Arts Group

Words by Lemma Shehadi

The increase of the creative industry’s numbers and economic activity is a recent development. To account for this, the Creative Graduates Creative Futures published a report on the career patterns of creative graduates. Undertaken between 2008 and 2010 and involving 3,500 creative graduates from the last six years, here we outline the CGCF executive summary, released in September 2009, of which a full report is to be published this spring.

What is particular to graduates in creative degrees, is that in pursuing their careers, they tend to engage in a multitude of activities. The CGCF highlights  that these activities combine a pattern of portfolio work and learning. This stems from the practice-led research emphasised in the curriculum of creative degrees. Graduates seem to combine this skill of applying their learning to work, whilst always learning and working throughout their creative careers

What this tends to encourage is a combination of self-employment and employment, and also a perfect ease with self-employment as a means of self-led learning. The summary reports that 45% of the graduates interviewed had worked on a freelance basis.

Creative graduates find the transition from higher education to the work place quite smooth. Their creative curriculum requires them to apply their learning through live projects. In the course of their degree, they are asked to set up exhibitions, they may receive commissions, and they work amongst teachers who are also practising artists.  Practice-led research becomes an important factor that creative Higher Education institutions want to maintain and enhance for the future.

Whilst portfolio careers are more desirable to creative graduates, they are financially less sustainable. As the summary states, creative careers are not always very well paid. It emerges then that graduates working one steady job earn more than those engaged in three or more paid occupations. The latter, rely on these combined income streams to make a living.

However such a statistic-led research, though it can bring to light certain key patterns amongst creative graduates, does nothing to illustrate how such dynamics are achieved. Neither can it account for the concerns or the exceptions that it highlights. Why graduates choose portfolio careers over having one job with higher pay is not a question that can be answered by the executive summary. And whilst it gives a positive and dynamic portrayal of the ever growing cultural sectors, it merely glosses over a concern that creative roles tend to have a low pay.

Arts Group Chair Kit Friend presented at the NALN/UKADIA Conference with Skillset’s Gini Stirling around the issue of unpaid internships and their effect on widening participation in the Arts, following on from the Arts Group’s Emerging Workers Report and subsequent discussion with Skillset and others.

Download the pdf of our presentation: “Internships: Counting the cost”

Download the full draft of the Skillset report here: http://www.skillset.org/uploads/pdf/asset_14315.pdf?1

Two hundred years ago, the arts were seen as a diversion from productive capital. Today, creative industries have a strong role in the country’s economy and accounts for 7.3% of it. What steps do creative projects have to take to ensure the achievement of their final goal? And what obstacles will they meet along the way?

By Lemma Shehadi

These are questions that the Department for Culture, Media and Sport tried to tackle in 2007, with a commissioned report on the state of Creative Industries. This analysis made by the Work Foundation argues for creativity as a catalyst for running businesses. Creative products are assessed and gain popularity by their “expressive value”, a concept which I will explain subsequently.

Originality and creativity, the production of ideas rather than objects is what makes the Creative Industries a “pioneer” sector. Universities and high tech manufacturers, which are hot spots for new ideas, become central building blocks of the economy.  These two contribute to what is known as the knowledge economy. Similarly it is this basis in innovation that gives creative industries that lucrative potential. Furthermore, in the UK, knowledge and creativity fuelled industries thrive better than in other parts of Europe. On a tangent, the reports adds that cultural diversity, as is seen in the highly cosmopolitan cities like London, bring forth a tolerance and openness to new ideas from which the knowledge economy thrives. Creative industries function by commercialising expressive value. This is not limited to paintings and poems but new software, video games etc. “Essentially expressive value creates new insights, delights and experiences. It adds to our knowledge, stimulates our emotions and enhances our lives” (4.7) This commonality also makes creative industries unique in that their products are truly original. Playstations 2, 3 and Xbox for example, are technological enhancements of the original Playstation, however new games that emerge, with new narratives and new graphics are the marketed ‘expressive’ goods. Makers of creative products cannot predict how these will be received. As the report points out, fluctuating trends allow for some products to experience an unexpected vogue, though this is always temporary. But what such products have as a distinguishing quality is that once made obsolete, they can experience a revival. This is very true to the current fad for “vintage” clothing and accessories. A 1970’s kettle, for example, is made useless by newer, faster and more eco-friendly ones. However it is highly desirable as an antique or as a decorative object. The “expressive value” of the kettle comes into play even though its value as a technological product is nought. It becomes also difficult, with the uncertainty of reception, to predict what profits a creative product will make, and creative products cannot be sold until they are packaged and completed. It would be absurd to release half of a blockbuster in cinemas whilst the rest of the movie is still in the making. What happens then is that a lot of money is spent producing a good film with unpredictable revenue and shelf life. A man setting up a barber shop can compete with his peers by ensuring quality and value. He can hire the best hairdressers, give cheap haircuts and build on his reputation. On the other hand, an eminent film maker could ensure that the best actors, the best production team and the latest equipment be used for her film. However she cannot guarantee that the ‘expressive value’ of the film itself will appeal to contemporary audiences. The dissemination of products with expressive value involves many layers of work from various creative industries. At the core are the creative ideas, truly innovative products that earn the need of a copyright. These are disseminated and mass produced by cultural industries such as film or production companies, radio, television. If Don deLillo writes a novel, this is a product of “core expressive value”. It is awarded copyright which protects it’s expressive originality. deLillo’s publisher is the cultural industry that reproduces the book. Another sector in the creative industries, designers and marketers would get involved in producing a cover for the book and advertising such as banners and PR. Politicians and celebrities also make use of this latter sector to create a public image. It is finally important to note that this analysis explores the function of art within an economic framework. The commercial value of artistic expression is subjective to popular demand, though this changes radically and unexpectedly. Creative projects undertake a lot of risks in such an ambiguous market. However, as the report underlines, there is much demand for expressive value in almost every aspect of consumer experience, which allows creative industries to flourish and generate more ideas.

The Arts Group is calling for legislation governing the practice of work experience, internships and placements. In its “Emerging Workers” document the Arts Group puts forward the case that Government action is needed in order to protect students and graduates in the arts and creative industries.

Many arts organisations and businesses are reliant upon unpaid workers, both on work experience and on longer term placements. Whilst the Arts Group recognises that some of these organisations are run on low budgets, it is not in the interest of diversity, equality or creativity for internships to remain as the preserve of the well off.

Kit Friend, Chair of the Arts Group commented “Access to the creative professions should be based on ability, not means. As the labour market is near saturated with those financially able to take up unpaid placements, equal access to the creative professions will not be realised unless internships are regulated by government.”

The Arts Group recognises that the creative sector is made up of a large number of small and medium enterprises, and calls for funding and bursaries to be made available to employers so that they are able to continue to offer internships that are genuine training and development opportunities.

>> A pdf of the report can be downloaded by clicking here

Rereading Milburn’s report “Unleashing Aspiration” it’s interesting to note some key points that remain outstanding, and particularly relevant as we head into a year of political change, whenever and whatever the results of the General Election.

The first graph that drew my particular attention concerns the % difference between different professions compared to the family income individuals came from. This seems to be a good indicator of social mobility as much as any can be. The report makes much of the distressingly rising numbers “top tier” of professionals from well off backgrounds but the figures around the Arts is of further interest. We sit as arguably the best of the professions on this graph in terms of a drop in those from well off backgrounds, but it would be interesting to query for how many the Arts actually represents social mobility, especially in a fiscal sense.

Not Arts-specific, but also shocking is the news in chapter 2 that ‘one in six children today grows up in a workless household’ – hard to believe in a supposedly developed country…

The report is well worth a read if you haven’t already, and the summary is excellent…

Download the pdfs here

On 14th October, Arts Group Chair, Kit Friend, attended the Interns Summit in Portcullis House.

Touted by many attendees as the start of a cohesive movement, there sounds like positive movement will come as a result of this activity. However current discussion from those attending was still focussing around parliamentary interns, quality provision etc – we anticipate a fight for the legisla

Here follows the report from the Office of Phil Willis MP:

Last night around 100 interns, MPs and lobbyists gathered in parliament to demand an end to the abuse of ‘generation intern’.

The event was hosted by Liberal Democrat MP Phil Willis, and featured rousing speeches from The Speaker Rt. Hon John Bercow MP, the Rt Hon. Charles Clarke MP, David Willets MP, NUS President Wes Streeting and president of the parliamentary branch of Unite, Dan Whittle.

The most eagerly anticipated contribution came from Speaker Bercow, who chairs the Members’ Estimates Committee. The Committee will be looking at MPs expenses and pay, including staffing allowances and hopefully the question of interns pay too.

Whilst shying away from directly committing himself to putting the issue on the agenda for the Committee, The Speaker stated that he was very happy to raise it ‘through the appropriate channels’ although ‘this will take time’. He acknowledged that ‘This will not go away, it cannot be brushed under the carpet… I am listening’.

Following The Speaker, David Willets faced the packed room stating ‘I can sense this is the start of a movement, it feels like an uprising!’. Willets made reference to Alan Milburn’s Social Mobility Report published this summer, stating that only 3-4% of interns apply for their positions following careers advice, and called for a ‘revolution’ in careers advice.

With all the talk of revolution and uprising, Wes Streeting and Dan Whittle issued a rallying cry to the interns in the room. Wes Streeting accused many politicians of talking to themselves, and thanked Willis, Willets, Clarke and The Speaker for taking the time to listen. Dan Whittle called for an end to ‘generation intern’, and ended by challenging The Speaker to put this issue on the agenda for the Committee’s first meeting next week, stating that he was ‘disappointed’ by the absence of such a promise.

Phil Willis has confirmed that he will be writing to The Speaker to formalise the request.

Phil Willis said ‘Interns are now an integral part in the staffing structure of our Parliament, it’s essential to kick-on and ensure that they not only receive the appropriate recognition for their contribution, but that the authorities develop a kite mark or minimum standard for internships to ensure that they get a really first class experience and appropriate reward’.

As students across the country get ready to receive their A-level results and look forward to going to university, new research by the National Union of Students (NUS) in conjunction with HSBC today reveals the ‘hidden’ costs associated with certain degree subjects.

The figures, which are taken from a forthcoming student experience report, will come as a shock to many whose chosen subject appears in the top half of NUS’ league table of ‘most expensive degrees’. Someone taking a degree in mathematical or computer sciences, for instance, will be looking at a whopping £1,430 yearly spend on books, equipment and fieldwork on top of their tuition fees and living expenses, compared to £432 for someone taking an education degree*:

Additional annual spend by degree course:
• Mathematical Sciences and Computer Science: £1430.40 • Medicine and Dentistry: £902.16 • Business and Administrative Studies: £873.36 • Creative Arts and Design: £701.04 • Engineering and Technology: £651.60 • Law: £642.48 • Languages: £635.28 • Historical and Philosophical Studies: £568.56 • Social Studies: £539.76 • Biological Sciences: £539.52 • Physical Sciences: £499.20 • Subjects allied to medicine: £461.52 • Education: £432.48

NUS President Wes Streeting said:
“It is completely unacceptable that applicants are left in the dark about the true cost of degrees. Many students preparing to go to university this summer may be in for a real shock.

“Universities need to be much more open about the hidden costs associated with different courses. There should be better information, advice and guidance about student finance on university websites and in their prospectuses.”

The report also suggests that students’ financial situations deteriorate during their time at university, leaving them more reliant on sources of funding other than their grants or loans. 29% of first year students rely on paid employment or other loans or credit as a source of funding, compared to 50% of final year students.

Wes Streeting added: “Universities should also provide students with better financial advice and support whilst they are at university, so they do not have to get into commercial debt or jeopardise their studies by taking on more part time work just to get by.”