1. Try stickers. If you are not attached to the traditional method of egg decorating, this is a way to minimize the muss and fuss during Easter.
What's Easter without an egg hunt? Since I was a tot, the church near my home held an Easter egg hunt at the Parish Hall every Saturday before Easter. Parents and women's group volunteers boiled and colored dozens of eggs the night before. At twelve o'clock noon, they walked out of the Parish Hall to hide the eggs. We sat on the floor so we couldn't peak out the windows. When they were finished, we gathered out front. Once the signal was given, children scattered in every direction in search of hidden treasures.
Read more... Do You Really Hide Easter Eggs?
I love to receive flowers at Easter. Freshly cut arrangements look so pretty in crystal vases. If you want to preserve Easter memories, there are a few things you can do with the flowers that you receive so that you can enjoy them for years to come.


Now that the Langton Y-DNA project has zoomed up from 0 to 8 results in a matter of a few months we have to say how utterly astonishing the results are. Y DNA which every male carries is divided into a number of groups called Haplogroups and most of Europe is dominated by group R. Indeed within group R a sub group R1b1a2 dominates. Despite sounding like something out of Star Wars most people in England belong to this subgroup. Here are some findings of the frequency within the whole population of this sub group in Europe: Wales 92%, England 78% Spain 72-87% France 62-80% Cornwall 78%, Leicestershire 62%, Italy 45%, Denmark 43%, Holland 42%, Russia 34%, Sicily 18-30%, Greece 13%, Iran 6-15%, Pakistan 3%, China 1%. Leicestershire is intriguingly low possessing 38% of other DNA groups.
On the basis of the R1b1a2 results we would expect most Langton DNA to be R1b1a2 and indeed we do have one cluster of results that seems to be just that, with the varied surname Lanckton/Langdon/Landon, but they really are Langtons descended or associated with George Langton of Connecticut who is recorded as coming originally from Lincolnshire. Now come on Lincolnshire, let's see if we can get a match to confirm that the Langtons of Lincolnshire are indeed a version of R1b1a2. However, far from being dominated by R1b1a2 the rest of the Langton samples are surprisingly rare.
Group I that is eye, not el seems to have originated in south east Europe about 15,000-17,000 years ago . A sub group of that is I1, which about 20% of people in England possess. This group is associated with the invasion of England by Germanic tribes, first the Angles, Saxons and Jutes in the 5-6th centuries, then the Vikings in the 9-10th century. At one time Bede the Anglo Saxon historian's version of the invasion held sway, that the English had driven out the Welsh and replaced them. Now it seems looking at the DNA that the Anglo-Saxon invaders simply formed a ruling military elite. Danny in Canada has a typical Anglo Saxon I1 profile. Maybe his ancestors rubbed shoulders with Alfred the Great or come to think of it, maybe he's a descendant of Alfred. Point is, are you connected to him? Have you got the same DNA as Danny's London ancestors? Can you solve the mystery of where they came from? Despite the rarity of group I Danny is not our only representative.
Enter Stephen of Cheshire and Paul Kevin of Manchester with their I2a1 haplogroup. Now you don't fall across that every day in the streets of England. It occurs in 40% of the population of Sardinia and 9% in the Pyrenees so how come these fine English Langtons have got it? More to the point do you match with them? We believe being Lancashire/Cheshire Langtons they may hail originally from Leicestershire. Come on Leicestershire let's get some confirmation, but a word of warning we suspect there are at least two Langton DNA strands from Leicestershire. We don't want anyone jumping to silly conclusions along the lines of- oh my goodness I'm not a match, I'm not really a Langton; just send in your result. We wait for the I2a1 drama to unfold as more research is done.
Lastly there is David and Joel. We were originally told we were group I but it seems we were misallocated as all our matches are all within group J . There are few people in England from group J and most of the few that exist are group J1. We happen to be J2 which occurs in Georgia 72% (No, not the USA Georgia), Azerbijan 24-48%, Cypriot Greeks 24-48%, Iraq 25%, Lebanon 25%, Kurds 28%, Chechans 26%, Ossetians 24%. As you can imagine this was not quite what we were expecting. In fact we are subgroup J2a4d found in Greeks from Crete, Iraqi Jews and Morrocan Jews. We only have exact matches with three people in the USA, one Dutchman and one Iranian. We have no known match in England under any name.
Now folks, one of you Langtons reading this will also possess this exotic DNA and will be an exact match for us. In fact it's not just one of you it will be several hundred of you. I'm guessing you will be in Yorkshire, Durham, Nottinghamshire or Derbyshire, but I could be wrong. It could be Oxfordshire, Buckinghamshire, Leicestershire or Northamptonshire or indeed elsewhere. You will also hold the key as to where the Newbury Langtons originate from. Please use your key and unlock the lock. So, in summary what great Langton DNA results with such varied backgrounds. Our thanks to everyone who has contributed their piece of the jig saw puzzle. It looks as if LostLangtons have the Lancashire DNA in I2a1 and we can almost say if you are in Canada, South Africa or USA, if you have that DNA you come originally from Lancashire but ultimately from the Langton villages in Leicestershire. But we do need more results from Lancashire and Leicestershire to be really confident in saying this.
Here's to the day when we can link every Langton's DNA with particular Langton villages. I can almost here the applause from Archbishop Stephen and we just know he's thinking, you could never have managed it without the freedoms I got you at Magna Charta. The name of Langton will live forever!


text:
Q: What are the YAML keywords that can be used in RobotFramework for editing YAML file? I tried editing YAML file and I came across only few keywords that can be used for editing dictionary values of YAML file. But I need to edit list values in YAML file as well. So, where can I get all the keywords list which can be used for editing YAML file using robot framework?
Example: 1. Below is the sample YAML file
"patch_id_bw_data":
    "pronghornResponseBody":
        "shimBehaviourHeader":
            "destinationURL": ""
            "method": "PATCH"
            "targetName": "naas"
        "customHeaders": {}
        "responseBody":
            - "op": "replace"
              "path": "/serviceCharacteristic"
              "value":
                  - "name": "bandwidth"
                    "value": ""

*Here is the code for editing dictionary values. Same I want to do for list as well.

*** Settings ***
Library  yaml
Library  OperatingSystem
Library  Collections

*** Test Cases ***
Load YAML into Robot and edit it
  ${YAML}=  Get File  ${CURDIR}${/}data.yaml
  ${LOADED}=  yaml.Safe Load  ${YAML}
  Set To Dictionary  ${LOADED}[patch_id_bw_data][pronghornResponseBody][responseBody][0][value][0]  value=200
  ${OUTPUT}=  yaml.Dump  ${LOADED}
  Create File  newdata.yaml  ${OUTPUT}

A: "Set List Value", per The Collections Library Documentation. You're not really editing YAML.  Rather, you're modifying a collection that happened to have been read from a YAML file.  Refer to the docs for other manipulations you can perform on collections.

redpajama_set_name: RedPajamaStackExchange


Our CEO, David Zimmerman, was recently interviewed by DZone. The topic of discussion was ways business lose valuable data.
As hacks become more sophisticated, the cost of breaches increases. The stakes are high for companies to properly manage their data.
David Zimmerman, CEO and Founder of LC Technology, shares the following key findings with us.
According to a 2016 study from IBM regarding the costs of data breaches and loss, the average consolidated cost has moved from $3.8 million to $4 million.


Taco Bell – they allow mobile ordering where you place your order and pay using their Mobile App. You can let them know if you will be picking up your order in the drive-thru or in the dining area. When you arrive, you show the staff your order on the mobile app and they prepare the food and give it to you.
Starbucks – is currently testing coffee orders via their mobile app. You will, hopefully, soon be able to place and pay for your order using their mobile app and when you arrive at your local Starbucks, you'll simply show your paid order and they will hand you your coffee. You will then be able to go back and add a tip if you feel so inclined.
Five Guys Burgers and Fries – allows you to place your order using their mobile app. It works just like using a computer, then you simply go to the restaurant and pay for and pick up your order.
Dominos Pizza – even has an online feature on their website where you can speak your order. Just as with the other examples above, you can then stop by your local Domino's Pizza and pick up your order.
In an effort to stay up with this type of technology, Claws & Paws Veterinary Hospital® is also mobile friendly. Just as with the examples from the major corporations above, you can place an order for a number of items, including C.E.T. Chews (dental chews), pet food and flea & tick products. You can either pay for these items when you pick up your order or you can pay using your credit card on our Mobile App. You then simply, pick up the item(s) ordered. Either way, you can save time at Claws & Paws using our Mobile App.
In addition to this feature, you can also "Ask the Doc" a question using our voice recording feature. Your question will be forwarded to one of our Doctors and a caring staff member will contact you regarding your question; again, saving you time at Claws & Paws.
Another very client-friendly feature on our Mobile App, that we hope you'll never need (but, it's there if you do), is our Emergency Tab. This is the first tab you will see on the home screen and it lists every veterinary emergency and specialty practice in the Greater Houston Area. Look for the veterinary hospital that is closest to where you are at the time of your emergency, then tap on the location button (on the map) for information about that particular clinic, including address, phone number, website and hours of operation. Please note that not all clinics are open 24-hours a day. You can even get turn-by-turn directions using the GPS feature on your mobile phone.
In addition to our Mobile App, we also offer many other features for our clients, including mobile text reminders, text reminders for appointments, medication reminders, an extensive online catalog of medications we dispense. We are very busy with Client Education, utilizing such tools as our Quarterly Prints newsletters, Sit, Stay, Learn live seminars, Educational Tracks video series, staff created Client Handouts, online library of articles and very heavy Social Media education.


text:
Home Parliamentary Business Committees Senate Committees Senate Standing Committees on Environment and Communications Completed inquiries and reports Completed Inquiries 2004-07 Chapter 7 - Education and training
Chapter 7 - Education and training
7.1 The importance of education and training was repeatedly raised in both submissions made to the committee and in hearing testimony. Education is often cited as a method of combating various problems evident in the Indigenous visual arts and crafts sector and its importance has been noted in many submissions:
Education is definitely a very strong part of it. Education not only of the people working in the arts centres and the communities; education of the artists themselves in terms of their rights and responsibilities; and also education of the general and buying public especially. That is something that can be conducted through all sorts of means. Education is very important.[1]
7.2 Given this perception, this chapter aims to examine issues surrounding:
education and training of art centre staff;
education of artists, particularly about their rights and responsibilities; and
education of buyers, both domestic and international.
7.3 This chapter also examines existing government initiatives and programs which are either being used, or could potentially be used to strengthen education, training and employment outcomes for the Indigenous visual arts industry. This includes a discussion of the Commonwealth Government's Community Development Employment Projects (CDEP) programme.
7.4 Education and training have the potential to strengthen the sector's sustainability and profitability. While results may not be immediate, better resourced and coordinated education and training is a medium to long-term solution to some of the sector's fundamental issues such as effective art centre management and the curtailing of unscrupulous art dealer activities.
Education and training of art centre staff
7.5 The training offered to art centre managers is particularly important given the high turnover of staff, and the disproportionate impact a relatively small increase in resources could have on the sector through providing greater managerial training and support.
7.6 The role of the art centre is central to the education and training of managers, artists, and consumers.
The Art Centre has a crucial role in educating both consumer and practitioner. Education needs to be a gentle process in which all participants can slowly absorb knowledge and change. Art Centres do this by acting as a buffer between the highly competitive art market and the cultural environment of "country". Educating the market is one of the most effective tools against unscrupulous and unethical conduct. However without adequate funding most Art Centres lack the human resources to implement this effectively. Courses at educational facilities, such as Charles Darwin University, that relate to specific Art Centre roles would also be advantageous.[2]
7.7 Tertiary education and its potential to impact on the art sector is further explored later in the chapter.
Barriers to the education and training of art centre managers
7.8 Lack of education and training for art centre staff has been a constant theme through the submissions and testimonies received by the committee. A typical comment is:
We also need to look at training opportunities for art centre staff. Most art centre managers I know have had no training or no professional development during their time in the art centre industry.[3]
7.9 The committee met several art centre staff during its inquiry, from both Western Australia and the Northern Territory, and was impressed by their skills, commitment and advocacy. Art centre managers come from a wide variety of sources such as direct from university as art graduates, business managers, practicing artists, social workers or previously experienced art centre managers. While they may be qualified in a particular area – such as art history, or management skills generally, they are unlikely to possess the collection of skills required to successfully manage isolated Indigenous art centres. Knowledge of art, sensitivity to cultural differences, accounting and bookkeeping skills are just some of the many skills art centre managers need. Unfortunately, many do not have all those skills, nor receive access to suitable training. Brian Tucker noted:
In my experience, managers will sometimes have come from a marketing background, often, but not always, in Indigenous art; or they may have been a practicing artist or community cultural development worker; or have a curatorial history, or worked in Indigenous communities as a social worker. Rarely will they have financial management skills, although they may have rudimentary book-keeping experience. Yet all of these skills are required to successfully manage an art centre.... [and] there is no training available for this position... Managers learn those skills they do not have on the job and from (often bitter) experience.[4]
7.10 The lack of training, harsh conditions and cultural challenges result in a high turnover of staff, exacerbating the problems. The Australia Council noted:
Not all art centre managers may be good managers, especially with the high turnover of staff in centres nowadays. A successfully run art centre needs superior business, administration and social skills. A survey of art centre coordinators published in 2000 noted that, while the majority already have tertiary qualifications, they still often have significant training needs in general arts administration, book-keeping, business studies, practical art training, linguistics, fine art, marketing, computing, anthropology and Aboriginal studies, particularly in cultural protocols. Considerable support is needed to ensure that these professional development needs are met.[5]
7.11 Education and training for art centre managers is a difficult issue. There are a number of impediments which potentially include inexperience and a lack of understanding of complex and sensitive cultural issues. Many come from metropolitan regions and have never had any contact with Indigenous people. Training before they take up such a position within a community would be of benefit. Arts centre managers also need to be aware of the various codes of best practice relevant to the Indigenous arts industry.[6] Furthermore, the sheer remoteness of many Indigenous communities makes access to training and materials difficult. Professor Jon Altman observed:
Another aspect of the human resourcing issue is professional development for staff, especially in the areas of business skills, governance and administration. Access to education and training opportunities can be difficult due to the remoteness of many art centres and finding the funds to attend training can be difficult. Access to training (e.g. acquiring skills in new media) for art producers is another issue raised in submissions.[7]
7.12 Given the stress and time commitment required by the job, it would be ideal if art centre managers were given suitable training prior to their placement. It has been suggested that perhaps some form of tertiary certificate course could be constituted to give aspiring art centre mangers a suitable background. This would fill a void which currently exists in courses offered by, for example, TAFE:[8]
Training probably needs to be undertaken before they actually get to the arts centre. Once they get to the arts centre they are probably going to be working 12 hours a day, six days a week, and the time to engage in even online training is going to be limited. It would be nice if some of the state tertiary institutions could establish some form of certificate of arts centre administration or something like that, so that people who had a mind that this was an industry that they wanted to get into—or even young Indigenous people who decided that they wanted to get into this industry—could find a course of training that would be geared specifically to the role that they will be undertaking and that would cover everything from financial issues and computers to photography and database management. [9]
Such training could also be complemented by on-line training.[10]
7.13 In 1997, the Queensland Government conducted an inquiry into the Indigenous cultural industry in Queensland.[11] It did note that in 1997 there was a number of courses run by TAFE and others by Queensland Government Departments, such as Cross Cultural Communication and Training, Advanced Certificate in Aboriginal and Torres Strait Islander (A&TSI) Community Management, Survival Skills for artists, Small Business for Aboriginal Artists to name a few.[12] Many courses relating to Indigenous arts and craft, as well as business administration, continue to be available, but are not necessarily offered as part of a coordinated suite of training for potential or actual art centre managers.
7.14 Such a coordinated approach may be worth consideration. Given the varied and demanding requirements on art centre managers, it should be possible to provide a coordinated program from pre-existing courses to equip potential art centre managers with the requisite skills prior to the take up of their positions. This would require some coordination between existing TAFE courses and those offered by state and territory governments, but given the importance of the positions it would be of great benefit to the managers and the industry as a whole.
7.15 While it is likely to require increased resources, one system which the committee recommends considering is that of 'on-the-job' training, similar perhaps to an apprenticeship. This could complement the vocational studies course discussed above. Through extra funding for both staffing and infrastructure (so as to accommodate the new staff), a system could also be put in place where either an existing or out-going art centre manager, or perhaps a certified and experienced trainer, could spend a transition period with a newly employed art centre manager so as to educate and train the new manager on the specific requirements of that particular art centre and on the Indigenous visual art industry more broadly. A pre-existing program, such as the Group Training Australian Apprenticeships Targeted Initiatives Programme run by the Department of Education, Science and Training (DEST), may be able to accommodate such an approach without a new program or bureaucracy being established.[13]
Federal government programs
7.16 Apart from vocational training for art centre managers, there are Federal Government programs available to assist with education and training for the Indigenous visual art industry, as well as skills development through employment experience. Funding of training activities is potentially consistent with the NACIS scheme guidelines, however, as noted in chapter six, there is already extremely heavy demand on NACIS funding. Support is also available for training of young and emerging Indigenous artists and art centre workers under DCITA's Indigenous Visual Arts Special Initiative program, which has experienced less heavy demand. However, the committee also notes this initiative is due to conclude in 2007-08.[14]
7.17 The Australia Business Arts Foundation delivers business skills development training. It has received $0.5 million to develop a 'tailored training package for individual visual artists to enhance their engagement with the commercial arts market'.[15] Given the large proportion of Indigenous artists working through art centres and organisations rather than individually, and that the training is not Indigenous-specific, it may be of limited relevance to this industry.
7.18 The Department of Employment and Workplace Relations (DEWR) has a series of programs which are designed to provide eduction and training support not only to the Indigenous art and crafts sector, but also more broadly. Below is a selection of programs DEWR outlined in its submission which is available to provide training and education to the Indigenous art sector.
Structured Training and Employment Projects (STEP) provide flexible financial assistance for projects that offer employment and structured training. This can be in the form of on-the-job training or support for apprenticeships and traineeships to meet employers needs and must lead to lasting employment for Indigenous job seekers.
The nature of employers in the arts and craft sector, particularly the high proportion of very small businesses or sole traders, has limited the scope of STEP projects in the sector. For example, STEP funding cannot be used to fund artists directly. Artists are generally self-employed rather than employees of a business. Despite this, STEP has been used successfully to support projects in the arts sector.
The Indigenous Small Business Fund (ISBF) offers funding to incorporated Indigenous organisations to assist Indigenous people to learn about business, develop good business skills and expand their businesses. Assistance is available for activities such as feasibility studies, business planning, marketing, business mentors and other facilitative projects. Indigenous organisations looking at developing and/or expanding their enterprises are eligible to apply for ISBF funding.
Across Australia, ISBF funding is assisting in implementing business plans and engaging business expertise to transform art centres and CDEP enterprises into commercial operations such as Koori Artefact Production, Uambi CDEP Aboriginal Corporation, Cooragan Arts and Craft Centre and the Aboriginal Centre for Performing Arts.
The Indigenous Capital Assistance Scheme (ICAS) assists in increasing Indigenous employment and Indigenous owned businesses by improving the access of Indigenous businesses to commercial finance and culturally appropriate professional support and mentoring. Flexible assistance packages are available over three years to help stimulate Indigenous business development, with loans ranging from $50 000 - $500 000. A key feature is the provision of interest rate subsidies to ease debt servicing requirements for Indigenous businesses. The programme is delivered in partnership with the Westpac Banking Corporation across Australia... ICAS has been able to assist two arts businesses in Northern Australia that combine tourism, an art gallery and retailing of Indigenous arts and crafts.
Indigenous Community Volunteers (ICV) links skilled volunteers with communities that have asked for expert assistance in areas such as business, financial management and trades such as construction or plumbing. Since 2001, ICV has provided volunteers for up to three months to support and assist organisations including arts centres and artists.
The New Enterprise Incentive Scheme (NEIS) is a mainstream programme which helps eligible unemployed people to start and run their new, viable small business. NEIS provides training in small business management and business skills, and business plan development. NEIS does not provide start-up funds such as loans or grants. At the end of training (up to three months), if the business plan is approved, NEIS assistance starts. NEIS participants receive income support while developing their businesses along with business advice and mentoring support during the first year of operation. NEIS mentors have proven business acumen and proven experience in marketing, finance, accounting or other relevant business skills... However it has not really been taken up by Indigenous Australians.[16]
7.19 Indigenous Business Australia also provides some assistance. IBA Enterprises can support Indigenous people wanting to develop businesses, or access business development training and support, in a range of sectors including the arts. IBA does not, however, provide grant support to organisations or provide general education and training of art centre managers.
7.20 IBA is currently considering how it can take a strategic approach to supporting commercial development in this industry. In the absence of industry specific funding to support this industry, IBA must operate commercially. However Indigenous artists can, and do, access IBA Enterprises business support and development assistance. Indigenous Business Australia can also provide innovative commercial solutions to community enterprises where there is a desire to achieve commercial viability.[17]
7.21 These DEWR programs can be accessed either by themselves, or in conjunction with other Government programs, such as the Community Development Employment Projects (CDEP) program. The Department of Employment and Workplace Relations (DEWR) administers the CDEP program which is the largest single provider of participation activities for Indigenous Australians. DEWR administers and implements strategies and guidelines for the effective delivery of the CDEP program. It is also responsible for funding and contract management, including monitoring and reporting on the performance of CDEP service providers. The CDEP program provides participation opportunities through activities which develop skills and improve employability of participants in order to assist them to move into employment outside the CDEP program.
7.22 CDEP activities can also lead to the development of business enterprises. The overall aim is to support Indigenous people to achieve economic independence.[18] For example, the STEP programme outlined above has already been used in conjunction with the CDEP. A DEWR representative outlined some examples of how STEP had been utilised while at the same time drawing support from the CDEP.
In the first one, in Northern Australia, with the Association of Northern, Kimberley and Arnhem Aboriginal Artists, (ANKAAA), our STEP program has employed a business development officer to assist in the training of arts centre staff in business skills, developing business, strategic and marketing plans for arts centres, and developing better business practice within those centres. In a second example, STEP funding has been used to support a local Indigenous woman in Borroloola in the Northern Territory to gain qualifications in museum practice and arts centre management. Once she has completed her training, she will move from CDEP to full-time employment.[19]
7.23 CDEP service providers receive funding to provide services and manage activities aimed at increasing employment outcomes for Indigenous people:
Organisations funded to deliver the CDEP programme (CDEP organisations) manage activities aimed at increasing employment outcomes, providing business development opportunities and meeting community needs to benefit Indigenous people and their communities. CDEP activities must lead to employment wherever possible and all activities must be approved by DEWR before the commencement of the activity. This emphasis on employment was reinforced in the 2006-07 CDEP programme guidelines.[20]
7.24 This program plays a major role in Indigenous visual arts, as a source of employment for staff in art centres, and as a source of employment for artists, as many artists employed by arts centres are CDEP participants. DEWR indicated that:
It is estimated that around 130 arts activities are currently undertaken by 95 CDEP organisations. These activities can support up to 2100 participants. This accounts for around four per cent of all CDEP activity places.[21]
7.25 Submitters were positive about the role of CDEP in building skills and the capacity to be self reliant:
Many Art Centres are reliant on CDEP (community development employment program). By subsidizing the employment of local people, CDEP assists in basic training that provides a stepping stone into the organizing and running of a Community Art Centre. This in turn builds significant skills in assisting inter-cultural relations and furthering self-determination. As Art Centres act as a mediator between artists/community and art market, then it is vital that training of local people be not only maintained, but further encouraged.[22]
7.26 DEWR supports the training of CDEP participants insofar as that training leads to off-CDEP employment. However, DEWR emphasised that CDEP is an employment program rather than a training program, and that its aim is to achieve 'unsubsidised employment' for participants.[23] It is not clear from the art centres' submissions that once a CDEP participant has completed training, the art centre then has the financial capacity to employ the person off CDEP. Therefore CDEP may not be the most appropriate program from which arts centres should be drawing assistance. DEWR is discussing with DCITA issues of CDEP cross-subsidisation in the arts sector (see below).
Changes to CDEP
7.27 Several changes to the operation of CDEP have recently been introduced. As noted above, people participating under the CDEP scheme can be employed by a CDEP organisation or placed by the CDEP organisation with an external or host employer. In July 2005 placements by CDEP service providers of CDEP participants with host employers were limited to 12 months duration. This applied to all CDEP participants including in remote areas. It is believed that most arts centres would fall under the category of host employers.[24]
7.28 In July 2006 new CDEP participants in urban and regional centres were limited to 52 weeks (one year) participation to ensure CDEP becomes a stepping stone to real jobs.[25] This limit does not apply to remote areas where CDEP participants are not subject to a specific time limit.
7.29 Other changes to the CDEP will come into operation from 1 July 2007. After that date CDEP will no longer operate in urban and major regional centres. As a consequence of the cessation of CDEP, top-up payments will cease. CDEP will continue to operate in remote areas and in regional locations with weaker labour markets (as will top-up payments in these areas).
7.30 CDEP will cease in the following locations:
New South Wales – Sydney, Central Coast, Newcastle, Hunter region, Armidale, Cowra, Griffith, Tamworth, Wagga Wagga, Albury and Queanbeyan
Northern Territory – Darwin
Queensland – Rockhampton, Yeppoon including Capricorn Coast and Gladstone including Biloela and Mt Morgan, City of Cairns and district from Palm Cove to Edmonton, Townsville region comprising the cities of Townsville and Thuringowa, City of Toowoomba and surrounding district including Oakey and Crows Nest, Dalby and district, Warwick and district, City of Mackay and district, Brisbane including North Stradbroke Island, Beaudesert, Ipswich, Sunshine Coast and Gold Coast
South Australia – Adelaide and Riverland and immediate surrounds, South East South Australia and immediate surrounds, Port Lincoln and immediate surrounds, Port Augusta, Whyalla, Port Pirie and immediate surrounds, Murray Bridge and immediate surrounds
Tasmania – mainland
Victoria – Halls Gap, Horsham, Ballarat, Shepparton, Wangaratta, Echuca, Wodonga, Melbourne, Geelong, Bairnsdale, Orbost, Lakes Entrance, Lake Tyers, Warrnambool, Portland, Hamilton, Heywood, Mortlake, Camperdown, Terang and Robinvale
Western Australia – Port Hedland, South Hedland, Bunbury, Busselton, Collie, Australind, Kalgoorlie, Esperance, Perth metropolitan area, Broome, Albany and Geraldton
Australian Capital Territory.[26]
7.31 Art centres expressed concern about the 12 months' employment limit, arguing that the 12-month period is shorter than needed to develop skills as an artist or art worker:
Waringarri Aboriginal Arts has a constitutional focus on providing employment and training opportunities for local indigenous people. Young people are encouraged to participate at the art centre as support workers and are provided with the opportunity to increase skills and knowledge in art centre operations and management. Currently 6 positions exist as administration, art materials supply, freight and packing, and gallery sales assistants. These positions are funded through the local CDEP scheme with "Top Up" payments to meet award levels. With the proposed changes to CDEP these positions will be jeopardized since the twelve month cut off of each CDEP placement does not allow sufficient time to adequately train staff. It would be reasonable to assume that training positions need at least two years period in order to achieve skills levels required for the performance of most art centre positions. Training in these positions enhances the opportunity for young indigenous people to achieve success in a range of future employment options that may be made available both within and outside the sector. A case by case arrangement should be put in place that acknowledges positive achievements and employment successes.[27]
7.32 Waringarri Aboriginal Arts concluded:
Without CDEP or an appropriate funding alternative Waringarri Aboriginal Arts is unlikely to be able to continue on its current path of success and sustainability.[28]
7.33 The Arts Law Centre of Australia expressed similar concerns:
The new system of Community Development and Employment Projects (CDEP) program is problematic for the financial viability of many artists and the CDEP providers with whom they are working. The CDEP system does not reflect the reality of job and business prospects for Indigenous people in regional and remote Australia, with CDEP participants expected to move into real jobs after 52 weeks on CDEP.[29]
7.34 Concerns were also expressed about the changes to be introduced from July 2007. It was argued that these would threaten the viability of art centres in urban and major regional centres and threaten the livelihood of artists and art centre support staff in these areas. Professor Altman stated that:
Proposed changes to the CDEP scheme that would see its disappearance in metropolitan and urban centres could have major impacts on the sustainability of arts practice in such areas. Even in rural and remote regions, pressure on CDEP organisations to exit participants into mainstream work could have deleterious impacts on the visual arts sector, both in terms of artist outputs and in terms of employment of art centre support staff.[30]
7.35 Similar concerns were expressed in relation to arts centres in remote areas (submissions were received before the government's recent announcement) but as noted above CDEP will continue to operate in remote areas and in certain regional locations. Some concerns were expressed concerning the impact that the cessation of CDEP in urban and major regional centres from July 2007 will have, although the overall impact of this measure is difficult to determine at this stage. The cessation of CDEP in urban and major regional areas will, however, be complemented by the provision of additional funding to expand the previously discussed Structured Training and Employment Projects (STEP) program and to broker employment services in areas such as those affected by the changes. STEP is flexible enough to allow brokers to deliver community work activities similar to those delivered under CDEP.[31]
7.36 DEWR noted that the nature of employers in the arts and craft sector, particularly the high proportion of very small businesses or sole traders, has limited the scope of STEP projects in the sector. For example, STEP funding cannot be used to fund artists directly. Artists are generally self-employed rather than employees of a business. However DEWR stated that STEP has been used successfully to support projects in the arts sector. As noted above, ANKAAA is, through STEP funding, employing a business development officer to improve the skills base of the organisation. In another example, the Mabunji Arts Centre is developing the employment and business capacity of its operations through STEP funding of an Indigenous employee to gain qualifications in museum practice and arts centre management.[32]
CDEP cross subsidisation
7.37 The CDEP program was described in the previous chapter. The use of CDEP labour to support other government agency activities can be referred to as CDEP cross-subsidisation. It is estimated that 20 per cent of all CDEP participants could be in this category. This proportion varies across the country, but may be higher in remote areas. DEWR stated that available information shows that there are 34 arts activities that are supported by other government programs with up to 328 CDEP participants involved.[33]
7.38 DEWR indicated that the department and other Commonwealth agencies are seeking to eliminate this cross-subsidisation between programs. DEWR stated that the aim is create 'real' employment and career paths for Indigenous people participating in CDEP activities that elsewhere would be 'real' jobs.[34]
7.39 The committee recognises the contribution that CDEP has made, and continues to make, to skills development in Indigenous arts generally, and in art centres in particular. It supports the focus of CDEP on skills development and on-the-job training, which was widely regarded as important in this industry.
7.40 The committee supports ongoing discussion between DEWR and DCITA regarding Commonwealth support for employment in art centres. Art centres are a crucial part of a tremendous success story for Indigenous skills and Indigenous employment. The committee is supportive of any policy reform or restructure of programs that does not jeopardise that success and improves the efficiency and transparency of government assistance in the sector.
Recommendation 11
7.41 The committee recommends that the Commonwealth pursue the conversion of CDEP-funded positions in art centres into properly funded jobs, taking an approach similar to the 2007-08 Budget initiative in other portfolio areas; and that this initiative be independent of future NACIS program funding.
7.42 Apart from government programs, there exists a number of employment, education and training programs run by non-government and other organisations. Desart, for example, argued that ongoing training is a critical sustainability factor in the arts and craft industry and it is developing a Training Network to support Aboriginal art centres in central Australia by building training partnerships between art centres and registered training organisations, and, where appropriate, other participants in the Aboriginal art industry of the Central Desert. Desart is pursuing this Training Network for artists and art workers, executive members of art centres and art centre managers.[35] A book explaining the Training Network, completed early in 2006, was developed as a training research project to examine the needs, aspirations and delivery of training to Aboriginal people working in Art Centres in central Australia.[36]
7.43 The Training Network is open to all participants in the Aboriginal Art Industry of the Central Desert who have ideas and aims to creates an overview of:
registered training organisations offering training that meets identified needs of art centres: how, what and where;
Government funding which may assist art centres to get the right training, and assist training organisations to provide the right training;
participants in the art industry with ideas and perhaps resources to contribute; and
available resources and initiatives.[37]
This overview is intended to allow Desart to facilitate combining the correct mix of people, ideas and funding so as to initiate programs.
7.44 The Training Network offers:
Art centres the opportunity to tell Desart what they need and what they don't need, what will work and what won't work, as well as share past experiences, good and bad. The Network helps art centres to say what they want from training to training providers and to work with training providers to get it;
Training providers the opportunity to be part of a community of practice and to register on our participants list. This way they will learn about possible opportunities and projects;
All participants in the Aboriginal art industry of the Central Desert the opportunity to contribute ideas and other opportunities for training. These may be artists, galleries, academics, suppliers, tourist centre staff and peak organisations as well as others; and
Government a forum to match national training policy and funding with the needs of Art Centres in Central Australia in practical and inclusive ways, some of which will be tried and true, some of which will be new.[38]
Education and training of artists
7.45 A number of submissions have indicated that many Indigenous artists, living as they do in remote communities, have experienced a lack of educational opportunities. This is a fundamental problem that transcends the Indigenous arts industry. Education standards for Indigenous people are low, and this affects their ability to procure and maintain employment, and generally make educated decisions about their lifestyle and future.
7.46 Raising basic literacy and numeracy skills remains a fundamental pre-requisite to assisting Indigenous artists becoming more empowered in terms of their rights and responsibilities in the arts industry:
Few Indigenous artists are fully aware of the role and practices of the commercial art world and there is limited willingness to question those practices and to insist on ethical written contracts and agreements. Education at all levels is necessary in order to equip art centres, communities and individual artists with a sense of the marketplace and its operation.[39]
7.47 Furthermore, this is not exclusive to remote communities. Even Indigenous communities in the urban environment are suffering from the same problems:
There is a strong perception that urban artists have more access to art industry services. This is not the case, many urban artists lack skill, education, financial means and exhibiting opportunities as do artists in remote centres. Queensland does not have the kind of infrastructure and support that has been afforded Aboriginal artists of the Northern Territory, Western Australia, and South Australian artists with the exception of Lockart River and Arakun and more recently Mornington Island Community Art Centres.[40]
Initiatives for the Indigenous arts industry
7.48 Moving beyond the basic issue of the low levels of Indigenous literacy and numeracy, there are issues specific to Indigenous artists and the arts industry. There are a number of initiatives being provided which attempt to address different areas of disadvantage that Indigenous artists are experiencing.
Indigenous Creative Business Development
7.49 For the Indigenous visual arts industry to be sustainable, Creative Economy argued that the Indigenous people's capacity to participate in the sector on an equal basis needed to be continually supported through knowledge transfer and skills development.[41] To assist this, in 2004 Creative Economy initiated a business development programme – the Indigenous Creative Business Development (ICBD) – to meet the demand for improved business management.
7.50 The ICBD aims to:
address the need for business skills relevant to participants' own primary income activity;
provide practical business assistance tailored to the specific needs of the applicants;
provide business mentoring at the participants' location;
share knowledge in a culturally appropriate way; and
support individuals to develop the capacity to conduct successful commercial enterprises.[42]
7.51 Creative Economy claimed that the program is highly effective not only in its delivery and results but also in its administration.
[It] increases management capabilities, business skills and participation of Aboriginal and Torres Strait Islander people in sustainable enterprises. ICBD is the only program of its kind in Australia focused on the creative sector and provides practical business to business mentoring and skills development. The ICBD program is a key strategy to improve practice, increase capacity and minimise unethical trade to contribute to the sustainability of the sector.... For the past three years Indigenous Business Australia (IBA) has supported Indigenous clients to access ICBD to receive tailored, practical and culturally sensitive business assistance to support their capacity building and economic self-sufficiency aspirations.[43]
Copy Rite
7.52 While Creative Economy aims to educate Indigenous artists about business skills, Viscopy aims to educate artists and staff about copyright issues. To that end, Viscopy conducts a copyright education program know as Copy Rite. The program operates by delivering workshops, and travels to Indigenous communities throughout remote, regional and metropolitan Australia, free of charge to the artists. Workshops employ visual techniques developed with the World Intellectual Property Organisation Traditional Knowledge protocol, are delivered by Indigenous staff, and make use of community based translators where necessary.[44]
7.53 The Copy Rite Indigenous visual copyright education program is currently funded by a grant from the Department of Communications, Information Technology and the Arts (DCITA) and aims to:
educate and provide advice to Indigenous artists and communities regarding copyright protection, and how to best to preserve and exploit the rights in their own works;
assist with the resolution of issues as they arise;
refer reports of infringements and market issues to Viscopy and/or other relevant bodies;
educate artists with regard to the importance of Wills and Estates to protect copyright for their beneficiaries;
promote the licensing services and royalty benefits of Viscopy membership; and
advocate for the better protection of Indigenous artists from market and social abuses.[45]
Artists in the Black
7.54 Lack of artist education is a hindrance when trying to litigate against 'carpet baggers',[46] and the evidence indicated that there is a lack of knowledge amongst artists on their legal rights. Arts Law Centre of Australia claimed to have an extensive program to educate artists and arts workers about legal rights and obligations of the arts sector.[47] They argued that:
Financial success and sustainability is more likely when Indigenous artists and communities are fully aware of their rights and are able to negotiate the terms of purchase and use of their work. Increased access to legal financial and management education and advice services is critical to informing artists.[48]
7.55 Arts Law have set up a program – Artists in the Black (AITB) – which provides free legal advice services, legal education and advocacy services to and on behalf of Indigenous artists and arts organisations throughout Australia. It is staffed by an Indigenous lawyer and an Indigenous information officer and is the only national service of its kind. [49]
7.56 Of the numerous submissions received, few gave any details of tertiary courses available for the Indigenous visual arts sector. However, Griffith University began a course in 1995 – the Bachelor of Visual Arts in Contemporary Australian Indigenous Art – which is claimed to be unique to the Australian university system. The course centres around Indigenous Australian students' research into their own cultures and looks at the way those cultures continue to be viable in a rapidly changing society. [50] Jennifer Herd commended the course and argued:
Sustainability and improvement for the sector can be achieved through adequate training and education. So far our program is the only program at any Australian University that offers a program of study in the visual arts with both theory and practice for Aboriginal artists. The program is taught by Aboriginal lecturers who are practicing artists themselves. There is an opportunity for government to support what is already being done and proven to be working and assist us through further funding initiatives to improve the capacity of Australia's Indigenous artists and their earning potential. Current programs and centres offering training need ongoing support. Particularly courses that are supported by the community, such as CAIA that has been operating for 10 years.[51]
7.57 The Queensland Government recognises the need for education and training and supports the University of Griffith's course:
There is a very real need to address education and training, skill shortages in communities and succession planning for Indigenous visual arts and craft practitioners and administrators. Certificates in Aboriginal or Torres Strait Islander Cultural Arts at Cairns TAFE and the Bachelor of Visual Arts in Contemporary Indigenous Art course offered by the Queensland College of Art Griffith University were the first and remain the most substantial qualifications available in this field.[52]
7.58 Like many other aspects of the Indigenous arts industry there have been, through a variety of submissions, calls for greater funding support for these and other education programs. For example, Artsource recommends that the Government provide ongoing assured program funds to ensure that the education and understanding that artists and the industry require can be provided.[53] The National Association for the Visual Arts Ltd (NAVA) recommends:
that the Government should work with industry organisations and training providers to co-ordinate, and where appropriate, fund the development and delivery of extended forms of education and training to address current instances of unfair exchange between artists and markets including education on market value, copyright, Indigenous moral rights and appropriation.[54]
New Zealand initiatives
7.59 The New Zealand Ministry for Culture and Heritage provided a submission to the inquiry which the committee received with interest.[55] The submission outlined a number of education initiatives designed to strengthen their Indigenous arts industry, including artist training and education in intellectual property rights.
7.60 One example is the Domestic Traditional Knowledge Work Program. Run by the Ministry of Economic Development, this program is a three staged intellectual property and traditional knowledge work plan. It responds to concerns raised by Maori and by indigenous people internationally, about the impact of intellectual property systems on traditional knowledge both in terms of cultural preservation and economic development opportunities.[56]
7.61 Creative New Zealand has launched a programme aimed at the development and preservation of Maori arts. Toi Ake is a resource and funding program that has a long term focus on nurturing and strengthening arts within Maori communities. Toi Ake has been tailored by iwi (tribes) and arts practitioners into a model that focuses on development and retention of Maori arts, both traditional and contemporary. It assists with planning, training and management to support the long term strength of Maori arts.[57]
7.62 The committee found the New Zealand submission informative, and believes that there may be some initiatives which may warrant consideration for the Indigenous visual art industry.
Education of consumers
7.63 There are currently a number of initiatives designed to educate consumers about Indigenous art, methods by which to ensure that the arts' authenticity, and to undermine illegal and unethical activity.[58] Consumer education can be divided into domestic and international, however in both cases it aims to ensure that the consumer is aware of the arts' authenticity, and that the customer can be confident that payments provided are of fair value and that the money will be provided to the recognised, legitimate artist. There is a strong recognition that such education will assist in curtailing unethical activity,[59] and help establish and support Indigenous intellectual property rights.[60]
Domestic programs
7.64 The Northern Territory Government strongly supports the education of consumers and has provided funding and support through joint programs. One such example is the co-project with ANKAAA; the Purchasing Australian Aboriginal Art – A Consumer Guide brochure.[61]
...the Northern Territory government is very keen to pursue ... the education of ... consumers, so that they have an awareness of what they are actually purchasing and what they are looking at when they go to galleries. So through ANKAAA, the Northern Territory government has funded the consumer brochures, which we now have in four languages, to assist tourists coming into the country to get some background and to understand copyright law, intellectual property, moral rights and all the different aspects of purchasing Indigenous art.[62]
7.65 ANKAAA has also produced a Guide to Aboriginal Art that helps direct buyers to Indigenous owned enterprises. The committee was also shown the Indigenous Visual Arts and Craft Resource Directory, a major project of DCITA, prepared with the assistance of other organisations. This directory is now in its fourth edition, created in 2006.[63] It is a valuable resource for all in the sector, whether artists, other industry participants or consumers. The committee notes the current process, led by the National Association for the Visual Arts, that will result in an Indigenous Art Commercial Code of Conduct (see chapter 10). One vehicle for encouraging the adoption of the Code would be to ensure that only Code-compliant organisations are included in future editions of the Resource Directory.
7.66 The committee recommends that future editions of the Indigenous Visual Arts and Craft Resource Directory only include entries for entities that maintain appropriate compliance with the Indigenous Art Commercial Code of Conduct.
7.67 Other initiatives include those of arts centres and galleries. Birrung Gallery has established an educational program of free public lectures on various topics that regularly inform the public of art market information. These have included forums on a variety of subjects including 'Indigenous Art as Investment'.[64]
7.68 Purchasers of Indigenous art are generally positive about the industry, and supporting Indigenous artists. Papunya Tula Artists have noted that consumers respond positively to education.
Papunya Tula Artists (PTA) has recognised consumer education as an essential factor and, along with all interstate galleries related to PTA, has attempted to bring consumers up to date with current industry issues. Many consumers are not aware of such issues but respond very positively when things are explained in greater detail. Often those who previously purchased work without knowing its origins have immediately altered their philosophy and only deal with art centres, or with their referred dealers interstate. Consumers, on the whole, want to support Aboriginal artists and do the right thing by the industry, but, in general, they lack the background knowledge to make an informed decision.[65]
7.69 The Cross Cultural Art Exchange concurs:
Education of all industry sectors is an important process to combat unscrupulous and unethical conduct. Most consumers, when made aware of industry issues, are more than interested and happy to proceed with their purchase knowing that it is ethically correct.[66]
7.70 Like education for Indigenous artists there have been, through a variety of submissions, calls for greater funding support for consumer education programs. Christine Godden, while recognising that some initiatives have occurred, argued they are not substantive enough and recommends that substantial funds should be available for a nation wide, consumer education campaign about purchasing authentic Aboriginal art.[67]
7.71 Alex Malik, while positive about the initiative, himself discussed the lack of resourcing in the context of the ANKAAA/NT Government brochure.
This brochure contains information regarding the piracy and counterfeiting of Indigenous Aboriginal art and craft. However the existence of this type of brochure appears to be a rare incidence.
The absence of brochures and information sheets other than this brochure demonstrates that there is a need for greater Government education in this area.[68]
7.72 The growing interest in Australian Indigenous visual art and the international price increase of visual art generally indicates that there is a larger and more lucrative market for Indigenous art.[69] Given this, there are opportunities that could perhaps be better exploited with a more educated international market.
7.73 A key aspect of the education of international purchasers of Indigenous art is to provide greater information to tourists. The National Association for the Visual Arts Ltd (NAVA) is seeking to promote an initiative in conjunction with the tourist industry.
We are starting negotiations with the tourism industry, in particular, because the way that purchasers of Indigenous arts approach the enterprise is often on the basis of no knowledge or a lack of awareness of what is at stake. We feel that if those who are buying Indigenous arts were better educated and their commitment was increased to understand the consequences of not observing the appropriate standards we might get some improvement.[70]
7.74 There was a recognition in a number of submissions that education is required for the international market. ANKAAA argued that:
In the newly burgeoning international market there needs to be a focussed education campaign to complement export opportunities in regards to the cultural significance of the works but also the diversity of culture, country and art forms across Australia. There also needs to be an educational push for the sector regarding the different market focuses of identified International opportunities. Cultural tourism within specific Art Centres is providing a unique experience for international visitors and providing interaction with a variety of community members.[71]
7.75 Ms Apolline Kohen, Arts Director, Maningrida Arts and Culture, also sees the potential for exploiting the international market:
Another area where the government can make a significant difference is to help us genuine representatives of Indigenous artists to promote Aboriginal art overseas. We need to enter new markets before we reach saturation at the domestic level. To help us access new markets, I urge the government to embark on a promotional and educational effort to make Aboriginal art better known overseas. Exposure to good quality works through educational shows will provide a springboard for the establishment of new markets for organisations like our art centre. Additionally, we would welcome support for international market research. There is considerable scope for art centres to exploit the export market.[72]
7.76 There has been some cooperation between agencies in promoting Indigenous art for export through education. Desart, in conjunction with Austrade, ANKAAA and the Northern Territory Government, has been engaged in a number of export related projects, particularly over the past two years, including hosting inbound trade missions in partnerships; conducting a research project with identifying export pathways for Indigenous art; and hosting a research project with the University of Sydney International Entrepreneurship business course to consider pathways and opportunities for new products.[73]
7.77 Austrade, the Federal Government's agency tasked with helping more Australians succeed in export and international business by providing advice, market intelligence and support to Australian companies,[74] see themselves as having an important role:
Education for all stakeholders is of primary importance in order to achieve the best export outcomes. Here, Austrade can play a pivotal role in disseminating information to consolidators on export opportunities, services, and international market trends. Indigenous arts consolidators can in turn educate Austrade on the mechanisms of the Indigenous arts industry, the issues affecting the export of art, the preferences for particular clients, and the pathways to supporting ethical trade practice. Austrade and Indigenous arts consolidators can combine their expertise in helping to inform the foreign market about Indigenous art and its availability.[75]
7.78 The Northern Territory Government believes that there is some scope for Austrade assisting art promotion.[76] However Austrade has also come in for some criticism with one submission describing the organisation as 'friendly, [but] needs to earn its income – it is usually unskilled in regard to assisting in the arts area'.[77]
7.79 The initiatives in New Zealand, discussed above, in many cases extend to the education of the international market. For example, the Domestic Traditional Knowledge Work Programme involves providing education to the international market through the issuing of 'International Fact Sheets' on the issue of intellectual property and traditional knowledge.[78]
7.80 Toi Maori Aotearoa is a charitable trust established in 1996 and it aims to foster the development of Maori arts.[79] Toi Maori Aotearoa annually produces a wide range of events and activities that include festivals, exhibitions, performances, publications and workshops that relate to a wide spectrum of Maori art forms.
7.81 One Toi Maori Aotearoa initiative was the 'Maori Art Meets America' – a joint venture between Toi Maori Aotearoa and Tourism New Zealand. Over fifty Maori artists and dignitaries travelled together to San Francisco to participate in the opening ceremonies and exhibition. Tourism New Zealand hosted an evening of hospitality and entertainment for over 300 business people and officials and Air New Zealand hosted a separate though similar event.[80]
7.82 Again, the committee believes there may be some advantage in looking more closely at some of these initiatives to see if there are similar ways in which the international market can become better educated about and exposed to Australian Indigenous visual art.
Ensuring effective education to support the industry
7.83 Education has been identified through many submissions and witness testimony as a key potential driver for improvements in the Indigenous visual arts and crafts industry. These submissions and testimony have generally recognised the importance of current education and training programs and argued that relatively small increases in resources could have a great positive effect in terms of facilitating improvements in the industry.
7.84 The committee believes many of the education and training initiatives about which it heard are worthwhile. However, as the chapter on art centres showed, there appear to be some very pressing skills development needs in this industry, particularly in relation to such areas as business management and planning, accounting, marketing and governance. The committee acknowledges the work of Desart and ANKAAA, through initiatives such as the Desart Training Book.[81] It seems nevertheless that much more needs to be done.
7.85 There were many suggestions made during the course of the inquiry, ranging from new university courses to on-site on-the-job training. The committee felt that while the case for education and training is strong, the preferred mechanisms to deliver it successfully are not clear at this stage.
7.86 The committee recommends that DCITA, in consultation with DEST, develop programs to deliver education and training in the sector particularly in relation to:
governance and business planning and management;
artists' rights and responsibilities;
artistic development for artists; and
education of the market.
7.87 The committee received some evidence from Creative Economy that suggested there may be issues in the way government programs may be assisting in meeting skills development and training goals.
DCITA states in its objectives for its NACIS program that it aims to 'strengthen governance and business management practices in the industry'. However, under the heading 'Activities the program does not support', it lists activities 'the purpose of which is not principally for production, promotion or marketing of visual arts and crafts'. The great breadth of business management, business development and skills development are not eligible activities under the program, so we were not eligible to apply under DCITA's program. DCITA states in its submission that it is the key agency that advises and the key agency particularly for arts centres, but the activities to actually strengthen governance and business management do not fit within the guidelines...[82]
7.88 The committee was disappointed in the failure of both the Office of Indigenous Policy Coordination and Indigenous Business Australia to provide submissions, despite repeated invitations to do so, and this has limited the committee's analysis of some issues. The committee also notes that the NACIS program is currently being evaluated by the Office of Evaluation and Audit (Indigenous Programs) (OEAIP) in the Department of Finance and Administration.[83] It recognises that there is already extremely strong competition for access to NACIS funds. The committee understands that increasing the range of activities that NACIS supports may need to be linked to increased resources to make this possible.
7.89 Without wishing to pre-empt any findings from the OEAIP evaluation, it does seem to the committee that, if anything, business management and governance are probably the areas in most pressing need of greater training activities in the industry. This may be an area where the alignment between the Indigenous Art Centres Strategy and Action Plan and NACIS funding needs to be re-examined.
7.90 The committee recommends that, subject to the acceptance of its recommendation in chapter 4 for an expansion of NACIS scheme funding, the Commonwealth review the relevant funding guidelines to ensure governance and business management training activities are supported.

redpajama_set_name: RedPajamaCommonCrawl


Over the weekend, policymakers met up in Moscow for the G20 meetings and BOJ Governor Haruhiko Kuroda took the opportunity to renew his pledge to maintain the BOJ's aggressive monetary policy easing. According to him, everything is going according to the BOJ's plans since it made the bold change to its monetary policy.
If you remember, Kuroda shocked the markets a few months ago after he announced the BOJ's massive stimulus program designed to put an end to the country's 15-year deflation problem.
Analysts can tell that Kuroda feels pretty darn confident that the central bank took the right step when it made the aggressive move in April, which tells us that we probably won't see any adjustments to policy anytime soon.
Other G20 members don't seem to mind the BOJ's easy monetary policy. Exchange rates and competitive currency devaluations were barely even discussed in the meeting.
In fact, officials even seemed to show support for the policies of their counterparts. For instance, we heard Kuroda praise the Fed's plans of tapering, saying that such a move would only be appropriate as the U.S. economy recovers. This isn't what we're used to hearing.
Past, G20 meetings got ugly as countries criticized each other's policies, triggering talks of a currency war. But judging at how this weekend's meeting went, it appears as though we can rule out the possibility of a currency war, at least for now.
The Liberal Democratic Party's decisive victory in Japan's recently concluded elections gives Prime Minister Shinzo Abe a strong foothold in the upper house. As of this writing, Abe's coalition has secured a majority win. Together with New Komeito, the LDP is slated to bag at least 74 of the 121 seats that are on the line.
This, in turn, should make it easier for Abe to implement and gain support for his "national growth strategy," which includes his hyper-easy monetary policy.
While the events that unfolded over the weekend tell us that BOJ plans to stick to its guns, it doesn't necessarily mean that the central bank will pull the trigger and ease monetary policy every chance it gets.
On the contrary, the BOJ's recent statements seem to suggest that it only plans to do so if the need arises.
Based on its last two monetary policy statements, the central bank doesn't see much of a need for further easing yet. In fact, just last month, it sounded downright optimistic, claiming that the economy is starting to recover and that Japan is finally feeling the effects of the central bank's giant stimulus program.
The way I see it, the BOJ has adopted the ever-so-famous wait-and-see approach, which means that just like the Fed, it will probably base its future decisions on the outcome of economic reports. In other words, the BOJ might not reach into its bag of tricks unless Japan's recovery loses steam.
realy thank you please when time standard publish your advice ??


text:
Kedys' daughter returned to mother
From wire reports
KAUNAS - Early Thursday morning, May 17, a court ruling to return the 8-year-old daughter of the late Drasius Kedys to her mother Laimute Stankunaite was implemented as the police assisted the mother in taking her daughter from her aunt's house in Kaunas district. Kedys' sister Neringa Venckiene was the temporary guardian of the girl, reports ELTA.
A total of 39 persons from a crowd surrounding Venckiene's house to prevent court bailiffs from taking the minor were arrested. Many Lithuanians were violently opposed to the decision since they allege that the girl's mother is part of a pedophile ring.
For five months protesters prevented authorities from taking the girl from her deceased father's relatives, but police used riot shields to break up the angry crowd.
Lithuanian President Dalia Grybauskaite said that the responsible authorities must investigate if violence has not been used against the child during the handover operation, as the interests of the girl come first in this extraordinary story. The Social Security and Labor Ministry said it would look into the details of the handover operation.
The president had repeatedly said that the interests of the child must be protected. According to her, any kind of violence against the girl would not be tolerated.
The police released a statement later that morning saying that force was not used against the child and the police officers were acting in line with the law and the court ruling.
Supporters of Kedys and Venckiene then started gathering at the president's office in Vilnius to protest the handing over of the girl to her mother.
Kedys was wanted since October of 2009, when Kaunas District Judge Jonas Furmanavicius and Violeta Naruseviciene were shot dead. These murders have been directly linked to Kedys' search for justice. In early 2010 he was found dead in mysterious circumstances.
Kedys, an owner of a fur business, accused Judge Furmanavicius and two other men of molesting his little daughter. He also suspected his partner, Stankunaite, and her sister Naruseviciene of assisting the pedophile ring.


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to rebuild its business in the country.
quarter, largely thanks a warmer start to the year.
opinion on Unilever technology under novel foods regulation.
in order to 'further enable differentiated innovation'.
industry' to the CIAA Congress last week.


Creative tourism is one of the main trends in the tourism world. Travelers do not want to just listen to stories or follow classic tourist guides; they do not want to stay in the bubble. Travelers want to experience how to be a local; experience and try everyday life in the city; learn the skills of a place or cook their traditional dishes. The traveller does not want to take home only memories, but knowledge, through the journey, wants to change. In conversation with international experts, this evening will be dedicated to the untold potentials that Maribor is hiding.


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text:
Q: Set user agent using Selenium 2 I am trying to web automate an application which behaves differently if accessed from a mobile device. Does anyone know the best way to achieve this using Selenium 2?
In an ideal world I would like to find a way to just configure the user agent so that we can easily test lots of permutations.

A: Looking here, it shows this code to set the user agent string in Firefox:
FirefoxProfile profile = new FirefoxProfile();
profile.addAdditionalPreference("general.useragent.override", "some UA string");
WebDriver driver = new FirefoxDriver(profile);

Converting to Ruby, it would look like this:
require 'selenium-webdriver'

profile = Selenium::WebDriver::Firefox::Profile.new
profile['general.useragent.override'] = 'some UA string'

driver = Selenium::WebDriver.for :firefox, :profile => profile

Adding a line to the end of that to navigate to http://whatsmyuseragent.com indicates that it works as expected.
However, Selenium 2 comes with drivers for both iPhones and Android applications. I haven't tried them yet, but it looks like they both run either in the simulators or in the real device. Is there a reason that these wouldn't work for you? They might give a better view of how things are really going to look on the device.


For people experiencing homelessness, it can be a challenge to find food and shelter for themselves, let alone their pets.
Thanks to a new partnership with Pets for the Homeless, pets of Mission guests can receive the veterinary care they need. Click the photo above or click here to watch the video.
Dogs, cats and other pets often stay at the Mission with their owners. Veterinary care is expensive and not always attainable for people who are homeless. These furry friends are important companions, and need to be cared for to stay healthy.
Thank you for supporting Lighthouse Mission Ministries. Your help makes a huge difference in our community!


The Sirrus Disc has been a best seller here at Worcester Cycle Centre for many years and continues to be with the 2019 version. It takes a no-nonsense approach to its design, giving you everything that you need, like superior braking, and nothing that you don't.
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A Specialized Canopy Sport saddle offers plenty of support and cushion to ensure you're comfortable out on the road.
Promax F1 hydraulic disc brakes are spec'd on the Sirrus Disc to ensure consistent, powerful braking.


text:
Яровенко Ігор Адамович — український кінооператор.

Народився 1954 р.

Закінчив Київський державний інститут театрального мистецтва ім. І. Карпенка-Карого.

Фільмографія

Зняв на студії «Укртелефільм» стрічки:

 «Країна моя — доле моя» (1981),
 «Худайберди, посланий богом» (1990),
 «Замовчуваний генерал» (1991),
 «Дунай, Дунай» (1992),
 «Протистояння. Брестський мир» (1994).

Українські кінооператори
Народились 1954

redpajama_set_name: RedPajamaWikipedia


By an extremely short or slim margin (of distance, time, or another measure). They're just about to close the gates! It looks like we made the flight by a nose. The race was neck and neck till the very end, but Sally won it by a nose.
In horse racing, by a nose is the narrowest margin by which a horse can win.
Entering Monday's game that, too, belonged to the A's by a nose (3.


"I always thought it was my fault"
Animal rights activists are calling for a boycott of the movie.
She will be a guest lecturer for a masters course on women, peace, and security.
Lapo Elkann reportedly got too close for comfort at a Cannes amfAR event.
He was inspired by a Humans of New York blog post.


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Paris Jackson says it's "not her role" to defend Michael Jackson against 'Leaving Neverland' claims
Nick Reilly Mar 15, 2019 7:33 am GMT
"There's nothing i can say that hasn't already been said."
Paris Jackson has said it's "not her role" to defend her father Michael, in the wake of widespread backlash since Leaving Neverland aired in the UK and the US.
READ MORE: 'Leaving Neverland': How to watch the shocking new Michael Jackson documentary
The documentary, which aired on HBO and Channel 4, featured extensive testimonies from Wade Robson and James Safechuck who both accuse the pop icon of sexually abusing them when they were children.
While the Michael Jackson estate has continually denied the claims made in the film, his daughter Paris has now praised her cousin Taj for openly supporting the singer. She has also said that she doesn't feel it's her responsibility to defend her father.
there's nothing i can say that hasn't already been said in regards to defense. taj is doing a perfect job on his own. and i support him. but that's not my role. i'm just tryna get everyone to chill out and go with the flow, be mellow and think about the bigger picture. that's me.
— Paris-Michael K. J. (@ParisJackson) March 14, 2019
Paris angrily responded on Twitter after being trailed by paparazzi in New Orleans – prompting one fan to claim that there's a raised public interest in her because she's yet to fully respond to the film.
"There's nothing i can say that hasn't already been said in regards to defense. taj is doing a perfect job on his own," she responded.
'I support him. but that's not my role. i'm just tryna get everyone to chill out and go with the flow, be mellow and think about the bigger picture. that's me. (sic)."
This comes after Paris previously told fans to "chillax", "calm down" and "smoke some weed" before defending her father. She told one person on Twitter: "…Do you really think that it's possible to tear his name down? [Like] do you truly believe they stand a chance?"
Meanwhile, Michael's nephew Taj is in the process of filming a documentary that aims to respond to the claims made by Robson and Safechuck in the film.
He recently told NME: "Here's the thing, as an adult out of the bubble I can see how society thinks that. My uncle was – and this might sound arrogant – but my uncle was too good for the world. My uncle had a pure heart."
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HELMHOLTZ extreme
The world's deepest borehole

Photo: Matthias Lenk, www.MTBoberpfalz.de

East of Nuremberg researchers have drilled a hole in the earth that is more than nine kilometers long. Today the shaft is mainly used as a test laboratory for measuring instruments
In the midst of rolling hills, meadows and fields, near the Bavarian city of Windischeschenbach, a steel drilling rig rises 83 metres into the sky. Below the drilling rig, geoscientists have drilled the world's deepest borehole. It is over nine kilometres deep and is used as a test laboratory for geological experiments.
It took scientists four years of drilling to reach the impressive depth of exactly 9101 metres in 1994. The borehole tapers as it goes deeper. It starts off at the surface with a diameter of 71 centimetres, decreasing to a mere 17 centimetres at the very bottom. With temperatures of up to 280 degrees Celsius and pressures of up to 940 bar, it is an extremely hostile environment down there.
The researchers use cable winches to lower measuring devices attached to a thick steel cable down into the borehole. The probes have to be capable of taking accurate measurements at extreme temperatures and pressures underground. "We therefore test and calibrate our technical equipment in Windischeschenbach before we go on expedition and work in new boreholes", said Ulrich Harms from the Helmholtz Centre Potsdam GFZ, the German Research Centre for Geosciences, which operates the infrastructure of the world's deepest borehole.
Researchers are also developing new devices here, such as the highly sensitive seismometer that measures acoustic waves deep underground. In the next few days, the GFZ researchers will be using these sensors in a deep drill in Sweden. Working in an international team, they will be taking a closer look at the mountain-building processes set off by plate tectonics 400 million years ago. So, it's a good thing that the geoscientists have already tested setting up the equipment and lowering it underground in Windischeschenbach. After all, nothing is allowed to fall down the borehole.
The deepest borehole in the world is also accessible to interested members of the public. The local environment centre (http://www.geozentrum-ktb.de) gives visitors and school groups a vivid insight into the history of our Earth.
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A deadly disease if not caught early
While the rates are rising more rapidly in women younger than 55, they're still very low in young individuals, according to the research, which was published online Oct. 24 in the Journal of the American Medical Association. The research was presented simultaneously at the American College of Gastroenterology's annual meeting, which is being held both in Las Vegas and online.
To study the issue, researchers gathered pancreatic cancer incidence rates per 100,000 people for 2000 to 2018 from the Surveillance Epidemiology and End Results (SEER) database, which collects data from cancer registries that cover 37% of the U.S. population. They found 283,817 cases in women and men during those years.
The difficulty in diagnosing pancreatic cancer is that there is no solid screening test to identify it early and patients don't have symptoms until quite late in the disease, Gaddam said.
Despite tremendous advances in cancer detection and treatment for other types of cancer, the five-year survival rate of pancreatic cancer has improved from 3% to just 10% over the past several decades, Gaddam said.
Risk factors include family history.
"We do have a well-defined, but a small, group of high-risk patients. For those, we tend to screen annually. We tend to do MRI, CT scans and endoscopic ultrasound," Gaddam explained. "These are different modalities of testing on these patients to detect cancer, but for the vast majority of the general population, really not too many things to go by."
Risk factors can include obesity or smoking, but they are not fairly strong predictors for pancreatic cancer, Gaddam said. Doctors also look for jaundice with no abdominal pain, profound, unexplained weight loss or a new diagnosis of diabetes.
Questions remain
"Obviously not all causes of a new diagnosis of diabetes are cancer, or not everyone that has weight loss has pancreas cancer. So, we have to be really careful about that, but we look for these subtle tell-tale signs when we talk to our patients," Gaddam said.
Many people with pancreatic cancer have very vague symptoms in the beginning, such as minor abdominal discomfort or indigestion, said Dr. Sajan Nagpal, an assistant professor in the department of medicine at the University of Chicago. Nagpal was not involved in this study.
Longstanding diabetes and chronic pancreatitis are other risk factors.
By the time the cancer is detected, 80% of patients are no longer eligible for surgery, the only way to cure the cancer, Nagpal said. Other treatments include chemotherapy and radiation.
"The actual number of people that are successfully able to get surgery is even smaller, which is why the outcomes from pancreatic cancer remain poor," Nagpal said. "It would be great if we could identify patients at an earlier stage, because that would mean patients would qualify for surgery and we could improve outcomes in these patients."
Nagpal suggested more research, using larger databases and hospital-based outpatient oncology data to potentially corroborate this study and provide information about why this might be happening.
Gaddam also called for more research.
"I think this shows a potentially alarming trend and we need to put, as a society, more investment into this area to stem this rise," Gaddam said. "I think it calls for more research, more research dollars, more women should be speaking out for research in this area. And I'd say if there's anybody out there that's worried about pancreas cancer in their family, or if they see a trend, they should talk to their doctor about it."
The Pancreatic Cancer Action Network has more on pancreatic cancer.
SOURCES: Srinivas Gaddam, MD, gastroenterologist and assistant professor, medicine, Karsh Division of Gastroenterology and Hepatology, Cedars-Sinai Medical Center, Los Angeles; Sajan Nagpal, MBBS, assistant professor, medicine, and director, Pancreas Clinic, University of Chicago; Journal of the American Medical Association, Oct. 24, 2021, online; Oct. 24, 2021, presentation, American College of Gastroenterology annual meeting, Las Vegas
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Home > Our Services > Taxi licensing in the UK
Taxi Licensing (Hackney Carriage) and Private Hire Vehicle Licence Holders
Concerned about Taxi licensing in the UK? We regularly represent professional drivers who find themselves involved in licensing disputes, whether their current licence has been suspended or revoked, or they have had a new application or renewal refused.
As we provide national advice and representation, we can tailor our advice to licensing issues in London and the suburbs governed by Transport for London (TFL) or in the counties and other cities where licensing falls to be dealt with by Local Authorities.
Often a Local Authority or TFL may assess a driver as falling below the standard of what they consider a fit and proper person and refuse to grant or renew a licence application, or in some circumstances, they may revoke or suspend an active licence. This can occur for example where a driver has received a criminal conviction or is under investigation by the police. Alternatively, it can occur where a driver has received complaints from members of the public or other drivers.
In such circumstances, we can assist the driver in appealing the decision. Sometimes this can be done through negotiation with the Local Authority and the submission of written representations.
It may be necessary to appeal the decision to the Magistrates' Court. There is a strict time limit of 21 days in which to lodge an appeal in taxi licensing matters and there is absolutely no scope to extend that statutory time limit. Not even if there is an agreement between the licensing body and the licensed person.
These appeals are complex civil proceedings that require expert legal advice and assistance, not least because they can often result in a loss of livelihood and the other party's costs being awarded against you.
As licensing disputes have strict time limits for appealing a decision, it is, therefore, crucial that we are contacted as soon as possible if you have received a suspension or revocation notice, or had an application reused.
We can advise and assist you in all such aspects.


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Home > NEWS > Member News > Has the world of work really changed?
Has the world of work really changed?
Reading and Wokingham
Skills and Education
West Berks
The world of work has been turned on its head. The challenges the world is facing currently has brought about a paradigm shift in how businesses and people work. It is causing organisations to totally rethink how they use space and the role of the 'workplace' in both a strategic and operational perspective. But has what people want from their workplace really changed? Hasn't it always be important that one of the biggest overheads for a business works far harder than just existing as a place to sit at a desk? Hasn't it always been an opportunity to say more about your business, how it values staff and the environment in which it welcomes new clients, new talent and the wider community?
Of course, in the age of COVID-19 organisations have been forced to abandon traditional ways of working in favour of adopting remote working practices where they can. But has this really been a shift in the way we work or has it simply brought in to focus the challenges of an outdated approach to working life? Adapting to the reality of operating in the context of a pandemic has been more challenging for some business than it has for others who had already shifted to a more agile and flexible way of working.
Technology and connectivity: the glue holding organisations together
The skyrocketing valuation of video conferencing platforms in recent weeks is testament to the role that technology plays in keeping businesses running, not that you needed much proof reading this in between scheduled video conference meetings and organising virtual post-work drinks with friends and family through similar technologies. Companies have never been more dependent on technology as a key driver for growth as businesses realise that more and more 'work' can be done outside of the office, across borders, time zones, languages and cultures. Any technological shortcomings of your business are becoming more important to address than ever before to guarantee your workforce are connected, accessible, productive and engaged, and we don't anticipate this changing in the post-pandemic world of work.
Wellbeing and the humanity of working life
Guest appearances in video conferencing courtesy of dogs, cats, children and partners have become a source of hilarity for many as the human aspect of working life is brought in to focus more than ever before in the work-from-home era. Organisations, leaders and managers can no longer ignore what has previously been hidden from view and kept outside of the office as many people commandeer kitchen tables and living rooms to conduct their day-to-day work tasks. On the surface, working from home sounds great, right? Despite having been relieved of the daily commute and the comforts of home, for many, working from home presents a number of challenges for a person's physical and mental wellbeing. Isolation and loneliness and a lack of social contact can be difficult to deal with as well as the physical challenges presented by being confined to your house with limited opportunities to get out for exercise. Online fitness and yoga live-streams are helping people keep well, both mentally and physically and provide a some positivity and social interaction in uncertain and challenging circumstances.
When will we return to the office? And what will it look like?
There is much speculation as to when we will return to post-COVID-19 normality, with many suggesting that the world of work has been changed irreversibly. Whilst that may seem a daunting prospect for some, we believe that there is real opportunity for organisations to unlock the potential of their people and drive tangible business growth by revaluating their workspace. For our industry, we believe this will manifest itself in the form of a new wave of exciting design schemes that are more closely aligned with strategies to attract and retain the best talent, than they are with maximising the capacity of a floor plan. Technology will play a significant part in this, facilitating a more agile approach to work with connectivity enabling seamless remote working and state-of-the-art IT infrastructure being integral to business continuity. The cost of wasted time due to IT challenges is well documented and is an issue made only more acute in the current climate. We can only speculate as to what impact any potential 'social distancing' regulations will have on how the future workplace looks, but we anticipate seeing fewer banks of desks in modern working environments and more high quality breakout spaces and well-appointed meeting facilities. Ultimately, we predict the functional benefits of office space being reconsidered in favour of an approach that prioritises using the workplace as a way of attracting and retaining the best talent, supporting staff wellbeing and engagement and becoming more closely aligned with communicating a company's brand values than maximising office headcount.
We are keen to speak with organisations who are re-evaluating the strategic use of their facilities/office space/property portfolio and find out what steps they are taking to address the changing priorities of their organisation and their staff. Get in touch with us at koguk.com.
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