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Human Rights In Aotearoa On A Downward Trend

Human Rights In Aotearoa On A Downward Trend

Scoop18-06-2025
Research released today by the Human Rights Measurement Initiative (HRMI) raises serious concerns for how human rights are being upheld in Aotearoa New Zealand. The data is available on the HRMI Rights Tracker, showing ongoing downward trends across most of the rights associated with Safety from the State, and Empowerment.
In looking at the categories under Safety from the State, the only positive news is a perfect score of 10 on Freedom From the Death Penalty. But in the past year, Freedom From Forced Disappearance has declined to 8.2, Freedom From Extrajudicial Execution has declined to 7.9, Freedom From Arbitrary Arrest has declined to 7.0 (all out of a score of 10). Deeply concerning, Freedom From Torture and Ill-Treatment sits at 6.4.
Lisa Woods, Movement Building and Advocacy Director for Amnesty International Aotearoa New Zealand, said, "Ultimately, we're concerned that this is part of a wider raft of laws, policies and practices chipping away at the foundations of our society. We're seeing a sustained, systematic undermining of Te Tiriti and Indigenous rights. We're also seeing proposals that remove fundamental rights of people in prison, a concerning use of urgency in Parliament that in effect stifles debate, and more.
"That our nation scores 6.4 out of 10 on Freedom From Torture and Ill-Treatment is shocking. Those who were identified by human rights experts to be particularly at risk of having this right violated include: people with disabilities, Māori, people experiencing homelessness, people accused of a crime, refugees and people seeking asylum, children and the rainbow community.
"We have to honestly question where we are as a country. This is unacceptable, not to mention a stain on our international reputation," said Woods.
In the Empowerment section of the HRMI data, New Zealand has also declined in the past year in the areas of Opinion and Expression (7.1), Participation in Government (6.4), and Freedom of Assembly and Association (7.4). Across all these categories, Māori are at or near the top of those most affected.
Jacqui Dillon, Executive Director of Amnesty International Aotearoa New Zealand, said, "Step one for Aotearoa New Zealand is upholding Te Tiriti and the tino rangatiratanga it guarantees.
"When we do, we can build a strong foundation that provides a place for us all to belong. This is exactly how we strengthen our society so that it is characterised by respectful relationships and a just framework for how we can make decisions together.
"While the Government is busy setting up a hotline for road cones, it's asleep at the wheel on protecting the things that matter most to the people of Aotearoa New Zealand.
"A quick look around the world will tell you that we cannot be complacent when it comes to undermining the foundations of a respectful society. This is a slippery slope.
"We are stronger when human rights are not only respected but strengthened. For everyone," said Dillon.
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'Disgraceful act': Graves smashed at historic Auckland cemetery
'Disgraceful act': Graves smashed at historic Auckland cemetery

1News

time9 hours ago

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'Disgraceful act': Graves smashed at historic Auckland cemetery

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On Using The Tax System To Boost Funding For The Arts
On Using The Tax System To Boost Funding For The Arts

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time15 hours ago

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On Using The Tax System To Boost Funding For The Arts

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Footnote: Other countries are treating arts funding as an investment in social wellbeing and economic growth. Last year, Ireland extended its Basic Income For The Arts funding programme into 2026, and put $35 million euros more into it: Launched in 2022, the pilot scheme is examining the impact of a basic income on artists and creative arts workers over a three-year period. Payments of €325 per week [that's $NZ634! ]are being made to 2,000 eligible artists and creative arts workers, who have been selected at random. Here's the rationale : ' I believe that Ireland holds a unique position in the world, where our culture, Ár dTeanga and our artists are the beating heart of our society,' Minister Paschal Donohoe commented. 'There are record numbers visiting our national cultural institutions. Irish writers are some of the best in the world – giving us pause to reflect on the world around us, to make sense of it or, indeed, to escape it entirely for a moment.' Not surprisingly, artists in Ireland like the scheme a lot, and say it improves the quality of their work. Footnote Two : On that score, it is worth noting that in New Zealand, Budget 2025 kept the level of our Large Budget Film Production Grant at only 20%. This rebate is available to international film productions in return for the increased spending, jobs and skills expertise that these major film projects inject into the New Zealand economy. Problem being, our current rate is no longer competitive. In Australia, it is 30%. In Ireland, the headline equivalent rate is 32%. As in NZ, there is no overt cap to Ireland's film production incentive, which is based on whatever is the lowest figure: 32 % of qualifying expenditure, 80% of the film's total production costs or 180 million euros. As for government support to Ireland's own film industry, there was an 8% increase last year to the incentives for local feature film productions that utilise Irish creative talent. 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At Creative NZ for example, funds for the umbrella Toi Uru Kahimakea programme (formerly praised to the skies by Creative NZ for expanding the range and reach of the arts in New Zealand and for being one of the organisation's 'most significant annual investments') will now be poured into the general funds available to arts organisations. Similarly, the Ministry For Culture and Heritage will see much of the funding for the National Fale Malae Project ( an intended showcase for Pasifika art and culture) being 're-prioritised' for other purposes. The recent funding cuts and job losses at the Ministry (which will sharply reduce the country's awareness of its own history)have been met with horrified public opposition. To no avail, so far. 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In the process, the rates cap would also undermine the international credit rating of councils, and increase the costs of their borrowing for essential infrastructure. Instead of an imposed rates cap, Local Government NZ President ( and Selwyn mayor) Sam Broughton wants local and central government to collaborate on solutions: 'From the international analysis it is clear that a rates cap will have unintended consequences on communities; it will restrict the ability of councils to invest in infrastructure and risks their financial instability, and we need to avoid this…..Australian examples show that a rates cap will have the opposite effect to what the Government wants to achieve.' Footnote: BTW, and in the interests of informed collaboration, there is nothing 'fanciful ' about local council or central government spending on the arts. Artists pay taxes and help lift the nation's GDP, as well as enhancing the public's sense of wellbeing and cultural identity. If artists could afford to live downtown e.g. if tax system changes did enable unused commercial properties to be occupied at peppercorn rentals – this could revitalise the inner city, boost retail spending, provide part time labour for cafes and restaurants, and enhance the value of adjacent downtown properties through the added foot traffic (and tourism) being generated. Footnote: In 2019 Victoria University academic Jonathan Barrett analysed how a capital gains tax could make more people feel inclined to invest in art. Don't Rely On The Market Some people, including a few artists, find the very notion of state funding of the arts to be a hard concept to embrace. For one thing, there's a certain lack of romance involved. An artist starving in a garret is a more heroic image (at least, until the gum rot sets in) than an artist pulling a government cheque from the mailbox en route to the potting shed. Charges of elitism over arts funding (why this art form over that one, why them, not me) tend to clang up hard against the sense that this stuff is really important, contributes to our national identity etc etc. All of which is worthy of debate, provided it doesn't lead to policy paralysis, One way to justify spending on the arts is to demand a commercial return, as one would with any other commodity. That argument is self defeating. Why? For one thing, society benefits from what economists call the 'spillover' benefits of arts creation and consumption, just as it does in other non-quantifiable areas. Inevitably, the 'spillover' returns to society from spending on art, public healthcare, state schooling, science and the military are notoriously difficult to quantify, and establish a market value. Defence spending for instance is as costly as its benefits are nebulous. Yet for some reason, successive governments have been willing to write the NZDF – and them only – a blank cheque. Why not science? Why not the arts? There is also a so-called 'option value' argument for arts funding, whereby whilst you or I may not choose to patronise an art gallery or a ballet, many of us would still like to see such things supported, and kept as a viable option for others, or for our grandchildren. To illustrate this notion of option value, economists routinely offer the jokey old anecdote about the King of Naples, who once told the composer Antonio Scarlatti that he felt fine about supporting the Naples Opera, just so long as he was never actually invited to attend the confounded thing. Another key economic driver for regular boosts in arts funding was a point made decades ago by the economist William Baumol – namely, that arts activity is simply not conducive to the technological advances and the productivity gains that have been obtainable elsewhere in the economy. This syndrome – routinely called 'cost disease' or 'Baumol's disease' – applies equally to the funding for public health and education as much as it does to the arts. All such sectors entail services – creating art, educating kids, caring for sick people – that are next to impossible to automate and to mechanise. 'This means that as wages go up in these handicraft services,' Baumol said, 'there is no productivity offset to rising costs.' (Lorde, Taikla Waititi, Shane Cotton etc do not come off a production line.). At this point, the free marketers would probably say – well, why not leave it the market? If people want art, then let them pay for it. Yes, Baumol wrote, but what quality would the prevailing market settle for? Wouldn't such a market be inclined to downsize by cutting out rehearsals and other production costs, and concentrate on the likes of sure-fire Broadway hit musicals, rather than on Shakespeare or on untried new talent? In other words, the centre-right formula of holding the funding at current levels – and looking to the market and/or the community for extra money – is unlikely to result in (a) quality (b) diversity and (c) anything other than the recycling of the known and the safe. All of which would quickly erode the option value and the cultural capital of our art, both here and overseas. It would be self-defeating, in that it would diminish/destroy the value of the product. Besides…at the very worst, an added investment by the state in art and culture is certain to deliver better social and economic returns than gifting landlords with a $3 billion handout. Footnote : Australia is a wealthier country than New Zealand. Yet its artists hardly have it easy. According to the SMH article linked to above, the average annual income of professional artists in Australia is $A54,500, earned via insecure projects and commissions. A writer's average annual income is just $A18,000, and the median annual income for musicians is $A15,000. Plainly, starving in a garret for your art isn't a lifestyle ' choice' that died out at the end of the 19th century. Needing The Love There's no particular reason for linking to this, beyond it being an all-time favourite video. Oh baby lady girl. Art is its own reward :

It's Time To Make A Stand!
It's Time To Make A Stand!

Scoop

time17 hours ago

  • Scoop

It's Time To Make A Stand!

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