It’s great to have the arts discussed properly by ministers, but for the many of us who already know how important they are, discussing how much we contribute and how wonderful culture is doesn’t really deal with the issues facing individuals and organizations on the inside.

It’s true that those parents who don’t see the “usefulness” in their child going on to study the arts need to be educated about the broad range of benefits of a career in the sector, at the moment at least, they do have a point. Whilst a career in the arts carries with it a significantly lower earning potential for the average practitioner, we’re never going to be able to stand shoulder-to-shoulder with our peers in medicine, engineering, business etc.

In recent discussion with professionals across a range of professions, now all well moneyed, I’ve found it fascinating how many are now returning to projects for the public good, and indeed the Arts. I’ve lost count of the number of businessmen and women, lawyers and doctors, who I’ve heard discussing that what they really care about is their photography, poetry etc. Never one to dissuade or be dissapointed by anyone engaging in creative activities, I love to hear these people connect their experiences with what’s “really important to life when you get down to it”. However, it must be said these seems to contribute very little to moving away from the feeling that engagement in the arts is largely a pastime for the wealthy.

The value placed on the learning and labour of those who choose to make the creativity their livelihood, by contrast, seems to constantly be questioned. A familiar scenario to most creative graduates will be the abundance of work experience adverts and “opportunities” asking for those with skills in everything from sewing to web design to give their time in exchance for the “experience” of working in an exciting company. These experiences may of course be wonderful, and indeed the companies exciting, but why should we not be paid a decent rate for our contribution? A company wanting a web design student to create or augment their online presence for instance, is not primarily doing so because they will benefit from the vibrant and fulfilling experience of having a creative in their midst, they are doing so to create profit. Even in the public sector, museums and galleries, we seem to run our institutions and organizations on a raft of free labour, relying on the enthusiasm and committment of a core of people entering a competitive market, and looking for any opportunity. It seems bizarre that even within the same buildings will sit a host of staff, from cleaners to executives who are carrying out similar tasks, but rightly expect to be remunirated for their labour (and indeed are protected by the National Minimum Wage).

Internships, work experience, apprenticeships and all the rest work well as part of a balanced learning experience. They must not be a way for businesses or organizations in any sector to buoy up poor practice that means they cannot afford to staff themselves adequately to stay open.

As famously referenced by Whistler in his defence of a two hundred guinea price tag on the Nocturne in Black and Gold: The Falling Rocket, creatives have a right to expect decent remuniration for their work. We may enjoy it, it may even look relatively easy or quick, but the value attached must be a reflection not only of the time spent creating one piece, project or concept, but of the lifetime spent to get to the point where this can be delivered so fluently. We face a bleak picture for individuals in the creative sector until employers and clients are prepared to reflect our real value in what we are paid, employment legislation is formed and enforced to put in place a safety net, and the members of the creative community are prepared to take pride in their worth and not to bow to expectations of giving their labour for free to those who can or should be able to pay for it.

Report from Chair of the Arts Group, Kit Friend:

The discussion around the Arts and Education to inform the Liberal Democrat’s Policies was productive, I called in particular for the securing of FE/Foundation funding, and a serious approach to dealing with the catastrophically low graduate premium for the Arts, and the Broke & Broken HE funding system. The calibre of other invitees was fantastic, with much experience brought to the table. Future discussion and progress with the party seems positive, and we should be able to look forward to at least one of the big 3 producing decent policy ahead of the general election for us – regrettably the incumbent ministers in the DCMS have been unable to make time to meet with a delegation from the Arts Group, but we hope after the expenses debacle is over this may be more likely. Other parties: you’re welcome to our advice!

Other attendees at the discussion:

Floella Benjamin – TV presenter
Eliza Bonham Carter – Curator, Royal Academy Schools
Dinah Caine – CEO, Skillset
Christina Coker – CEO, Youth Music
Paul Collard – National Chairman, Creative Partnerships
Kate Cross – Director, egg theatre
Laura Gander-Howe – Director Learning & Skills, Arts Council England
Shân Mclennan – Creative Director, Learning & Participation Southbank
Caroline Miller – Director, Dance UK
David Blagbrough, Inspire!

Photo: Kit Friend, Chair of the Arts Group, Outside No.11 with staff from University of the Arts London’s Innovation Centre, Credit: Robert McColgan

Fresh back (relatively) from Whitehall and it appears the future of the Arts in the UK might not be so grim after all… though Mr Darling himself was absent, the great and the good (and 2 secretaries of state!) turned up on Tuesday morning to discuss the “New Deal of the Mind”, and collection of ideas on how the creative industries can innovate their way out of recession proposed by journalist Martin Bright in the New Statesman.

The guest list was truly stunning, and though there was little conclusive planning of action, funds were tabled by various attendees (and a good deal of thinking on where more money should come from to fund development).

On behalf of the Arts Group, the Chair (Kit Friend) emphasised the relevance of the students of the Arts mobilising to form representation during these tough times, called for an end to the (even pre-recession) exploitation of arts students and graduates as free labour, and for an appreciation of the full breadth of disciplines in the Creative Industries (much of the discussion was concentrated around writing and fine arts). The concept of a national database of case studies to inform workers in the Arts about the value of their work was also introduced, a project currently entering the planning stages as a collaboration between ECCA and SUARTS.

More info on the :New Deal of the Mind” is at www.newdealofthemind.com

Lynne Featherstone MP’s less abridged account of the event is here