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When Did Art Stop Being a Trade

What does “creative” actually mean — and when did art stop being a trade? This article explores how arts shifted from skilled, trade-based practices into performative spectacle, and how that transition reshaped value, labour, and women’s work in the creative economy.

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Why We Built Trades for Boys

Australia has spent decades building trade pathways for boys while leaving women’s creative labour without workforce infrastructure. This article examines why the creative economy emerged from women’s historical trades — textiles, design, and cultural production — and how the failure to formalise these as certified professions has created systemic economic insecurity for women.

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Arts & Culture Creative Business & Leadership Creative Capital Creative Survival Economic Independence & Women's Enterprise In Real Life | IRL. Innovation & Ideas Insight Intermission Legacy & History Popular Culture, Women & the Creative Economy Power & Privilege Smart News Stories The Almanac The Architecture of Women's Health The Future of Women's Work: Creative, Economic & Cultural Power The Reading Shelf Wellness Work & Money

The Missing Architecture

This article examines why leadership programs cannot fix a structurally unsupported arts sector, and argues for a national creative workforce model — certification, standards, pathways, and provenance — as the only sustainable foundation for Australia’s cultural and economic future.

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Arts & Culture Creative Business & Leadership Creative Capital Creative Survival Economic Independence & Women's Enterprise In Real Life | IRL. Innovation & Ideas Insight Intermission Legacy & History Popular Culture, Women & the Creative Economy Power & Privilege Smart News Stories The Almanac The Architecture of Women's Health The Future of Women's Work: Creative, Economic & Cultural Power The Reading Shelf Wellness Work & Money

The End of Theory-as-Rhetoric

This article argues that Australia can no longer treat creative work as a grant-dependent sector. Using the CWA’s four-pillar solution architecture — Innovation, Creativity, Sovereignty, Integral — it reframes creativity as a national workforce requiring certification, standards, and structural recognition to drive economic and cultural innovation.

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Arts & Culture Creative Business & Leadership Creative Capital Creative Survival Economic Independence & Women's Enterprise In Real Life | IRL. Innovation & Ideas Insight Intermission Legacy & History Popular Culture, Women & the Creative Economy Power & Privilege Smart News Stories The Almanac The Architecture of Women's Health The Future of Women's Work: Creative, Economic & Cultural Power The Reading Shelf Wellness Work & Money

Certification Is What Creates a Workforce

Australia’s creative sector is stalled not because of funding scarcity, but because no national certification system exists to turn practitioners into a recognised workforce. Using national data, this article explains why certification — not grants — is the foundation of a functioning creative economy, and how the CWA model provides the missing infrastructure.

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Australia’s Creative Economy Is Running on Empty

Australia’s creative economy is being held back by the collapse of its textile manufacturing base. With less than 1% of apparel textiles milled onshore and no national provenance certification, Australia risks losing its cultural, economic, and creative sovereignty. A real creative economy requires structure, manufacturing, and protected provenance — not symbolic celebration days.

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Life Is Art

Japan’s cultural philosophy shows that life is art, and everyday practices like Souji build responsibility, wellbeing, and community cohesion. Evidence from the WHO demonstrates that creative rituals support mental health and longevity — outcomes reflected in Japan’s world-leading health and happiness rankings. Western culture, dominated by digital performance and consumption, can learn from Japan’s integration of creativity into daily life as a form of preventative health.