Building a Creative Nation: Diversity and Fair Access Ensuring access to employment in the creative and cultural industries for all
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Building a Creative Nation: Diversity and Fair AccessEnsuring access to employment in the creative and cultural industries for all
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Building a Creative Nation: Diversity and Fair Access
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Building a Creative Nation: Diversity and Fair Access
Contents03 Foreword
05 Equality Begins With Creative People
08 Case study: business admin apprentice
10 Different Ways Of Moving Forward: Protégé – Ten Years On
15 The Next Generation Of The Creative Nation
20 Want To Make Impact? Create A Job And Target Your Local Community
24 Case Study: Tackling Youth Unemployment
29 Make Diversity And Fairness A Priority
31 Fair Access Principle
www.ccskills.org.uk
Building a Creative Nation: Diversity and Fair Access
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ForewordThe future of the creative industries depends on the way it recruits and nurtures new talent. A diverse workforce enables the widest possible range of people to be involved in the sector.
Though the creative sector is the fastest-growing part of the UK economy, contributing £84.1bn each year, it is harder than ever for young people to break into the sector. The practice of long-term unpaid internships shuts out those who cannot afford to subsidise their own placements. This narrows the pool of talent to those who can access entry-level jobs, leaving those young people with talent, but little experience of the creative industries, excluded from them. Beyond employment we know that many opportunities are for freelancers and start-up businesses: unless we support young people with first experiences of the job market they will not be able to make such opportunities for themselves.
At Creative & Cultural Skills, we work with Further Education and creative employers who have been pioneers in opening up new opportunities and fair access to young people from the FE sector. The work we have done with the Creative Employment Programme† to support apprenticeships, internships and pre-employment opportunities has had a proven positive effect on the diversity
of the creative industries. Since 2013 we have generated over 4500 apprenticeships and paid internships and have prioritised access to these opportunities to unemployed young people and those ready to take an apprenticeship. We have focused on the genuine entry-level jobs which are largely technical, administrative and events-based. Beyond our own programme we know that employers working with FE partners have generated over 7,000 apprenticeships in creative jobs alone.
The impact of widening the pool of potential applicants to the sector has also resulted in wider diversity of entrants from BAME groups, disabled young people and a wide social base. We need to raise awareness, understanding and new thinking with creative industries employers, college leaders and governors, young people and policy makers.
Successful companies recognise there is an economic imperative to recruiting from as wide a talent pool as possible. If our creative industries are to remain world-class, then they need to be as diverse as our own society, and accessible to all.
Pauline Tambling CBECEO, Creative & Cultural Skills
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“The arts should be a powerful source of social mobility.”
Lord Tony Hall, Director-General BBC and founding chair of Creative & Cultural Skills
Building a Creative Nation: Diversity and Fair Access
image: © Briony Campbell
Building a Creative Nation: Diversity and Fair Access
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Whenever I hear the term ‘fair access’ I immediately think of an artwork by Caroline Cardus which is in the Shape Arts Collection. It’s a road sign headed EQUALITY? And it says; Man on the Moon 1969 – Full Access to Public Transport 2020 – I think that sums it up for me.
Nearly fifty years on, we stagger inexorably closer to 2020 and you may have seen in the news that we are still, via the efforts of wheelchair user and campaigner Doug Paulley, forced to have to go to the Supreme Court to get a ruling on whether public transport companies can discriminate against us when we, as wheelchair users, want to travel on a bus, that most fundamental method of public transport.
Seeing this in the news reminded me again of the struggle led by Rosa Parks back in 1955 and her refusal to be segregated on a bus those sixty odd years ago. “People always say that I didn’t give up my seat because I was tired,” wrote Parks in her autobiography, “but that isn’t true. I was not tired physically… No, the only tired I was, was tired of giving in.”
Paulley’s long-running and ground-breaking case could finally force bus companies to ensure that wheelchair-users can use the ‘segregated’ spaces reserved for us. But before we congratulate ourselves as a caring creative nation we should remember that the DDA – The Disability Discrimination Act, came into force in 1995. So twenty-two years later and we are still having lengthy and expensive court cases to decide if we can do something fundamental, something that the non-disabled take for granted every day. Travel on a bus without facing discrimination.
Image: © Caroline Cardus
Equality Begins With Creative People
Tony Heaton, Chair, Shape Arts
Building anything substantial requires good foundations.
Let’s examine the foundation for this creative nation of ours within the context of diversity and fair access.
Building a Creative Nation: Diversity and Fair Access
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You may wonder what travelling on the bus has to do with the creative industries, but if you cannot access transport then how can you be expected to contribute to the building of a creative nation?
When reading the transcript of Paulley’s case it occurred to me that those learned law lords had somehow missed the point. Inclusive design has to begin with those creative people who we commission to design for us. If they create an infrastructure that is sub-standard, inaccessible, not fit for purpose, then surely it’s not an argument about wheelchair users and bus companies. It’s about the commissioning of poor design from creatives who are badly trained and who fail to design for all, from the built environment, planners, architects, product designers, engineers and to every other creative who fails when it comes to considering inclusion, diversity and fair access.
Perhaps the building of a creative nation has to begin with the destruction of old thinking, and ways of learning and tinkering, around the edges. A fresh start is needed, with diversity and fair access a non-negotiable at the top of the brief.
Shape Arts works to improve access to culture for disabled people by developing opportunities for disabled artists.
Building a Creative Nation: Diversity and Fair Access
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Diversity In The SectorBelow are demographic comparisons of young people on Creative Employment Programme compared to the wider cultural industries.
0 10 20 30 40 50 60 70 80 %
Wider Cultural Industries (c.1,900,000)
Data provided by CFE Research
Creative Employment Programme employees (c.3,700)
Female
Male
BAMEbackground
Ethnicity
Gender
Disability Disabilityreported
48.2
37.2
47.4
61.4
14.2
11.4
17.2
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Building a Creative Nation: Putting Skills to WorkBuilding a Creative Nation: Diversity and Fair Access
Recruiting from a wider pool of talent
The London Theatre Consortium (LTC) works collaboratively on cross-consortium projects that are beyond the capacity of a single organisation to deliver.
The aims of the Creative Employment Programme (CEP) resonated strongly with the leaders of the LTC theatres who saw the programme as a chance to effect long-term change in recruitment and staff development practices, and address the lack of diversity in London’s theatre sector.
Having an apprentice brings life to our team.
“We are failing to tap into a huge pool of talent by operating a ‘traditional’ recruitment pipeline: ‘university, unpaid internship, entry level job’.
“If we continue to recruit and train in the ways we always have, the demographic make-up of our workforces will remain the same. This will have a negative impact on our programming, our artistic and creative development, and mean that we fail to serve the communities in which we are based.”
Removing barriers to diversity
Securing CEP funding helped the consortium to unlock total funding of over £500,000 over two years.
Alongside CEP and National Apprenticeships Service grants, the LTC had central funds available so could commit a substantial sum to the programme to part subsidise each theatre’s contribution to the salary costs.
Case study: Funding For A Diverse Workforce
London Theatre Consortium (LTC) is a consortium of 13 of London’s leading producing theatres. After successfully winning funding through the Creative Employment Programme, they were able to take on 38 apprentices.
Image: Lyric Hammersmith apprentice Sherice Pitter was named 2016 Apprentice of the Year8
This enabled the LTC to pay all the apprentices adult national minimum wage, in order to remove financial barriers and enable young people from less economically advantaged backgrounds to apply.
Winning consortium fundingRecruitment was an area where a consortium approach was hugely beneficial. Recruiting 21 apprentices together allowed the LTC to take a creative and exciting approach, reaching wider networks. The theatres held four recruitment Open Days, ran Assessment Days as participatory workshops, and held panel interviews.
This collaborative approach has continued with line managers from across the consortium meeting regularly to share techniques, best practice and ideas.
The apprentices also have access to people across the LTC as mentors. College training has been co-delivered with Lewisham and Southwark College and LTC staff members have led specialist sessions, to ensure training reflects work-place realities and teaches employment-ready skills.
Feedback from LTC members
“Having an apprentice brings life to our team.” The Lyric Hammersmith
“We’ve seen our apprentice flourish and grow, both in her confidence and in her skills as a member of the team.” Battersea Arts Centre
“Apprentices are learning a huge amount but they are also bringing new perspectives into our organisations. We know that some of the apprentices we are working with now will be in senior positions in the theatre sector in the future – they really are that good!” Senior Coordinator, LTC
Key facts• CEP grant awarded: “£110,000 for 38
apprentices• Art form: Theatre• Located in Greater London• Size of company: Theatres range from five to
60 staff• Consortium theatres: Almeida Theatre,
Battersea Arts Centre, Bush Theatre, Donmar Warehouse, Greenwich Theatre, Hampstead Theatre, Lyric Hammersmith, Royal Court Theatre, Soho Theatre, Theatre Royal Stratford East, Tricycle Theatre, Unicorn Theatre and Young Vic.
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Building a Creative Nation: Diversity and Fair Access
Building a Creative Nation: Putting Skills to Work
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Different Ways Of Moving Forward: Protégé – Ten Years On
Sabita Kumari-Dass, Founding Director of Protégé DNA
Protégé came into the world kicking and screaming. Born of passion but misunderstood by the hierarchy of a university unfamiliar with parenting the under-privileged.
The concept was inspired by Leonardo da Vinci and the compelling notion that someone as maverick and dysfunctional as him, could – through his curiosity and artistry – defy social and professional barriers to prove his polymathic genius.
Now Protégé itself is more docile, but still fascinated by dysfunction, disruption, chaos... the influence of their DNA on the creative mindset. Our work is fuelled by the belief that educationally-excluded children can be diverted from a spiral of decline through a personalised curriculum that responds to their divergent learning needs and validates their personal circumstances.
Multiple causes, untold symptoms, complex needs litter the path to permanent exclusion. Beyond this life-changing moment the pathways are punitive and the initial under-attainment is exacerbated by longer-term feelings of rejection. “I’m not a good learner.” “I was the problem in the classroom.”
Overnight, the hard-to-teach become hard-to-reach. Isolation from peer groups and positive school community experiences makes harder, and more hidden the challenges these young people are already struggling to negotiate on a daily basis, such as being a carer, a teen parent, recently arrived, a victim of bullying. They battle neglect, abuse, addiction, physical and mental illness.
Protégé is not always the first port of call. Referrers usually think of us when a young person has tried other types of alternative provision. Mostly these have not worked because ‘off-the-shelf’ approaches can further alienate a young person who is fast becoming a walking, talking contradiction: self-obsessed in the extreme but simultaneously playing up with mindless acts of self-jeopardy.
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Building a Creative Nation: Diversity and Fair Access
And so we get the call – the pupil premium has been spent, there’s no budget, but can we help in any way?
At Protégé we listen to the child and we talk to the child. We work with their interests, values and abilities to co-create culturally enriched activities that add up, over time, to progression pathways. In addition to educational under-attainment, most have had limited engagement with art and culture, and are from low income or benefit-dependent households experiencing social, economic and cultural deprivation.
Since the Protégé experiment began, two independent evaluations of our work have evidenced our ‘depth of impact’ and ‘uniqueness in the landscape of alternative education provision’, noting a 96% reintegration to school, college and employment for the long-term marginalised. Our continuing aim is to:
l Address under-attainment by developing the ability and mindset of excluded young people to manage their own progression through self-directed learning
l Create non-institutional learning processes and environments ‘inside institutions’ to reduce barriers, liberate learning and prevent exclusion.
In 2012 Protégé was supported by John Lyons Charity, the Esmee Fairbairn Foundation and Arts Council England to develop ‘The High Street Experiment’, a 3-year skills initiative testing tailored apprenticeships through community integration. It became clear that we needed to change our culture and expand our comfort zone. We took the high-risk step of converting a retail unit into a public-facing gallery in Richmond. We were in uncharted waters – again.
Facing the public, serving customers, being sales-focussed without being commercial is a challenging brief. The learning curve has been sharp and fear of failure lingers on the surface of our collective psyche. However, we have made a successful transition to a new business model that places our students’ development at the heart of a compassionate community and increases choice for referring partners who value the idea of ‘training with tlc’.
Becoming an income-generating gallery has stretched our mindset and our methodology in unforeseen but fortuitous ways. Our portfolio has been enriched and outcomes include Internships, Tailored Apprenticeships, Arts Award, GCSE and National Enterprise Allowance Grants for entrepreneurial students.
After ten years of being 100% funded by grants, we head into 2017 with our first American corporate funder on board, early successes with private donations, a blossoming new partnership with Kew Gardens and Heritage Lottery Fund, and good potential to increase revenue from art sales with our artists achieving higher prices at the Protégé Gallery than with Saatchi.
Protégé’s achievements have been publicly acknowledged with our nomination as Best Education Project in the National Lottery Awards. But the real achievement is being able to demonstrate to disaffected young people that there are different ways of moving forward. And so, as Protégé reaches its tenth birthday in 2017, the first generation of creative practitioners self-educated in the Protégé methodology, whom we have tracked over a 10-year period will pioneer our dissemination work and team up with influential connectors and curators in the cultural sector to share the double-edge story of educational exclusion.
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Building a Creative Nation: Diversity and Fair Access
Changing Employer AttitudesCreative Employment Programme employers were asked how likely they were to have employed a range of young people before their involvement in CEP and in the future.
(Mean score 1-7, where 7=most agreement)
0 1 2 3 4 5
Past likelihood
Data provided by CFE Research
Future likelihood
Paid interns
Unpaid interns
Formal apprentices
4.5
2.8
2.6
2.7
4.2
2.8
Building a Creative Nation: Diversity and Fair Access
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“It’s harder than ever for young people to break into the creative sector. Unpaid internships shut out those who cannot afford to subsidise their placements and this narrows the pool of talent. We need diversity to thrive.”Northern Ireland Creative & Cultural Skills Awards,
December 2016
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Building a Creative Nation: Diversity and Fair Access
image: © Simon Mills
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Building a Creative Nation: Diversity and Fair Access
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Amy CharltonApprentice, Creative ENRG
Amy is completing a L2 Apprenticeship with enterprise project Creative ENRG. She is focussed on marketing, design, social media, but also works with the project team to create designs, logos, structure social media campaigns and undertake market research for clients accessing the service.
April SkippFormer Intern, Yorkshire Dance
Creative & Cultural Skills Intern of the Year 2016, April was appointed Marketing Officer at Yorkshire Dance later that year.
“Every day is so different at Yorkshire Dance. One day I can be designing print and contacting journalists, and the next I can be in the studio taking photos and filming performances. It’s so exciting to work in a creative environment with such a fantastic team. I look forward to what the next season will bring!”
Billy SturdyCreative Apprentice, Hull City Council
“I was clueless on what I wanted to do. From being a college drop-out to working on one of the biggest years in the City of Hull’s history all through the apprenticeship route, it was such a good switch. This job has made me realise that I need to follow what I enjoy so the goal after the year is over is to try and make something of myself in the world of music and event planning. Without sounding corny, this has really been a life changer!”
Charlotte HughesIntern, In-Situ
“My role allows me to utilise a variety of disciplines across art and geography in order to create an innovative approach to understanding access to an iconic landscape which has been meaningful to myself and to many local residents, Pendle Hill. My experience has been very positive; I have a high level of responsibility, have gained collaboration skills; and work with a very friendly and warm team.”
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Building a Creative Nation: Diversity and Fair Access
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Dave YoungFormer Intern, Diverse City
Since working with Diverse City, Dave has developed both with the company and independently. Selected for Graeae’s Ensemble Artists programme, he has performed with British Paraorchestra and Extraordinary Bodies professional integrated circus company, and is currently a creative assistant for Ramps. David is a published poet (The Shouting Mute), performer, filmmaker and workshop facilitator. He has also been appointed to the Diverse City board of directors.
Danielle TraversApprentice, Sticky Fingers Arts
Joint winner of Northern Ireland Creative & Cultural Skills Apprentice of the Year 2016, Danielle established herself as a confident and capable young artist with a natural flair for both the arts and working with children. Danielle initiated and delivered an outreach programme and is now taking on freelance commissions.
Eilís DavisFormer Intern, Diverse City
Eilís is now artistic director of Diverse City’s integrated emerging artists ensemble - Extraordinary Bodies Young artists (EBYA) - combining her skills in integrated movement practice with expertise in creative support. Eilís also leads the partnership with international youth project The Complete Freedom of Truth (TCFT), travelling to Srebrenica, Portugal and Georgia on artists exchange and creative activism projects. Eilís has performed alongside British Paraorchestra, completed a Clore Leadership short course, and is preparing to travel with EBYA to Italy on another TCFT residency.
Emma MorsiDigital Marketing Apprentice, Saffron Records
“I am the Founder and Editor-in- Chief of Nocturnal, a youth-led interactive magazine using the Arts to creatively address and share first-person stories on social issues. Awarded Rife Magazine’s Top 24 Influential Bristolians Under 24 for my Nocturnal work, I became the digital marketing apprentice for Bristol’s first female youth record label Saffron Records. Saffron Records offers up an invaluable platform for young artists who are female to be taken seriously in such a challenging industry, and I have been thrilled to share the remarkable emerging talent signed to Saffron, one empowered woman at a time.”
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Building a Creative Nation: Diversity and Fair Access
17
Emma WilsonApprentice, Cahoots NI
Emma quickly became a valued member of the Cahoots team, taking over diverse responsibilities and adding her own creative flair to outreach programmes. She was seen to have made a significant difference to the company and was awarded joint winner of Northern Ireland Creative & Cultural Skills Apprentice of the Year 2016.
Hannah StringerIntern, In-Situ
“An internship at In-Situ isn’t just about furthering yourself, but about encouraging and supporting the development of others. I am encouraged to challenge myself, get involved with and help shape endless opportunities, including having been able to shape my job role. I am now writing funding bids to support the organisation and most importantly, participants in projects that I am passionate about.”
Jake JarvisCultural Venues Apprentice, Birmingham Rep
Jake Jarvis is an actor and facilitator working as an apprentice for The Birmingham Repertory Theatre in their Learning and Participation department. Jake has already completed a Level 2 apprenticeship in Community Arts with Open Theatre Company who specialise in working with young people and emerging artists with learning disabilities. Jake has now progressed onto a Cultural Venues apprenticeship at The REP where he is further developing his skills and understanding of the creative sector.
Katie NolanIntern, In-Situ
“This Internship has given me a great insight as to what opportunities there are in the arts within this area. I feel like I have learned more in the last year than I did in my whole time at university. Both challenging and stimulating, my role consistently adapts from marketing, networking, project collaboration and community engagement which has helped develop my skills and confidence. As a result of my internship, I have gained a vast amount of knowledge in socially engaged arts practice and had the pleasure of working in an organisation built around the environment, people, place and culture.”
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Building a Creative Nation: Diversity and Fair Access
18
Rachael GarrettIntern, National Trust
Northern Ireland Creative & Cultural Skills Intern of the Year 2016, Rachael worked over the eight National Trust mansion houses in Northern Ireland. She exceeded all expectations, demonstrating a high level of commitment skill in preventative conservation.
Sarah MorenoApprentice, London Transport Museum
“I am currently in my first role in the creative sector: I develop and deliver youth-led projects that have public outcomes, whilst also working with a variety of audience groups, departments and stakeholders such as TfL and Google.
“My interests lie in arts and education. I want to shape the mentality of the young people who will be the leaders of tomorrow and support them to take charge of their future. I hope to help young people gain more volunteering and employability skills in my next role.”
Sarah WingettFormer Business & Admin Apprentice, Creative & Cultural Skills
“From the very beginning I was involved in all things communications and marketing, and was constantly learning new skills and knowledge. After finishing my apprenticeship, I work as the Communications Assistant and manage our social media channels, newsletters and website content. Being an apprentice gave me the self-confidence that I needed within the workplace. Learning so much about business processes means that I can carry this knowledge with me, throughout the rest of my career, in any job role that I may have.”
Sherice PitterFormer Community Arts Apprentice, Lyric Hammersmith
Creative & Cultural Skills Apprentice of the Year 2016, Sherice supported the delivery of extra-curricular activities in a range of different art forms, worked with schools to deliver a top quality cultural education and assisted on targeted programmes with disadvantaged and vulnerable young people. Following the completion of her apprenticeship, she became a full time employee at the Lyric Hammersmith as Development Officer in the fundraising department.
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19
Building a Creative Nation: Diversity and Fair Access
Siobhan GarriganFormer Intern, Curious Minds
Siobhan joined Curious Minds as a Digital Marketing Intern. She is now their Marketing & Communications Officer and works with the team to improve the lives of children and young people through art and culture. “Siobhan has been an absolute credit, and showcases how a young person can take an opportunity and fly with it, turning it into long-term employment and becoming a valuable asset to their employer.”
Sophie ClayApprentice Receptionist and Administration Assistant, The Backstage Centre
“I am the first point of contact for visitors and my role means I do a lot of client liaison, especially when it comes organising meetings and events. College wasn’t for me and I knew instantly I wanted to be out working and earning money. My apprenticeship allows me to get hands on experience, whilst gaining a Level 3 qualification. Within my first few weeks of working here, I knew I had made the right decision to become an apprentice.”
Sumayyah DavisApprentice, The Goldfinger Factory
“Working at the Goldfinger Factory has been so diverse and creative. I’ve been able to work in so many departments like finance, customer service, front-of-house, administration, sales, marketing, managing social media, newsletters and writing quarterly impact reports. I’ve been able to do things I never thought I could do. I have learnt so much and I literally learn something new every day. I love what I do, I’ve been able to develop confidence to grab any opportunity that comes my way that will give me more experience.”
Tara McKeownFormer apprentice, Hull City Council
Within my year, I worked within the Arts Development team and had a particular focus on Dance and Marketing. As I also run my own business, an Irish Dance school, I was able to utilise and build on the skills and knowledge I already had and develop areas that I wanted to improve. A year on and I am now an Assistant Producer for Hull Dance. The experience and contacts I have gained has been invaluable. I can’t recommend apprenticeships enough. I certainly wouldn’t be where I am now if it wasn’t for that great year of experience.”
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image: © Andy Hughes / NME
Want To Make Impact? Create A Job And Target Your Local Community
Oliver Benjamin, Director of Employment and Skills, A New Direction
The majority of white people in the arts don’t acknowledge the barriers facing BAME people trying to find a foothold in the sector.Almost 9 out of 10 respondents working in the cultural industries have, at some point in their careers, worked for free.
These were the findings from a 2015 survey from the Panic! diversity campaign, run by Create London, with whom A New Direction deliver our employment and skills programme Create Jobs.
These findings provide evidence for the common impression about the arts sector: a closed shop where most people are middle class. It also made revealing discoveries about how gender and ethnicity can affect a career in the arts and how higher wage earners view the sector in comparison to lower wage earners.
Along with other recent reputable reports including ones from the Creative Industries Federation, Arts Council England’s Case for Diversity, McKinsey’s Diversity Matters, and the Social Mobility Commission; the sector’s lack of diversity and social mobility are real. And they very much compound society’s wider inequalities, resulting in poor and unequal access to education, employment and affordable housing.
How does the arts sector, which prides itself on its radical, innovative thinking interpret such findings?
At A New Direction, we work to ensure that all children and young people have access to the best of London’s extraordinary creative and cultural offer. One of the ways we do this is through brokering local relationships with young people and employers. Our offer has evolved considerably over the past five years. We currently
Building a Creative Nation: Diversity and Fair Access
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the jobs lie, nor what pathway is right for each individual. The way we teach, the way the curriculum is structured, the way work experience is offered, the red tape involved in taking on and assessing an apprentice, none of this encourages employers to create new roles. Or if they do, they are risk adverse and end up employing in their own make-up.
When we talk about diversity and access we need to think of it as a societal and business imperative. The UK government has recently placed the creative industries in their top five key strategic industry plans. This is a marked shift in government policy recognising the economic impact of the creative industries. To future proof this workforce, we need it to represent the communities where they operate.
Currently around 11% of jobs in the creative economy are held by BAME workers, which is similar to the UK average. However, given that nearly half of BAME workers (41%) live in London, and 32% of all creative jobs are in London, this figure (when adjusted for weightings), should be 17.8 BAME workers. This means that BAME workers are not representative of the workforce. Adding socio-economic disadvantage, class, physical or learning difference to this picture and you have a sector void of diversity and missing large swathes of young talent.
So what can we the gatekeepers do about it?
Through our work on Create Jobs 58% of the young people we engaged with were of BAME background. It is possible to recruit differently; we just need to be considered about it.
deliver a range of employment opportunities that raises participants’ competencies and capabilities, ensuring stronger progression into work with the creative and cultural sector, and developing life-long skills.
As a base requirement, any employer operating within the in the digital economy require employees with critical minds, that are resilient, curious, problem-solving and effective communicators. Employers require passion and interest, and generally speaking the technical skills can be learnt on the job.
Through our employment and skills work, we’ve found large numbers of young people who are eager, want to move into work, have incredible life experiences. But because of where they have grown up, their ethnicity, or how wealthy their parents are, they do not have the same access to experiences nor the networks that unlock paid work as their peers.
On the employer side, we’ve met some incredible organisations who intrinsically see the value in offering the next generation a real pathway in. They see the market value of employing young talent, they understand that diversity and disruption makes business think differently and that this is good. They understand that diversity makes people consider new solutions and think afresh, and that with diverse make-up comes a stronger and more considered culture.
But there is a disconnect: schools, colleges, universities, recruitment agencies, work programme providers, Job Centre Plus, parents, teachers – the majority of these gatekeepers do not understand how the sector works, where
Building a Creative Nation: Diversity and Fair Access
21
Organisations and businesses need to stop thinking about diversity and access as a policy that lives in isolation. Think about your company’s needs and think about how to integrate diversity into your business planning process – from the board down.
If you are recruiting for a new role – short term or other – make sure you pay. Unpaid interns are still the norm in many companies. This needs to stop. Open your doors to new people, and in new ways. Host an open day, advertise in partnership with other organisations, accept video applications, make a social media ad demonstrating the role breaking down pre-conceived barriers, task your volunteers, associates and partners to help you advertise in new places to attract new and diverse talent.
When you come to writing job descriptions, develop a competency-based approach based on the requirements of the role, rather than who will ‘fit’ with your organisation. For example, does every role need to be a graduate?
Consider your shortlisting and interviewing processes: try redacting personal details, and ensure that your panel is diverse.
Think recruitment and retention! Once you have the talent, make sure you keep it. Treat your staff well, providing space to reflect and develop with training that is relevant to them.
The current state is not great. The British culture that resonates so strongly globally through the work of David Bailey, Vivienne Westwood, Jarvis Cocker, was built on talent and not inheritance.
Building a Creative Nation: Diversity and Fair Access
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21st century culture has every potential to carry this torch. Thomas Turgoose, Skepta, Adele all follow strongly in this line. We don’t all need to be nurturing the next Skepta, but we can and must be creating jobs locally.
Big change starts small and builds from there.
“Apprenticeships change lives. They give young people real and properly resourced opportunities to establish a foothold in the arts and culture sector, wherever they start in life.”
Darren Henley Chief Executive, Arts Council England
Building a Creative Nation: Diversity and Fair Access
23Image: © Briony Campbell
Jayne Knight, Arts Development Manager at Suffolk County Council, led the initiative and wanted to address some key strategic objectives:
“Suffolk has high youth unemployment and poor attainment at GCSE and A-levels.
“We applied to the Creative Employment Programme (CEP) because we wanted to play a role in reducing unemployment and further develop the capacity of our creative businesses and the local skills base.”
Building up a consortium
The council worked very closely with Christina Birt, Creative & Cultural Skills’ Ambassador for the East of England, to engage employers.
The network included sole traders and microbusinesses, alongside some of the bigger employers such as the New Wolsey Theatre and Aldeburgh Music, enabling smaller businesses to benefit from the consortium’s collaborative approach and shared resources.
Funding the wages
Suffolk County Council invests in the majority of the larger organisations, so it encourages engagement in the scheme through their funding relationship.
Tackling skills and youth unemployment is a priority for the council, so they were also able to secure some additional funds to support the administration of the scheme and recruitment process.
Once the CEP grant was secured, the council contracted Christina to explore the best training provision for the apprentices and interns, and Christina was able to negotiate a package with North Hertfordshire College.
Case Study: Tackling Youth Unemployment
Suffolk County Council brought together 33 local cultural sector employers into a consortium to create 80 Creative Employment Programme-funded apprenticeships and paid internships. They have been able to address youth unemployment and diversify the area’s creative workforce.
24
Building a Creative Nation: Diversity and Fair Access
The council also brought in Suffolk Artlink, an arts organisation who specialise in working with vulnerable people, to build links with Job Centre Plus.
Tacking youth unemployment
Christina told us: “Our employers were delighted to have the opportunity to ‘do their bit’ to tackle youth unemployment. We could see that our sector could make a real difference to unemployment figures in Suffolk, and we managed to build up a real momentum around addressing this issue.
“We had very positive discussions about the role of young people in organisations, thinking more about what a young person could do for us rather than what we could do for a young person.
“Social media skills were at the top of many of the employers needs and we were confident that young people could bring some great working knowledge and skills.”
Helping unemployed young people
Jayne Knight told us: “The funding meant that we could ask busy employers to take a calculated risk of investing time, and some cash, in building the sector’s workforce.
“While the bigger organisations have been able to allocate funds to support apprenticeships, smaller organisations with limited funds could see that if they recruited someone who had been unemployed for 26 weeks or more they could attract Youth Contract funding, and in that way they could offer a paid internship at a low cost.
“Young people who have been unemployed for six months or longer often need more nurturing to enable them to flourish, so employers that want to take advantage of the Youth Contract need to think carefully about the level of support they are able to provide.
“Suffolk Artlink and Christina Birt have ensured that we have been able to maintain a high quality approach to all aspects of the scheme and investing in these specialist skills has been crucial for successful delivery.
“In the long term I am convinced that the project will generate a shift in the employment practises of our local sector and will enable us to build new relationships with Further Education providers and Job Centre Plus”.
Jordan Peck, intern at New Worsley Theatre said: “My internship is giving me a great learning opportunity and as a result I am now on a path that could lead me to the person I want to become.”
Key facts
l Funding: £197k to create 47 internships and 33 apprenticeships
l Art form: Multi-disciplinaryl Located in: Suffolk, East of Englandl Size: All consortium members are small
to medium enterprises with less than 100 employees. Some are sole traders.
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Building a Creative Nation: Diversity and Fair Access
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Building a Creative Nation: Diversity and Fair Access
Benefits of Recruiting Young PeopleUpon completing their involvement in the Creative Employment Programme, employers were asked to highlight the three main benefits of recruiting interns, apprentices and/or young people on work experience:
Give young people a chance
They bringfresh ideas
Their enthusiasm
They are willingto learn
They are relativelyinexpensive
Data provided by CFE Research
They can be moulded intothe way the business works
68%
61%
49%
42%
37%23%
32
Building a Creative Nation: Diversity and Fair Access
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92% of jobs in the creative economy are done by people from socially advantaged economic groups – a far greater percentage than in the wider economy*.
Building a Creative Nation: Diversity and Fair Access
*DCMS ”Creative Industries 2015: Focus on Employment”, 201
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Building a Creative Nation: Diversity and Fair Access
image: © Briony Campbell
29
Building a Creative Nation: Diversity and Fair Access
Make Diversity And Fairness A Priority
Jo Verrent, Senior Producer of Unlimited
The world is changing. Rapidly. You cannot afford to set yourselves a low bar, aiming to be just a little bit more diverse, to make things just a little bit more fair. It’s time to take bold action, to fully commit, to make it a top priority.
The question is, are you ready to do that?
If you listen to the rhetoric, everyone wants diversity, everyone wants to be fair.
Yet look at any the statistics gathered by Arts Council England, Creative Industries Federation, Creative & Cultural Skills, or any manner of other sector bodies and you’ll see that, despite a number of interventions, the cultural sector in the UK is a long way from being diverse. Despite good intensions, the bigger picture is proving hard to shift.
Unlimited is a strategic diversity initiative from Arts Council England, delivered by Shape Arts and Artsadmin. We commission disabled artists to create and tour extraordinary work with the ultimate aims of embedding those artists within the cultural sector and transforming the perception of disability within the cultural sector and beyond. We shouldn’t have to be here. If things were fair, if we were all on top on delivering diversity, we wouldn’t have to exist.
So what can the sector do, to move forward faster and deliver on what it says it wants to see? Here are five actions we all can take:
1. Challenge yourself when you find yourself making assumptions Unconscious bias plays a huge role in the sectors underperformance around diversity. You can learn to tune in and pick yourself up when you make unfounded assumptions. Use self-awareness, recognition of your own biases, regular time to reflect, and then a swift move to action to challenge yourself.
2. Ensure your internal processes don’t enable unwitting discrimination Individual assumptions are one thing, but sometimes they become systematised. Have you set up systems that support discrimination?
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Building a Creative Nation: Diversity and Fair Access
Remember, you might not be best placed to spot such elements: those on the receiving end of the discrimination are often the best at recognising it. At Unlimited we have a network of allies and often share hints and tips to check ourselves – why not join us?
3. Take positive action If your workforce, programmes, and activity isn’t where you want it to be in relation to diversity, it’s your job to do something about it. There is no point blaming others, or asking others to help you, unless you are actively taking positive action to build relationships and gain new perspectives too. Positive discrimination is illegal, but positive action isn’t. What actions are you taking? We have two year-long traineeships for disabled people wanting first rung positions in the sector and prioritise work placements from disabled people.
4. Make data your friend Data isn’t something to fear, it’s intel. Knowing where you are underperforming is good news, because it means now you can do something. Knowing exactly what and where the issue is helps you create specific actions linked to exact timeframes. It gives you impetus. Unlimited has shifted our reach in relation to BAME, for example (known through data analysis of applications, panel members, team and so on) but we still aren’t where we want to be. That means our actions are working, but they aren’t yet enough so we need to set more in place.
5. Give over power and control There is a saying in the Disability Movement: ‘nowt about us without us’ and it’s true. You can’t lead on specific initiatives around access and diversity without genuinely involving the very people you are looking to include!
And that involvement has to be all the way through, including leadership and decision making. We’ve widened the diversity on all our selection panels for Unlimited and ensured that these panels hold all the decision making responsibility for commission selection, not us.
You can make the change but you’ll have to put the effort in. You have to do the research and examine your own practices for barriers and unwitting examples of prejudice and discrimination. You’ll have to convince your whole organisation about just how important it is: all staff, all board members, all freelancers, all contractors. You’ll have to take risks and push boundaries and it all might feel a bit uncomfortable for a while.
But it’s worth it. Research has shown again and again that diverse teams achieve more: employees treated fairly give better levels of service. If we all think differently our organisations are more resilient, more able to respond swiftly and in new and unexpected ways to the challenges that we face. More able to connect with different groups, be they stakeholders, audiences or clients.
You want diversity and fairness? Make it a priority.
Unlimited offers talented disabled artists funds and mentoring support to develop, produce and show ambitious work. The aim of Unlimited is to embed work by disabled artists within the UK cultural sector, reach new audiences and shift perceptions of disabled people. Unlimited is delivered in partnership by Shape Arts and Artsadmin for Arts Council England with additional funding from Arts Council Wales, The British Council and Spirit of 2012.
Building a Creative Nation: Diversity and Fair Access
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Our Fair Access Principle
A diverse workforce for the creative industries enables the widest range of people to be involved in the creative and cultural sectors. Volunteering is integral to creative organisations and a blanket ban on all unpaid work could close down significant opportunities for people to contribute to the arts.
We want to encourage people to volunteer. However we acknowledge that when employers offer longer term unpaid placements, people from less affluent backgrounds may feel discriminated against.
As a creative employer we are committed to an equal and fair recruitment policy to make opportunities available to people from all backgrounds.
Volunteers
A volunteer is not classified as an employee under UK law, if the person does not have a legally binding employment contract with the organisation. All our volunteers will be:l able to volunteer an amount of time over any period that suits their needs but it is highly unlikely this
will be fulltime i.e. Monday to Friday, 9am-5pm;l offered training (and any protective clothing) that is appropriate to assist the volunteer to carry out
their voluntary duties;l assigned a mentor or manager, to monitor progress;l reimbursed genuine, necessary, documented and agreed expenses;l offered a volunteer agreement to clarify the expectations for both volunteer and organisation.
All volunteers in our organisation will be:
1. volunteering for a reasonable and mutually agreed period of time if the volunteer is someone at the start of their career who wants to learn skills, and is aiming to gain experience and seeks future paid employment. Should the volunteer choose to leave at any time they are free to do so, but it may be beneficial for the opportunity to be completed if future paid employment is sought; or
2. someone who is prepared to volunteer without expecting to secure paid employment as a result. For example, someone who is well established in their career and prepared to ‘give something back’ or someone who is retired.
Work experience
Work experience is generally aimed at young people of school age in Years 10 and 11. A work experience placement is usually brief (one or two weeks) and provides an opportunity for young people to gain experience of working in a particular industry or sector. Expected learning objectives and expenses will be agreed at the beginning.
Any work experience placements offered as part of a government employment or training programme will adhere to the guidelines of the particular programme.
Building a Creative Nation: Diversity and Fair Access
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Internships
All internships will:l have a contract of employment;l last for no more than one year;l pay at least the National Minimum Wage and where possible the Living Wage;l contribute to the work of the organisation, rather than be a purely shadowing role;l have a defined role and job title.
While the intern may have knowledge or skills in a particular area, the internship will be:
1. their first experience of a particular sector or role; or2. the ‘next step’ on from, for example, a volunteering role.
Apprenticeships
All apprenticeships will:l have a contract of employment;l receive at least the National Minimum Wage for Apprentices;l apprentices aged 19 or over who have completed at least one year of their Apprenticeship will
receive at least the National Minimum Wage.
Recruitment practice
We commit to advertising all opportunities fairly, openly and transparently. We will publicise details openly and in a range of relevant places including the National Apprenticeships Vacancy Matching Service and Jobcentre Plus, where appropriate.
We also commit not to request that applicants possess qualifications that are not relevant.
The Fair Access Principle was developed in partnership with The Creative Society
If you would like to sign up to the Fair Access Principle, please visit ccskills.org.uk/fair-access-principle
Building a Creative Nation: Diversity and Fair Access
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Building a Creative Nation: Diversity and Fair Access
With thanks to all the organisations and individuals who contributed to this publication: CFE Research, A New Direction, Protégé DNA, Shape Arts, Unlimited, Birmingham Rep, CapeUK, Creative Alliance, Creative ENRG, City of Bradford Metropolitan District Council, Creative Lancashire, Curious Minds, Diverse City, Goldfinger Factory, Goodwin Development Trust, Hull City Council, In-Situ, London Theatre Consortium, London Transport Museum, Lyric Hammersmith, Rochdale Borough Council, Saffron Records, The Backstage Centre, The Arts Development Company, Yorkshire Dance
Creative & Cultural Skills is a campaigning organisation championing youth employment and fair access.
We work closely with our network of supporters – the National Skills Academy for Creative & Cultural – to deliver our charitable mission:
l To give young people opportunities to work and learn in the creative industries
l To ensure that employers benefit from a skilled generation of talent
l To help the creative industries continue on a course of economic growth.
Acknowledgements
36
Creative & Cultural SkillsThe Backstage CentreHigh House Production ParkVellacott ClosePurfleetEssexRM19 1RJ
T: 020 7015 1800E: [email protected]: @ccskills
Creative and Cultural Industries Ltd is registered
in England as Charity no. 1105974
Creative and Cultural Industries Ltd is registered
in Scotland as Charity no. SCO42165
cover image: © Campbell Rowley
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