Several Australian arts organisations and institutions have been offering heavily subsidised ticketing based on the ethnicity of their patrons. It has been revealed that Aboriginal Australians are being given exclusive privileges at the box office, with tickets being offered at significantly lower prices compared to non-Aboriginal Australians. For example, the Sydney Symphony Orchestra is charging Aboriginal Australians $15 for a concert ticket, while non-Aboriginal Australians are being charged $145 for the same reserve seating. This pricing scheme, called “Mob Tix,” is not limited to the Sydney Symphony Orchestra but also includes other arts organisations such as the Melbourne Symphony Orchestra, The Australian Ballet, the Sydney Opera House, the National Gallery of Australia, and the Sydney Fringe Festival.
The irony of this situation is that the Melbourne Symphony Orchestra, one of the organisations participating in Mob Tix, was facing financial difficulties in 2020 and had to lay off its full-time musicians to avoid bankruptcy. Additionally, the Sydney Opera House reportedly offers free tickets to some of its productions for Aboriginal Australians under the guise of promoting inclusion and participation in the arts.
This revelation has shocked and appalled many, as it suggests that non-Aboriginal Australians are treated as second-class patrons of the arts. They either have to pay the full price for tickets that are heavily discounted for Aboriginal Australians or contribute extra to fund the discount. What is even more concerning is that none of the organisations and institutions implementing Mob Tix require proof of Aboriginal heritage at checkout, making it possible for anyone to take advantage of the discounted tickets.
This race-based ticketing scheme is particularly unfair to art students who are already struggling financially. While a concession ticket to the Sydney Symphony Orchestra’s concert costs at least $47 for art students, Aboriginal Australians claiming the discount pay only $13. It raises questions about the priorities of a discounted ticketing scheme and whether it should prioritize assisting future creators in the arts.
Furthermore, it is important to note that Western art music and Western art as a whole is not historically part of Aboriginal culture but rather a product of European descent in Australia. However, activists have successfully incorporated Western art into their agenda, leading to practices like the mandatory Welcome to Country procedure at performances in Australian concert halls and theatres.
Many arts organisations and institutions have also been pressured to declare their support for The Voice to Parliament referendum, and the Sydney Symphony Orchestra is the latest to do so. This aligns with the orchestra’s embrace of Mob Tix. It indicates a trend of cultural infrastructure being influenced by a belligerent agenda.
In conclusion, the Australian arts scene should be free from race-based policies in order to create an egalitarian and erudite cultural landscape. Artists must reject the shackles imposed by the government and prioritize a truly inclusive and merit-based approach to the arts.