reliant on imported skilled workers who arrive here via the 457 visa program,” he writes.

“Yet the government imposes cuts to trades training, is underfunding school education, ramping up university fees and forcing those who get a degree to pay for it more quickly,” he continues.

It’s not too late to invest in Australian training. Australia is endowed with extraordinary natural resources, extensive wealth, dynamic and hardworking people. We have one of the most welcoming societies in the world and are the “most successful immigrant nation on Earth”, according to demographer Bernard Salt.

Despite years of vocational education and training (VET) policy chopping and changing by governments of all political stripes, we have still maintained the framework of an internationally recognised and admired training system.

We have the capacity. We have the skills to make it happen. What we need now is the will and the focus. The desire to place training at the TOP of the national policy agenda, not an “also ran” issue.

Australia’s Community VET sector

Australia’s community education VET sector can and will do its part to address unemployment. The year 2016 saw a rise of the community sector’s VET students to 9% of the national total.  The community education sector does very well at ensuring unemployed people can be lifted into employment: according to the NCVER, in 2016 community education providers topped all categories (TAFE, private for-profit, university), with almost half (48.9%) of graduates employed at the end of the training that had not been employed prior to commencing their study.

We address the needs of vulnerable and disadvantaged people, and we over-perform in regional and rural Australia, where VET is most needed and valued.

(Note: This post was originally published by Community Colleges Australia on 11 September 2017. View the original version here.)

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Jerry Lewis a great entertainer passes away

August 22, 2017

Jerry Lewis, born Joseph Levitch to Russian-Jewish vaudeville entertainer parents and one of the towering American-Jewish comics of the 20th century, has passed away at age 91. He combined his film career with a long commitment to community service, including the Muscular Dystrophy Association, for which he raised funds.

Although he acted in numerous film and television shows during a career that began in 1949 through the present day (he appeared in last year’s “The Trust” with Nicholas Cage), during the 23 year period from 1960 to 1983, he also directed himself in 12 films.  All these films screened at last year’s Melbourne International Film Festival – in retrospect, almost perfect timing memorialising a great man of American film: “The Bellboy” (1960), “The Ladies Man” (1961), “The Errand Boy” (1961), “The Nutty Professor” (1963), “The Patsy” (1964), “The Family Jewels” (1965), “Three on a Couch” (1966), “The Big Mouth” (1967), “One More Time” (1970), “Which Way to the Front?” (1970), “The Day the Clown Cried” (1972), “Hardly Working” (1981) and “Cracking Up” (1983).

Although mostly known as a comic and entertainer, Lewis also was an extraordinary film technician: he invented the “video assist”, a technology that enables filmmakers to view a video version of what they have shot.

Two of Lewis’ best-loved films are “The Nutty Professor” and “The Bellboy”, where the video assist was used for the first time. “Professor” (re-made in 1996 starring Eddie Murphy), is a romantic comedy crossed with science fiction parody of “Dr Jekyll and Mr Hyde”. Jerry Lewis’ persona as Julius Kelp – prone to accidents, socially awkward and buck-toothed – has never been on better display than on this film, and was so popular that Lewis later reprised the character in both “The Family Jewels” and “The Big Mouth”.

“The Bellboy” – my personal favourite and Lewis’ debut as director – captured another side of the Lewis persona, taking a “bow” to classic silent comedians, in particular the pantomime artist Stan Laurel, who Lewis consulted on the script. “The Bellboy” has a lovely “backstory”:  Lewis – who directed, produced, wrote and starred – shot the film in less than four weeks on location at the historic Fontainebleau Hotel in Miami Beach, filming during the day while performing in the hotel’s nightclub at night. For those of us who grew up in the northeast of the USA in the 1960s and visited Miami Beach, the Fontainebleau personifies that time and place. And Jerry Lewis in turn personifies the hotel. View it for a peek of what life was like there and then, more than 55 years ago.

“Which Way to the Front” – although a minor addition to the Lewis body of work – tackled the Second World War, where Lewis plays a rich playboy who volunteers to fight against the Nazis and impersonates a German general.  It was Lewis’s only overt attempt – in the style of Charlie Chaplin’s “The Great Dictator” – to ridicule the Nazis. Although it failed as a film, it’s worthwhile viewing for both Lewis fans and film historians.

The world will be a much poorer place without Jerry Lewis in it, but we are all much richer for his having shared himself with us.

Jerry Lewis The Bellboy DVD cover

(Note: the post above is an updated and expanded version of my original article, which appeared in The Australian Jewish News Melbourne edition on 28 July 2016.)


Paul Wellstone remembered

August 20, 2017

My tribute to the late Senator Paul Wellstone has been published on the official Wellstone website. This tribute is an updated version of what I wrote in 2002 in the Australian Jewish News, and re-printed on this blog in 2009.

On 20 July 2017 here in Sydney, I made a presentation at a Economics Society of Australia conference (“Economics for Better Lives”) on Australian inequality and vocational education and training. I dedicated my presentation to Paul Wellstone.

“We should never separate the lives we live from the words we speak. To me, the most important goal is to live a life consistent with the values I hold dear and to act on what I believe in.” – Paul Wellstone, The Conscience of a Liberal: Reclaiming the Compassionate Agenda, University of Minnesota Press, Minneapolis, 2001, p. ix

Two photos of Paul below: his official Senate photo, and teaching as a young man (roughly the time I met him):


Jewish themes and directors abound at Melbourne International Film Festival

July 30, 2017

(This article appeared in the Melbourne edition of the Australian Jewish News on 27 July 2017.)

Because there is no minimum “Jewish quota” at the Melbourne International Film Festival (MIFF, 3-20 August), the selection of films reflecting Jewish subjects and characters provides an unusual insight into how the “current moment” of Jewish life is reflected in contemporary film.  This year there are lots of Jewish stories, with Jews both behind and in front of the camera in the USA, Russia, Poland, Israel – and Australia.

In a festival full of Jewish film riches, the “must see” is the opening night world premiere of “Jungle”, a fictional re-telling by Greg McLean (Australian director of “Wolf Creek”) of the real-life story of adventurer and entrepreneur Yossi Ghinsberg, played by Jewish actor Daniel Radcliffe. The 22-year-old Ghinsberg travelled with two friends into the uncharted Amazon, but the dream trip turned into a nightmare from which not all returned. The film has been described as a “stunningly shot, edge-of-your seat story of survival and self-discovery …. entertaining, terrifying and deeply moving.” The Festival also features an “In Conversation” session with the real Yossi Ghinsberg and director Greg McLean, moderated by journalist Sandy George.

A different Israeli story features in the documentary “Death in the Terminal” by co-directors Asaf Sudry and Tali Shemesh, providing a tense, minute-by-minute account of mistaken identity and mob justice by recreating the events of a 2015 terrorist attack in Beersheva. Using CCTV footage, mobile phone videos and witness testimonies, real events unfold from multiple angles. (Caution: contains archival footage of real killings.)

Three fascinating films come from Russia – a contemporary thriller, a meditative documentary on the Holocaust and an early classic sci fi. “Closeness”, the feature debut from Kantemir Balagov, based on a true story is set in a Jewish enclave within a mostly-Muslim region of the Caucasus. The story follows Ilana (Jewish actress Darya Zhovner), whose family is rocked when her younger brother David and his fiancée are abducted, with the kidnappers demanding a large ransom. The program cautions that the film “contains archival footage of real killings”.

“Austerlitz”, by Russian-born Ukrainian filmmaker Sergei Loznitsa, draws on the “observational cinema” technique of Jewish film-maker Frederick Wiseman. Berlin-based Loznitsa frequently engages in Jewish topics and consciously named his film after the WG Sebald novel, “Austerlitz”, as it explores similar themes of memory and history. The film watches how tourists behave at two Nazi concentration camps: Dachau and Sachsenhausen. The black and white camera captures how sometimes intense, often distracted tourists act in these places. A true cultural commentary for our times. Loznitsa’s film “A Gentle Creature” – about the decay of modern Russia – also screens.

Many of the photographers and cinematographers in the Soviet Union until 1932 were Jews, including Jakov (Yakov) Protazanov, director of the ground-breaking 1924 silent “Aelita, Queen of Mars”. It was the first Soviet science fiction film ever made.

The rarely seen “The Man Who Cried” (2000) constitutes part of MIFF’s Sally Potter retrospective. Growing up in England, Russian Jewish refugee Suzie (Christina Ricci) befriends Russian dancer Lola (Cate Blanchett), gypsy horse-handler Cesar (Johnny Depp) and opera star Dante (John Turturro). The emotionally rich film follows Suzie through the Second World War to finding her father in America.

Two documentaries examine the experiences of Arab life on the West Bank. “Waiting for Giraffes”, looks at the only operating zoo on the West Bank. It’s a quixotic quest by zoo vet Dr Sami to build up the zoo and bring in new giraffes. In reaching out to his Israeli colleagues, the film posits hope for future friendly coexistence. Georgian-born Israeli film-maker Helen Yanovsky directs “The Boy from H2”, a 21 minute short about a 12-year-old Arab boy who lives in Hebron’s Area H2, a section of the city controlled by Israeli military; co-produced by the Israeli human rights organisation B’Tselem.

Agnieszka Holland (“Europa, Europa” and “Angry Harvest”), born in Warsaw in 1948 as the daughter of a Jewish father and a Catholic mother who received a Yad Vashem Righteous Persons medal, won the Berlinale’s Silver Bear with the feminist ecological thriller “Spoor”. Also from Poland comes “Afterimage”, the final film from the late master Andrzej Wajda (“Katyń”, “Land of Promise”), which dramatises the final years of Polish avant-garde artist Władysław Strzemiński, who observed the Holocaust unfolding first-hand living in Łódź in war-time Poland. Strzemiński’s 1947 piece, a 10 collage work entitled “To My Friends the Jews”, combined drawings and photographs from both the ghetto and death camps, to become one of the most significant “pro” Jewish works at a time of great antisemitism in that country.

Other Jewish directors abound. British-born Jewish comedian Ben Elton premieres his first Australian film, “Three Summers”, set in a fictional West Australian rural folk festival. New York Jewish indie directors and brothers Josh and Benny Safdie (the “new Coen brothers”) return with “Good Time”, nominated for the Palme d’Or at the latest Cannes Film Festival. Azazel Jacobs’ “The Lovers” stars Debra Winger and Tracey Letts; “The Lost City of Z” from James Gray’s (“The Immigrant”) tells an Amazon story not unlike Yossi Ghinsberg’s; and Marc Meyers’ “My Friend Dahmer” stars Ross Lynch as the notorious American serial killer Jeffrey Dahmer.

American Jewish documentarians represented in the Festival include John Scheinfeld “Chasing Trane”, about musician John Coltrane; Jeff Orlowski’s “Chasing Coral: The VR Experience”; Matthew Heineman “City of Ghosts”, about journalists and ISIS in Iraq; and Amir Bar-Lev’s “Long Strange Trip” about The Grateful Dead. Broadway producer Amanda Lipitz’s (“Legally Blonde”) “Step” charts stories of African-American dancers, and New York-based Israeli-born Shaul Schwarz’s “Trophy” explores the world of big-game hunters and animal rights activists.

Closer to home, MIFF includes a preview of ABC TV season 2 of “Glitch”, directed by Australian Jewish director Tony Krawitz. And Melbourne Jewish director Gregory Erdstein again collaborates with his wife, writer/actress Alice Foulcher, in Australian comedy “That’s Not Me”.

Also worth catching: a reprise of the 1956 classic American frightener “Invasion of the Body Snatchers” directed by Don Siegel; Chilean-Jewish director Alicia Scherson’s “Family Life”, a  “delightfully strange, heartfelt look at mid-30s ennui”; “Porto”, with the final performance by the late Jewish actor Anton Yelchin (“Star Trek”); and “Manifesto” a 90-minute version of the German-Australian multi-screen co-production in which Cate Blanchett plays 13 roles, loosely based on the Karl Marx tract.


July 24, 2017

I have just published an article about the latest news coming from the for-profit vocational education and training (VET) sector in Australia. You can read it on the Community Colleges Australia (CCA) website here.

And it’s not too late to sign up for the CCA conference, happening in Melbourne this week from Tuesday evening, 25 July through Thursday 27 July.


Community Colleges Australia Conference features focus on young people

July 8, 2017

The education and training challenges and opportunities of young people features highly at Community Colleges Australia’s annual conference in Melbourne, 25 to 27 July.

As the CEO of Community Colleges Australia (CCA), I am proud of how we have constructed a comprehensive program stream for those interested in building better opportunities and pathways for Australia’s young people.

The conference recognises the vital importance that education plays in young people’s lives. Because of the strong community links and not-for-profit status of community education providers, the sector plays an essential role in ensuring that investment in Australian skills is both meaningful and properly targeted to young Australian learners and the communities most in need.

The young people program sessions include:

  • an expert panel discussing the growing phenomenon of secondary schools hosted by adult and community education providers;
  • the changing world of work, and what it means for Australia’s young people;
  • detailed examinations of the transition from school to training, further education and work;
  • how to re-engage disengaged young people in education, training and study;
  • An international focus, with speakers from USA, New Zealand and Malaysia providing a wider perspective on community education; and
  • the first-ever “Community Education Student of the Year” Awards, to be delivered at the Gala Dinner at the Windsor Hotel, featuring Aboriginal tennis coach Anzac Leidig, who will help present the awards.

The conference speakers talking on young people include:

  • “The workforce of tomorrow demands a new mindset”, by Bronwyn Lee, Deputy CEO of the Foundation for Young Australians (FYA), who will draw on FYA’s research on the New Work Order;
  • “Building the Financial Capability of Indigenous Young People in the Northern Territory”, by (my former colleague) Duncan Poulson, Northern Territory Regional Commissioner, Australian Securities and Investments Commission (ASIC) – drawing on ASIC’s MoneySmart financial literacy expertise, a project that I worked on for almost two and a half years;
  • “Education and Regional Development: A view from American Community Colleges”, by Dr Roberta Teahen, Associate Provost, Ferris State University, Michigan USA, & Dr Laurie Chesley, Executive Vice President for Academic and Student Affairs & Provost, Grand Rapids Community College. Michigan (Grand Rapids is a unique small city in central Michigan, one of the parts of the USA that narrowly “flipped” by voting for Donald J Trump in the last US election);
  • “The Brotherhood of St Laurence Study on Young People in the Private VET Sector”, by Kira Clarke, Lecturer in Education Policy, Centre for Vocational & Education Policy, Graduate School of Education, University of Melbourne;
  • “Powering up the work of Flexible Learning Providers through strategic partnerships and networks”, by Louisa Ellum, Chair, Youth Affairs Council of Victoria & Chief Executive, International Specialised Skills Institute (ISS Institute);
  • “Empowering Positive Post-School Transitions”, by Nicholas Johns, Johns Consulting & ISS Institute Fellow;
  • “Learning with Passion for Purpose and Direction”, by Mana Forbes, Maori Elder, Hamilton, New Zealand, Tai Wanaga High School;
  • “Disengaged youth and community colleges – the perfect fit”, by Wendy Ratcliffe, WEA Foundation Manager and co-founder of WEA Hunter’s Alesco Senior College;
  • “Australian Apprenticeships: one pathway to a better future”, by Peta Skujins, Research and Content Officer, Australian Apprenticeships and Traineeships Information Service (formerly with NCVER); and
  • “Youth and Alternative Pathways – the Advance Story”, a report from Steve Wright, CEO, Advance Community College (Rosebud VIC).

The full program is now available here.

All speaker biographies are available here.

You can register for the conference here.

I would love to see you there. Our conference logo is below:

 


Film review of Churchill

June 25, 2017

This film review of “Churchill” appeared in the Australian Jewish News on 15 June 2017.

Directed by Jonathan Teplitzky; written by Alex von Tunzelmann; starring Brian Cox, Miranda Richardson, John Slattery, Ella Purnell and James Purefoy

*****

As one of the towering political leaders of the 20th century, Winston Churchill holds a special place in British history, with a political career spanning five decades. His impassioned speeches as Prime Minister during World War II are often credited for having kept much of Britain’s heart and soul together, particularly during the darkest years early in the war.

The new film “Churchill” – by Australian Jewish director Jonathan Teplitzky (“The Railway Man”), working from a script by British historian Alex von Tunzelmann – may surprise some, because it does not focus on Churchill’s finest hours – of which there were so many. Instead, “Churchill” takes place over a few days in June 1944 leading up to the Normandy “D-Day” Allied landing. According to this film, Winston Churchill actively opposed the landing, promoting instead a southern European action by the Allies. The reason for his opposition? He feared tremendous casualties associated with a direct beach invasion, being haunted by the images of tens of thousands of young British soldiers dying during the first World War, at Gallipoli and elsewhere – when Churchill was First Lord of the Admiralty, the political head of the British Navy.

Although set at a crucial time during the war, the film feels like it could have been adapted from a play (it wasn’t), with most scenes set inside offices and residences. What the viewer most remembers from “Churchill” is Churchill the Prime Minister (played by iconic Scottish actor Brian Cox) arguing, primarily with Allied generals including Dwight Eisenhower (John Slattery, from “Mad Men”), but also with his wife, Clementine (Miranda Richardson).

Churchill’s staff fear that the stress of leadership means he is losing his grip on reality (Churchill was 69 years old at the time, and still had more than ten years of political life ahead). He abuses underlings and rants and raves, insisting that he must then go in on one of the first boats to the beach.

Given Winston Churchill’s extraordinary political career and his enormous accomplishments as a writer (he won the Nobel Prize for Literature in 1953), public speaker, war strategist and protector of British national character, it seems curious – and overly grandiose – to name this small film in a way that implies that it’s a full biography. It certainly is not.

What “Churchill” the film does, however, is to give a platform for two of the greatest acting performances of the year: Brian Cox as Winston and Miranda Richardson as Clementine. The two of them are captivating, in the way that “Who’s Afraid of Virginia Woolf?” showed us that an arguing couple could still be interesting. While John Slattery as Eisenhower is not nearly as well-cast, other characters provide great foils for Brian Cox’s screen power, including Julian Wadham as Field Marshall Montgomery, Richard Durden as South African statesman Jan Smuts, James Purefoy as King George VI (an understated but touching small role) and Ella Purnell as a war room secretary.

(image below: Brian Cox as Winston Churchill)