Thursday 29th March, Manchester

http://www.nusconnect.org.uk/ents/event/433/

My Name is Benjamin Westhead. I am the Education Officer working on the sabbatical team in the Students’ Union for the University of the Arts London.

I am writing to you about the recent Higher Education White Paper produced by your department. More specifically I am concerned that the White Paper has failed to acknowledge the application and selection process implemented at most arts universities.

University of the Arts London has around 20,000 students studying a diverse range of creative subjects. However, within this large range of different specialities a common feature of the majority of courses is that they have an application process not acknowledged by the White Paper. I am sure you are aware, as it is with most creative institutions, UAL does not conform to the traditions of A-level and UCAS application system. A large proportion of the university’s student places are awarded in light of academics viewing portfolios, interviews and auditions, then assessing talent on this basis. The new proposal on the manner in which student numbers will be regulated, particularly in reference to ‘AAB students’, fails to account for this difference -  not only the application process that fits the courses we offer, but on a more rudimentary level on learning style.

Our process of application is one that must be preserved as our current system is tailored to fit the manner in which the university and creative sector operates. Many students who excel in the creative arts may perform less well in traditional academic subjects and be even more constrained by the conventions of the standard academic examination process. The current proposal discriminates against the creative sector. It is fundamentally wrong to punish universities and students for failing to meet guidelines that are not applicable.

I urge the government to review their blanket-policy as it has the potential to be devastating not only for my own institution but for creative teaching establishments across the nation. This issue stretches further than Art and Design courses – music and the performing arts will all feel the pressure of this policy. I am speaking not only for University of the Arts London, but even more so for the smaller colleges that may be left with no way to develop and expand to the point of destruction under a system that is clearly biased against them. Whilst the AAB approach attempts to ensure that the most academically able students are prioritised for University places, it does not ensure that the most creatively able students will be prioritised for places at arts institutions.  The White Paper and in particular the proposal to regulate student numbers through the ‘AAB’ approach, must be revised to include flexibility for creative institutions to use the appropriate process of portfolio or performance application to recruit the best and most creatively able students.

The modes of learning and the facilities that are required by creative courses are different to other disciplines, and a different approach should be applied if we are going to get the most talented creative students to the best courses at the best universities.

Benjamin Westhead

Benjamin Westhead SUARTS

http://www.timeshighereducation.co.uk/story.asp?sectioncode=26&storycode=417162&c=1

Benjamin Westhead SUARTS

Ben

This is my first post to Artsgroup. My name is Benjamin Westhead I’m the new Education Officer at SUARTS. I realise that Artsgroup has gone unused for sometime now and I’m looking to revitalise a little.

Many of you will have already (I hope) received this message or one very similar to it – I am Sorry for cross posting as I know how annoying it can be.

The message I’m trying to spread is one in reaction to the government’s new white paper and more specifically how the content of that paper might effect institutions who either specialise or have a vested interest in creative courses.

I’m working under the assumption that most of us who represent or have links to universities and colleges of a creative nature  operate a non-standard application system that is based on portfolio/interview/audition rather than the traditional A-level results ‘UCAS system’. I am also working under the assumption that our current application process is one we want to preserve. Students who excel in the creative subjects should not be punished for not jumping through the hoops of the traditional academic grading system.

At this point the government has not made any official statement about how our specific circumstance will be dealt with – so it might be wise to work under the expectation that we will be given no special circumstance until we hear otherwise. The government has already decimated that creative sector with massive cuts to arts and humanities and we have no reason to believe they are going to change their stance now.

I would encourage everyone to write an email to their rector/vice chancellor/ whoever is at the top, asking them what they are doing to tackle this pressing issue. On top of that I would suggest that we all start writing to our local MPs and more specifically David Willetts in order to pressure a reconsideration of these blanket rules.

Click his face to get linked to his contact page

More than anything I would encourage you all to forward this message on to others who work in similar institutions to ours so we can build a network.

I have pasted in a copy of the email I sent to the rector of our university regarding the issue (with all of the personal, UAL specific talk removed) which you can use as a template or at least a jumping off point if you want.

Dear ( X ),

I am writing regarding the universities stance on the government’s white paper on the future of the university system.

Having read in some more detail some of the information on the white-paper and its implications I have come to realise what a drastic effect it will have, especially on our institution because of our non-traditional application process. I am sure we will both agree that our current entry process based on portfolio and interview is one we want to protect.

This is clearly an issue that has the potential to affect the university in a very real way and I was hoping I could get some more information on what the university is doing in way of tackling this. This is an issue that I personally consider very important and so any information or ways that the students’ union might be involved in safe-guarding our application process would be very useful.

I was also wondering what the situation will be from the university perspective if the government refuses to recognise our special circumstance?

Thank you,

( X )

There is also an excellent article entitled:

‘Ten things everyone working in or studying art should know about the White Paper for Higher Education in England’

That can be found here.

Benjamin Westhead - SUARTS

Cheers guys and good luck

Ben

We caught up with socialite, “It boy” and all round Fashionisto Emmanuel Ray (www.socialite-evenings.com) to find out what he makes of the current state of the sector, and how those aspiring to a creative career can make a splash.

1 – What are your top tips for anyone thinking about going into the creative industries?

Unless your work takes off almost immediately or you come from a privileged background, the chances that you might struggle to make ends meet are highly likely! So don’t quit your day job. Or do something part time to get a regular income. The first step is the most difficult one to take.. as you might have to do a lot of things for free, to build up your portfolio. Networking is very important. Whether you’re an aspiring fashion designer, tortured artist, eccentric writer or fabulous presenter, you MUST network. It is definitely the way forward in this competitive business. Soon you’ll realise that Who you Know is as equally important as What You Know! Look at everything from a business angle and learn how to spot opportunities. If opportunities don’t come soon, create them and cash in! Cut costs by swapping favours. Get a team of young proactive people together. Never start seeking sponsorship or partners without a proper proposal that lists out everything you offer first. What you seek should be mentioned last, briefly.

2 – Is it important to take a degree in a creative subject still?

A degree does make potential employers take you seriously. But I don’t have one, nor do I have any formal training in tv, media, film etc. Look how far I’ve come, in a short time! My personal opinion is that one needs no degree in a creative subject. But there are many young people who would like to have a formal education whether it is fine art, design or journalism. They do teach you everything step by step and that can give you re assurance, stability and security – that you’re learning from the experts. It’s a personal choice. Degree or no degree, true talent always shines through. I am talking from my personal experience of course!

3 – How big a problem is unpaid work and low pay in your experience?

It’s a very BIG problem. Many young people are being taken advantage of in the creative businesses. They are asked to work for free and are being promised exposure. Many tell me they are not given travel money or food! Then to add insult to injury, when the project is publicised or complete, they have to chase those who hired them, to get pictures, copies and so on for their portfolios. I’ve personally got involved in other peoples problems because I hate watching anyone being used or abused. Perhaps that is why Hello Magazine’s Emily Johnston named me the God father of the fashion industry! That was funny… but speaking seriously, there should be a government legislation that prevents the abuse of creative people. Some universtities say they will only release their students to work on projects if they are paid minimum wage. But outside the universities, these guys and girls network and end up working for nothing. I’ve been asked to Present, Host events and Commentate for free, in return for exposure. They keep saying “you’ll get exposure!” And I say “I don’t need exposure! I need money. Will you work for a few hours for free?” Then they shut up and go elsewhere to find some other young person to trick into working for nothing, in return for nothing! The ugly truth is that in this business, there are many young talented people, desperate to get that 15 minutes in the lime light. They will gladly work for free, just to build their portfolios. But if they are given at least some money, it would make them feel their time is worth something. If you cannot pay them, at least offer something substantial in return.. copies of the work, publicity in press releases, products from the event, networking opportunities etc. Whether they are an intern or not, I do my best to pay them through the budget, when I hire them for events. I re imburse travel, offer them food and drink, give them publicity and exposure and also give them honorary membership at my business networkiing society. I would also urge those in the creative industries to be alert and not fall into traps. If you allow yourself to be taken advantange of, then that’s your stupidity!

4 – Is being successful in the creative industries a case of “who you know” not “what you know”?

It is both. Who you know can work for awhile. It worked for me when I started off as a Model at 15. But I soon realised that good looks and who you know can only work for some time. There’s a lot of hard work you need to put in, learn new things, carve a niche, be different, stand out etc. You also have to make some really tough choices. Once I had to choose between a a really good job, and a friendship. I chose the job. Once I ahd to do something I was not at all happy with, in order to get ahead. I did it! What you know is very improtant too. As a Fashion Commentator, I started in March 2009. I waqs unprofessional, turned up drunk at shoots, never practised my script etc. My then agent Simon Wilson from Express Broadcast told me to grow up and take charge of my career or it would be over soon. Whom I knew and who he knew helped my career a lot in the first 6 months. Then it was upto me to show them what I was capable of and withint he next 3-4 months I had to perfect my act and carve my niche. I did not want to fit it, I wanted to stand out… so with a lot of hard work and putting ideas together, I managed to merge my 3 careers: Fashion Commentator, Business Networker & Events Host – and become The Working Socialite. This covers a variety of other work too from art exhibitions to charity fund raisers. If I had not worked on my career and learned everything I know through trial and error, on the job, I would never have gotten this far. You wouldn’t know me so this interview wouldn’t be happening. My advice to everyone is network properly and use who you know to get ahead, but make sure you work at your craft as what you know is what keeps your career going in the long run. Who you know might also be able to help you learn what you would come to know later!

5 – Can creativity be a tool for breaking out of poverty or deprived areas?

Yes. It worked for me. In my case, I would put it down to luck, although I was passionate and very hard working. I started dance at the age of 6 and gave my first public performance. I continued as a Dancer and was spotted on the beach when I was 15, then became a model. I had never thought about modeling before then. Dance and Modeling continued and it certainly help tackle poverty. I was raised in a poor background without any luxuries, so when Modeling and Dance took me places, I also started working on fashion and beauty promotions, adding to my income. I also did some writing, presenting at shows etc. Creative people should see the business angle in their work and focus on making money. Commercial is the way to go. Once your settled and have some money coming in, then you can do things that feed your artistic interests. For me, it was very difficult at the beginning, to get paid work. Even now it is not easy and I am very selective about what projects I take on. Basically, if there is no money, I’m not interested. Mutually beneficial agreements, swapping favours and charity fund raising, social causes etc – all depend on what it brings. Will it be fruitful? What’s in it for me? Why would I do that? These are questions all creative professionals should ask themselves before saying YES to a job that does not bring in money. One needs to spot opportunities, or even create them in order to bring home the biryani!

6 – Is the UK still an international force to be reckoned with in creative terms?

Of course. You out of all people should know that! From my experience, the majority of creative people around the world; artists, entertainers, designers and so on – all want to come to the UK. We are living in this fabulous creative hub that is the UK, which is almost at the centre of the world, with connecting flights from many countries. This land is steeped in culture, history, art and heritage. It is also very multi cultural and welcoming. The UK is where my career took off. When I landed in Britain, the country embraced me with open toned arms! Various designers from the USA, East Europe, Africa, Asia and the Middle East are flocking to London to showcase their work. With some hard work put it, they can get a venue for free to host their fashion show or presentation. Runways are expensive to create. So designers in London are showcasing their collections on film. Scottish designer Henrietta Ludgate’s work was put on display on a film showing models dancing to ballet, with 60s music in the background. Turkish designer Omar Kashoura’s presentation of models dressed in clothing inspired by urban life, was presented to the audience at a bar/restaurant in the strand. Italian fashion designer Nico Didonna and Irish designer Orla Kiely do presentations and videos, creating a visual treat that prevents the audiences’ eyes from wandering. It is very focused and they have managed to master the art of the Visual Impact. Ginta Siceva jewllery and Nonya K scarves are other brands that are making the most of this creative platform we have in the UK. Many young designers from overseas who do not have the budget to fork out thousands of pounds, tell me that they find it is cheaper to do their shows and presentations in London. La Geneve North events host some great fashion shows for up & coming designers. I do the same for designers that approach me, if I have the time. The truth remains that great quality means money! No matter how much you collaborate or swap favours, money is what brings you the additional extras such as celebrity booking, a good film/video, and great people who would work for you. Students are great, but if you need someone experienced and professional, you’ve got to open that clutch purse! The UK was, is and will always be an international force that would both attract and influence creativity. From singers to designers, artists and painters, designers and performers – a lot of them approach us and ask us to help launch their careers in the UK.

7 – If you could give your younger self one piece of advice before you started on your journey what would it be?

Time does not wait for anyone, and nor should you! My father told me this and I did not listen. I only took it to hear properly after he passed away a year ago. We had a love/hate relationship and I was very nasty to my dad before I left Sri Lanka. I always thought there’d be tomorrow to apologise, kiss and make up. But it was too late. Whether it is a personal issue, a career step, an opportunity, partnership, a relationship or anything else – NEVER leave it for tomorrow and NEVER wait for anything that might hold you back. Time is precious, time is money. You only get one shot at this life so make the most of it, and move fast.. allowing yourself just about enough time to pause and enjoy the little pleasures of life like a bunch of roses, a baby’s smile or the swans in the lake. You can relax and do nothing once you’ve lived most of your life and want to do less and take a break. I wasted so many years of my life after the end of my modeling career, doing drugs, getting drunk, bed hopping and bar hopping. If I had taken my Dad’s advice, I would have achieved my goals earlier. But we all make mistakes. The best thing is to learn from them and never make those mistakes again. My friend Marcel Nagajek was another person who told me the same thing “Time will not wait for you so act, fast, sort your life out and work hard! You’re not getting any younger!” His encouragement made me think of what Daddy said and I took it to heart. Look at where I am now?

8 – How accurate is the portrayal of bitchy infighting in creative organisations and fashion shows by the media and films?

It is quite accurate. I have met people in the industry that resemble characters in these films and TV shows; the bitchy editor, the swollen headed designer, the drug addicted model, the nasty journalist, the overnight-sensation blogger who has his/her head stuck in the clouds, the back stabbers, the jealous crazy idiots who can’t stomach someone else’s success, the swindlers and con artists who ask for money but don’t deliver what they promise, the annoying nutters who want everything for free, the freeloaders and so on. Film, TV and the Media in general (also novels) reflect what goes on in real life. Yes, they are often exaggerated and sensationalised but isn’t that what happens anyway… in fashion, film and showbiz in general? It’s all good fun and I think those true to themselves and work with genuineness and passion… are much more at ease with themselves and don’t get their mini briefs into a twist over trivial nonsense! Also, in this business, one has to make very touch choices. And that is perfectly portrayed in movies such as The Devil Wears Prada and Confessions of a Shopaholic.

9 – How can UK creative graduates break into international markets?

People overseas have a certain awe and appreciation for graduates that are educated in London or Britain. Having a degree from a British University can get you a job in anywhere in the world.. although sometimes you need to compromise. When I was in Dubai, I saw hundreds of British graduates flocking to the Arabian Gulf for jobs that offered them better pay, perks, accommodation and food, and a tax free lifestyle. Of course, it is not all wine and roses. Most often, you are working for the rulers of the land and you don’t really have the freedom or rights you have in the UK, over there. Whether you’re a director, manager or a cleaner – you’re seen as an expat who’s there to earn a living and staff to the rulers. But this usually applies to careers that are more corporate. Creativity is seen as a form of expression and a unique talent in human beings. Artists from the west who have worked in the Middle East, Asia, Africa and the Americas, are often treated very well and gain appreciation. UK creative graduates should do their research and learn about world affairs and politics, as they influence lifestyles, trigger off changes in society and so on. Look, see and listen. Which world economies are growing at a rapid phase. Why are so many Indian investors entering the film scene in Britain and in the USA. Why are the Gulf Arabs buying large amounts of property in the UK? What is the next big thing in the Middle East? The silent revolution and changes in art and creativity in general, in East Asia. African brands slowly making their way into the corporate sector in the UK. All of these things are connected. For example, in Sri Lanka, I worked on a project that was supported by the Sri Lankan and Japanese goverments, strengthening ties between 2 nations. A lot of creative people got jobs and it worked well for most of us. Perhaps a UK creative graduate can spot an opportunity between the UK and another government overseas? Maybe it could become a project. Said graduate can ask for backing from both governments and also travel overseas. The project will be publicised on an international level by both governments, the media and so on. Cultural entrepreneur Pablo Ganguli made it work and hosts events world wide, helping and supporting various creative professionals. My advice would be is to come up with a unique idea. If you’re seeking employment in the creative sector overseas, then do some research. Get to know people in the UK that hail from the country you have your eyes set on. Learn something about their culture and ways of communication. Network and attend targeted events, get in touch with media professionals in those countries. Think about doing a project here focused on that country and involve people from both communities. Think outside the box. Creativity today is about The Here, The Now and The New. And finally, don’t be taken for a ride. Make sure you are absolutely sure you know what you’re getting yourself into and be aware of your rights. After all, you’re creative and that makes you special!

10 – What should the government be doing to help the UK creative sector flourish?

Not axing the UK film council would be a good start! I can’t believe they are event contemplating this. We see a lot of home grown talent such as Kat Deeley and Alexa Chung going to the USA. I recently met a British actress who now lives in LA and she keeps bad mouthing the UK scene all the time saying there is no work here and that everything is cheap and rubbish. Many film makers struggle to get funding for their films in the UK. Co productions between India, the USA and the UK are becoming more common, which is a good thing. Young up & coming British actresses like Lisa Lazarus and Amy Jackson have succeeded in getting work in India. This seems to be a sudden trend among British actresses. They all want to go to India as it is a tad easier than breaking into Hollywood. The Indian Film Festival at Riverside Studios was a great event but did not do much to bring together home grown talent with potential investors and backers from overseas. I personally think that there should be a government body that imposes strict guide lives for film, fashion and cultural events in the UK, so everyone involved would do their work properly and not slack. The government should also be able to set up a trust fund or something of that sort that draws a certain amount from tax and revenue, and also appeal to various artistocrats, celebrities and the rich and wealthy to contribute generously to this fund. The money should be used to support those in the creative sector that are struggling to make ends meet or have no means of showcasing their talent to the world. Applicants will be investigated and I think it is perfectly alright to hire a few experienced personnel to deal with this issue. Celebrate the multi culturalism in the creative sector in the UK and give support to both new and established creative professionals who need to take the first steps, get back on the ladder, or want that extra helping hand to achieve their goals and contribute to the creative industries in the UK. Find out those claiming benefits. If they’re are at least reasonably physically able and have at least some form of creative interest, get them to work on projects that benefit young people in the creative sectors. If they don’t have a creative interest, then let them work behind the scenes in admin. It is both irritating and infuriating to see benefit frauds, and those doing nothing (even when they have the ability to work) just sitting their wasting tax payers’ money, bragging about it in the press AND justifying their laziness with stupid excuses. Gather all of them up and make them work for the creative sectors. At least they’ll have a fun time rather than being stuck at home with their boring brood! I would like to set up an independent body that helps and supports those in the creative sectors. I’ve decided to take the first steps towards making this idea become a reality, once London Fashion Week is over and I’ve completed my projects for this year. The government should also involve people like me in a project like what I mentioned above. Those in the creative businesses who have had to struggle to get where we are now, have a better idea of what needs to be done and how we can tackle the lack of support, funding and facilities for young professionals in the creative sectors. An organisation that provides free catwalk spaces and facilities for up & coming talent in the fashion industry would be a great idea too. A central location in London, a generous amount of space and good lighting would be a dream come true for many an aspiring designer. We all wear clothes and shoes. Fashion is part of everyone’s life whether we like it or not. The British fashion industry is full of fabulous young talent. They the the passion, skills, creativity etc but what they need in order to succeed are resources, exposure and of course, money!

When he’s not occupying the pages and sofas of Fashion houses and chic bars, Emmanuel runs networking events via www.socialite-evenings.com. Watch this space for imminent coverage of their August event.

Picture 1: Emmanuel Ray wears Nico Didonna at the opening night gala of Indian Film Festival, Riverside Studios, London UK. Picture 2: Emmanuel Ray in Nico Didonna with designer & illustrator Rebecca Cumaraswamy. Indian Film Festival, Riverside Studios, London UK. Pictures 3 : Emmanuel Ray in Nico Didonna, at Oliver Dunsch exhibition at Fiumano Fine Art Gallery. Photo by Lai-Ha Mo @ Missy Mo Photography.

Fashion Presenter Emmanuel Ray is dressed by Nico Didonna. He is styled by Ejaz @ House of Christilano.

The following notice has been given on artsjobs.org.uk, the Arts Council England’s Job Site:

due to the high volume of adverts for unpaid opportunities that contravene Minimum Wage Regulations we are temporarily suspending adverts for unpaid work, work experience, voluntary roles or internships. This is so we can make developments to the website that will help users to post genuine volunteering opportunities only and stay within Minimum Wage Regulations.

Arts Council England is committed to ensuring that artists and those who work in the creative industries are properly remunerated for any work that they do. We recognise that there is great value in people having access to proper work experience, where it is offered and arranged properly and is a mutually beneficial arrangement, but that this should never be used as a way of attempting to circumvent the Minimum Wage Regulations.

This is a great mark of progress in the issue being taken seriously, especially in the wake of the embarrassing attempt to violate NMW laws en masse by the Old Vic Theatre recently.

Case study: University of the Arts London Rings

Partnering with University of the Arts London Students’ Union, Eva London launched a Graduation Ring design competition open to students studying BA Jewellery Design at Central St Martins, one of the constituent colleges of the University. The competition was judged by a mixture of leading figures from the fashion industry, the media and the University itself. The result was a completely unique design that demonstrated a dynamic modernisation of the Graduation Ring concept, in keeping with the University’s ethos and image. The winning student received a cash prize, a set of Graduation Rings, design acknowledgement and features in national press (including Vogue.com). The winning designs were taken into production and can now be ordered at the SU shop, graduation ceremonies, alumni events and online at www.evalondon.com/arts.

How to get your university/Union involved

Get in touch with Eva London by calling 0207 148 7060, visit  www.evalondon.com or email info@evalondon.com for more information.

Hello Comrades,

We’ve received the following info from our friends at http://actorsminimumwage.wordpress.com:

Oh what exciting times we live in! Lets rush to the barricades and die singing like French students in English musicals!

The organisers of ActorsminimumWage Blog (whom the Arts Group has been supporting with medical supplies and ammunition – and advice) are working with other actors and revolutionaries to bring the first act of organised resistance against the oppressor.

There is talk of a month long boycott of unpaid theatre to oppose the elitism and exploitation of emerging professionals in the acting profession.

It would be great for members to support this effort, and get you all joining in with the debate: vote and make comments on the Actors Minimum Wage website.

Take part in the poll and read more about la resistance: http://actorsminimumwage.wordpress.com/2010/07/24/the-boycott-question/

Viva la revolucion!

The Arts Group has sent the Europe Unit & European Commission its response to their request for suggestions on Unlocking the potential of cultural and creative industries.