It comes as no surprise then that the federal education minister Dan Tehan should come out with a random announcement that arts and humanities course fees for entrance to university would be doubled.

Nor does it come as a great surprise that the minister's Liberal Party colleague and premier of NSW, Gladys Berejiklian, should announce a change to the curriculum in which 50 elective courses would be cut, including such subjects as puppetry.

Such ill-thought tactics are prone to come back to bite the advocate. As the newly appointed vice-chancellor of the ANU and a former Coalition government deputy prime minister Julie Bishop pointed out, universities, seizing an opportunity, could encourage students to undertake arts and humanities degrees in order to take advantage of the government's cash cow gift. Be careful what you wish for.

Only now, under pressure, has the government conceded to offer a token grant of $250 million as a lifeline to the decimated arts industry. Prior to this meagre gesture, the arts industry received no Jobkeeper support and was expected to sustain the community morale through its own ingenuity and free service.

What motivates a government to ignore its cultural responsibilities? What prevents a government from sustaining the vital contribution that an arts industry provides its citizens? What causes a government to deprive its youth of the opportunity to develop critical thinking and creative expression, which are key contributors to national productivity?

What is evident is that members of the community refuse to be deprived. Each night during lockdown, Australians throughout the country would turn to their televisions or computers to experience the programs and entertainment that the arts industry had to offer.

Others would read their favourite books by beloved authors, while those with even a modicum of talent but a heap of passion would begin to paint or play instruments or dance. Some would take part in Zoom classes to ensure continued involvement in artistic expression.

Still, it came as a surprise to me when I received 24 enrolments for my Acting Shakespeare course. Initially I advertised for eight people under the Covid 19 restrictions, and when this was eased to 10, I allowed more people to enrol. To my amazement the enrolments kept coming as the restrictions eased and the limit was determined by the four square metre rule. Enrolments currently stand at 24, which satisfies the four-square-metre physical distancing requirement. I am fascinated by the unprecedented response. I would not have expected it for a course on acting Shakespeare that takes place during a pandemic and in the middle of Canberra's notoriously cold winter.

Nor would I have expected the range of people who have decided to take the leap of faith. Participants represent an age range from 17 to the 70s. One is a school student pursuing studies in drama and a dream to attend acting school. Some are teachers who receive required professional development points. Other occupations include a stonemason, an architect, public servants from various departments and retirees.

At this time of considerable stress, reasons for enrolling reveal a desire to reach out for human interaction. Some may have done acting many years before, but now wish to rediscover their creativity. Some have not acted before but have a profound love for Shakespeare's work. Some want to get out of the house and meet like-minded people. One thing remains constant is the need to express oneself. These people recognise the role that the arts and the humanities play in their lives. They will not become professional actors, nor do they aspire to be. They want to feel the benefits that the arts can play in their lives. Acting and Shakespeare challenge critical acuity, intellectual investigation, physical expression and fitness and emotional understanding and articulation. In other words, they will be equipped with the skills that will inform whatever pursuits they may choose to undertake in life without inhibition.

I am reminded of my years of involvement with the International Baccalaureate Diploma Program for Years 11 and 12. The curriculum consists of six subject groups including maths, sciences, languages and literature, language acquisition, and Theory of Knowledge. It's a Renaissance model, recognising the development of the whole individual.

Unfortunately some students could opt not to take an arts subject in preference for a second science or maths. However, at the senior level, they were obliged to take a humanities subject and Theory of Knowledge, a philosophy course. The International Baccalaureate recognises how important this curriculum is to the development of an individual who may become an actor, dancer or musician but is more likely to become a doctor, a lawyer, an engineer or a tradesperson, with the critical and creative skills to excel in their chosen field.

Both Dan Tehan and Gladys Berijiklian appear to have overlooked the significance of a study of the arts and humanities in their misguided quest for profitability and productivity.

The enrolments in my Acting Shakespeare course clearly indicate the importance that a range of community members place on participation in the arts and the benefits derived from investigation and practical and theoretical exploration of the arts.

It is high time that governments recognised and properly supported the role of the arts and humanities in society. It is time for educationists to ensure that students are exposed to the life benefits and career opportunities that the arts and the humanities play in the creation of a productive and happy society.