Creative & Cultural Skills March 2010 Contents Page UK, England and English Regions 1. Creative and Cultural Industries 2. Advertising 3. Craft 4. Cultural Heritage 5. Design 6. Literature 7. Music 8. Performing Arts 9. Visual Arts 2 26 39 53 67 81 94 108 123 1 1. Creative and Cultural Industries: Sector information - a brief description of what the sector covers at UK level The creative and cultural industries include; advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. They have experienced rapid growth in the UK over the last ten years, which has focused attention on the industries, in terms of policy development and action, and on the role of creativity and innovation in business and the economy. Three themes are common to these diverse industries; the central importance of creativity; communication; and a focus on clients, customers, audiences and participants. Collaboration is important through networks and partnerships, as a means of developing and delivering business. In this, lies one of the means to achieve sustainable, increased employer commitment and investment in skills and workforce development. Across the UK: 1 1 The UK has the largest cultural economy in the world, relative to GDP. These creative and cultural industries currently employ 678,480, people and contribute £24.8B GVA to the UK economy each year. 24% of the creative and cultural workforce is based in London although employment has grown in all geographical regions. There are 74,640 businesses in the creative and cultural industries and 87% of them employ less than 10 people. The sector is highly qualified - 54% of people working in the creative and cultural industry have at least a level 4 qualification. Diversity is an issue - there is a majority of male workers (60%) and 93% of the cultural industry is white. Wages can also be low - 62% of people working in the industry earn less than 2 £20,000 while 1 in 10 earn more than £41,000. The sector has experienced unprecedented growth – over the past 20 years the UK‟s creative & cultural industries have grown by 4% p.a compared to 3% for the rest of 3 the economy. Exports of services by the Creative Industries totalled £16 billion in 2006. This 4 equated to 4.3% of all goods and services exported. Current projections for 2009 indicate that creative and cultural industries are resilient in face of recession – growth is back to pre-recession levels of nearly 5% (compared 5 to negative growth across the UK in general). Forecasts predict significant employment growth for creative & cultural industries – 6 150,000 more people by 2017. The Department for Business, Innovation and Skills 7 has identified „Digital and Creative Industries‟ as a key growth industry. Staying Ahead: The economic performance of the UK‟s creative industries – The Work Foundation http://www.theworkfoundation.com/research/publications/publicationdetail.aspx?oItemId=176&parentPageID=102&P ubType= 2 UK Creative & Cultural Industries Impact and Footprint 2009/2010 – Creative & Cultural Skills http://www.ccskills.org.uk/Industrystrategies/Industryresearch/tabid/600/Default.aspx 3 Staying Ahead: The economic performance of the UK‟s creative industries – The Work Foundation http://www.theworkfoundation.com/research/publications/publicationdetail.aspx?oItemId=176&parentPageID=102&P ubType= 4 Creative Industries Economics Estimates – The Department for Culture, Media and Sport http://www.culture.gov.uk/reference_library/publications/5727.aspx/ 5 Working Futures 3 – The UK Commission for Employment and Skills 6 Ibid 7 Jobs of the Future – The Departmend for Business, Innovation and Skills http://www.hmg.gov.uk/media/41730/jobs_of_the_future.pdf 2 International landscape: The world‟s creative economy is growing. In the 1990s for OECD countries, it grew at an annual rate that was more than twice that of the service industries overall and 8 more than four times that of manufacturing. The growth of the cultural and creative sector in the European Union from 1999 to 2003 was 12.3% higher than the growth of the overall economy. Turnover of the culture and creative sector in the EU generated €654 billion and contributed to 2.6% of the European Union‟s GDP in 2003. The culture sector employed at least 5.8 million people in Europe in 2004, which is more than the total working population of Greece and Ireland put together. Growth in demand for creative products has also been a significant driver of the growth of the creative economy. The percentage of GDP spent on household expenditure on recreation and culture for most OECD countries shows a positive correlation with per capita income (OECD, 2007). The richer a country is, the more chance there is that the population will spend a higher percentage of their income on 9 culture and leisure. In the UK for example, consumer spending on culture increased 10 from 5% in 1963 to 7% in 2008. Worldwide growth in tourism has continued in recent years and has helped to fuel the growth of those creative industries selling creative goods and cultural services into the tourist market. In 2004, international tourist arrivals in Europe totalled 416 million while the numbers arriving in the Asia and Pacific region amounted to 153 million. From the economic perspective, international trade is a key component of the creative economy. According to UNCTAD, world trade in creative-industry products increased sharply in recent years. In the period 2000-2005, trade in goods and services from the creative industries grew on average by 8.7% annually. For instance, world exports of visual arts more than doubled from $10.3 billion in 1996 to $22.1 11 billion in 2005. Exports of audiovisuals tripled over the same period. The global entertainment and media industry is forecast to grow from $1.3 trillion in 2005 to reach 1.8 trillion by 2010. Asia is expected to record the highest growth rate of all regions in the entertainment and media industry, increasing from $274 billion to $425 billion (with a 9.2% compound annual growth rate) and China will have the fastest growing industry in the 12 world, with a 26% compound annual growth rate. Key industry features are the high numbers of micro businesses, and people who are self employed or freelance. This needs to be set alongside the small number of large businesses and organisations. Volunteering is also a key part of the workforce. The public sector is a significant feature of the cultural heritage, and arts industries and they along with Music and Literature specifically serve the school/education market. Creative Economy Report 2008 – UNCTAD http://www.unctad.org/en/docs/ditc20082cer_en.pdf Key role of cultural and creative industries in the economy – UNESCO http://www.oecd.org/dataoecd/11/47/38703999.pdf?contentId=38704000 8 9 10 After the Crunch – Tom Bewick, CEO Creative & Cultural Skills http://www.ccskills.org.uk/LinkClick.aspx?fileticket=I3gSYFE0sQs%3d&tabid=138 11 Creative Economy Report 2008 – UNCTAD http://www.unctad.org/en/docs/ditc20082cer_en.pdf Key role of cultural and creative industries in the economy – UNESCO http://www.oecd.org/dataoecd/11/47/38703999.pdf?contentId=38704000 12 3 The industries have both global and local markets. The industries operating globally include advertising, design and music. At a local level the industries are seen to contribute to economic and community regeneration. This aspect of government policy has led to debates on the balance between intrinsic and instrumental cultural value. It is important to recognise that the industries view of value and success is not only economic, but also social, cultural and aesthetic. What skills are needed to drive up productivity? The Government‟s central long-term economic objective is to achieve high and stable rates of economic growth and employment. Increasing productivity is set to be the driving force behind this and the route to higher prosperity. Despite no tangible link between increased skills levels and increased productivity being set in the literature, developing and maintaining skills has 13 been identified as one of the core „five drivers of productivity‟ needed to assure growth and competitive advantage. Key performance indicators such as levels of global competitiveness, innovation, enterprise development and investment levels in education are suggested as linking to increased productivity. Therefore, understanding the skills needs of the CCIs is vital to increasing productivity and directing investment into improving skills and better meeting the needs of business. Skills Factors Skills Factors: generalist and intangible, but more likely to impact future development of the CCIs rather than economic factors. As stated by the former BERR in its non-certified learning report: „Several recent studies have 14 highlighted the important role that skills play as a drivers of productivity ‟. However, lacking from this report is the identification of any specific skills that will drive up productivity. The importance of having formal, higher-level qualification is cited as well as non-certified and workplace learning but specific skill sets are not covered. Generally, the skills identified as necessary to realise increased productivity for the whole economy are enhanced levels of basic skills such as literacy and numeracy. It is understood that „skills‟ do not always need to be taught in traditional education to young people of school age. Studies have shown that it is valuable to maintain skills development outside of traditional education and learning. For example, where workplace training is undertaken, on average, people earn wages between 5 and 6% higher than those who do not 15 undertake workplace training . There is currently significant government investment to 16 increase skill levels throughout the whole of the labour market , so this should, in theory, increase the performance of the sector as the availability of high-level skills should increase. With regard to the CCIs specifically, the UK has a long history of being good at invention and 17. creativity but bad at investment and management Therefore, to maximise growth opportunities these are key areas for improvement across the sector. Entrepreneurship has also been identified as an important base from which to increase innovation and develop productivity, this is particularly relevant in a sector such as the CCIs, with a high proportion of 13 The five drivers are skills, investment, innovation, enterprise and competition 14 BERR(2006) Non-certified learning and skills: incidence in the UK, variation across countries and links to productivity; executive summary. 15 BERR( 2006) Non-certified learning and skills: incidence in the UK, variation across countries and links to productivity. 16 Such as the Future Jobs Fund (ref), Guarantee to provide employment or training for all young people (ref), alternative routes into work (apprenticeships) and encourage for increased amount of people to attain higher level skills (Leitch 2006). 17 Creative Partnerships, Understanding policy. 4 small businesses and independent practitioners. However, „there is currently no coherent 18. national policy that addresses entrepreneurship for the CCIs‟ Further, NESTA state that „long term Higher Education (HE) policy and funding strategies do not promote development of „home-grown‟ entrepreneurial talent and opportunities that exist for developing graduate ‟ 19 entrepreneurship for CCIs are provided on a piecemeal basis. This has led to short-term, non-sustainable interventions and a gap in CCI leadership. It is also vital to engage people in the CCIs from a young age and therefore it is important that young people are given the chance to experience high quality culture within and outside 20 school . Creative Britain emphasises the importance of the CCIs in this context and states that the CCI workforce development must move from the margins to the mainstream of economic and policy thinking, to create the jobs of the future and increase productivity of the sector and the country alike. Despite a high skills equilibrium in the sector, the need to promote up-skilling, which in turn is expected to increase productivity, should not be neglected. However, as noted above, the emphasis should perhaps be on re-skilling. Digital skills Digital skills: essential for increased selling opportunities and advanced business development in all areas of the economy, especially the CCIs. A key factor anticipated to drive up productivity in all sectors of the economy is the increased 21 use of digital technology and media in business , along with a need for an increased ability to use and manipulate emerging digital technology for learning. The skills needed to capitalise on this are especially pertinent in the CCIs as advancements in the digital economy will require increased creative skills to maintain innovation and meet the demands of the national and global economy. An important industrial policy influencing this workforce development is 2009 BIS report, 22 Digital Britain . This emphasizes the need to develop and maximise „digital‟ skills to meet the aim of Britain being „a global centre for the creative industries in the digital age‟. The report states that possessing the skills to enable interaction and development of digital based processes will be central to the development of an effective and productive creative workforce. The government has made a commitment in this report to increase access to and usage of digital technologies in hand with ICT skills development across the workforce. This will provide opportunity for the CCIs to make wider usage of the skills entering the workforce via increased promotion of creativity being embedded in ICT skills development and in the specific remits such as creative content development. Higher Level skills “Leadership and management skills have a vital role to play in increasing productivity and 23 prosperity across the economy” . Higher-level skills are needed to develop the knowledge economy. The knowledge economy underpins creative research and development, which is essential for growth. Higher-level skills are seen as the route to increasing employability and productivity in the workforce and are suggested to provide the tools and knowledge needed for businesses to develop global competitiveness and therefore increase productivity levels. The next 10 years will therefore be critical to securing advantage as emerging economies are also moving into more highly 18 Developing Entrepreneurship for the Creative Industries: July 2006: 19 Developing Entrepreneurship for the Creative Industries: July 2006: 20 McMaster (2008) 21 BIS (2009) Digital Britain Final Report. 22 BIS (2009) Digital Britain Final Report. 23 Leitch (2006) Leitch review of skills Prosperity for all in the global economy- world class skills 5 24 skilled industries . To attain higher level skills there needs to be a commitment to make further and higher education accessible for all that want it and access to other opportunities to improve skills out of traditional educational routes through work or vocational schemes. Through the measures set out in the Leitch Review the government should also give employers the opportunity to have influence over skills development programmes. Train to Gain is a workforce development programme designed to up skill the workforce and motivate those that are less likely to be engaged in the labour market through standard education routes. It aims to transform the way that Government and training providers support employers and focuses on employer engagement for routes to successful training programmes; „at the heart of Train to Gain is the service to employers‟. There is a „Plan for Growth‟ through which the government aims to increase the number of businesses and individuals on the programme and reform the skills brokerage systems to include the creation 25 of sector specialist expertise . The development of the Adult Advancement and Careers Service has also been identified as 26 important to identifying the best opportunities for adult career advancement and therefore . increase skills levels. The service aims to combine skills and training advice with practical guidance on how to overcome the complex range of barriers people face in progressing and advancing their careers. Creative Britain also recognises that it is important within the CCIs to unlock talent in order to develop inspiration, aspiration and ambition in a highly skilled workforce. Furthermore, it proposes a framework that businesses must engage in to develop skills in the sector. It states aspirations for the government to support skills growth but does not say exactly how it plans to do or fund this. The government does lay out some foundations of strategy, such as that increased creative engagement with schools (noted above) and the development of creative clusters, with the aim of unlocking talent, developing skills and thereby increasing the productivity of the sector. Innovation and Entrepreneurship „The entrepreneurial capacity of the CCI workforce must be developed if the growth of the 27 creative industries throughout the UK is to be maintained and enhanced ‟. In order to meet high level skills demands and develop new creative talent, a more entrepreneurial and innovative creative workforce is necessary. Stimulating this mindset within young creative people before they enter the CCIs may result in increased productivity. The government states that to facilitate this there needs to be and increasing joined up approach to understanding skills demand and development along with increased networking 28 and business relations skills . Additionally, the government recognise the requirement to develop the skills necessary for accelerated yet sustainable productivity growth in the creative sectors in the UK. As such, entrepreneurship development is identified as key to increasing productivity throughout the CCI sub sectors. It is also recognised, that „teaching‟ entrepreneurial skills is a considerable challenge (if at all possible) and some believe that entrepreneurialism is an innate ability or natural talent as opposed to a skill that can be taught. As previously noted, NESTA identify that more needs to be done to develop entrepreneurialism within the CCIs and a more rigid growth framework needs to be established to facilitate this. However, in developing entrepreneurial skills, an improved level of knowledge in areas such as securing intellectual property rights needs to be developed, in order to to protect entrepreneurial ideas and products from being copied and exploited. 24 DIUS (2008) Higher education at work. High skills: high value. 25 LSC (2007) Train 2 Gain 26 DIUS (2008) Shaping the future: a new adult advancement and careers service for England. 27 Developing Entrepreneurship for the Creative Industries: July 2006: 28 DCMS, BERR & DIUS (2008) Creative Britain New Talents for the New Economy 6 Innovation development involves partnership working with government, universities, third sector organisations, entrepreneurs, businesses and consumers. It relies on networks built on trust, proximity, repeat engagement and „social capital‟, all of which the CCIs have been found to foster and support. While innovation literature often emphasises technical research and development activities, policymakers and academics increasingly recognise the importance of 29 creativity and design in the process of innovation . NESTA has illustrated how the CCIs can often create fundamental links in developing innovative business to business solutions, identifying that linking with creative industries supports innovation. A systematic understanding of innovation, coupled with understanding the growing prominence of creative production and cultural consumption in the economy, leads to a proposal that innovation in the CCIs needs to be utilised for increased performance and pan sectoral innovation 30 development . This finding has implications for CCIs productivity development, as no longer is it sufficient to support the CCIs alone. Further to this „the demand for creative goods, (unlike products in other parts of the economy) tends to increase the more that creative goods are consumed. Their consumption becomes a 31 virtuous circle‟ . This enhances the importance to develop the right skills and aptitudes to build innovative, entrepreneurial and sustainable creative businesses. However, creative institutions and departments are inhibited in their entrepreneurial development due to: Sector-wide quality assurance requirements, Academic management processes, A lack of strategic development, 32 Collaborations with higher education being difficult . Competitiveness Up-skilling the entire workforce is a key aim of the government to “sustain and improve our 33 position in the global economy” . The government has committed itself to the ambitious challenge of becoming a world leader in skills by 2020. The CCIs are already acknowledged to be highly skilled, yet this should not procure negligence. Rather, the CCIs need to maintain their skills base and attainment levels to ensure global competitiveness is maintained and the 34. high profile of the creative sector is continued There is a need to maintain competitiveness through developments in innovation and the 35 knowledge economy. Commitment to this is demonstrated in the „Innovation Nation‟ that sets an objective of investing in people and knowledge, thereby unlocking talent. The CCIs need to be constantly reflective, managing and evaluating performance indicators in order guard against complacency and ensure that the UK remains one of the most competitive countries in the world. Business strategy In order to maximise the potential productivity of the CCIs, they must make themselves open and accessible to all, lower barriers to entry and establish the correct make-up of leadership 36. in organisations However, a challenge in the sector is that business strategies often are not a key priority: 29 Cox, 2005 & DTI, 2005 in NESTA (2008) Creating Innovation. 30 NESTA (2008) Creating Innovation 31 DCMS(2006) Developing Entrepreneurship for the Creative Industries 32 Developing Entrepreneurship for the Creative Industries: July 2006: 33 Leicth (2006) Executive Summary 34 DIUS (2007) World Class Skills, Implementing the Leitch review of Skills 35 DIUS 2008 36 CLP (2009) Women in Leadership 7 „half (49%)[of creative businesses] say that none of their senior managers have had any business strategy training. This is disproportionately higher than average for all industry small and medium sized enterprises (57% among those with 1 employee), 37 this falls to 35% among the £1m+ companies‟ . It‟s clear that CCIs need to take a more strategic approach to business development, particularly young practitioners who should engage in CPD and gain experience of working 38 with a variety of artists to develop their practice into a successful and productive career . Therefore, business and strategic development skills are important to increase productivity but are area that CCIs are traditionally weak in, so Are a further focus for improvement. In addition to this, the government stress the need for the integration and understanding of ICT 39 developments into all business strategies to maintain and develop productivity . What lies ahead? Broader Integration Broader Integration: CCIs and the wider economy. Recognition of the broader benefits of engagement with CCIs for social enterprise and community development needs to be widespread in order to realise the economic value of CCI activities. It is expected that this would result in an increase in demand for creative products and skills. Additionally, the CCIs need to try to engage further with other industry sectors to help them to understand the benefits that creative input can have on innovation and enterprise development in their sector. Policy, education and industry should work together in addressing and promoting the role that CCIs can take within other business sectors. Furthermore, young people need to be more engaged with the CCI and have a better understanding of the career opportunities within the sector from a young age. Their education needs to encourage an active and responsive part in developments across technology, 40 society and culture to make a link between the three and put CCI at the centre . Business Support There is a lack of private investment and insufficient business support and development services for creative businesses. Providing a more holistic package would develop consistent investment and support for new creative businesses and a greater focus on the commercial 41 potential of those businesses . The government has made significant pledges and investment plans in this direction, although the recession might change these. Despite it being widely understood that the CCIs need more sector specific business support, it is difficult to identify in existing literature many specific employer workforce development strategies other than those re-iterating that the CCIs need more sector specific support to increase skills and businesses development. This is an area that needs to be clarified for future development of the sector. Little information exists about the responsiveness of the sector but this may be low given that a relatively high proportion of the CCIs do not have a strategic plan. Therefore, one could conclude that they may not know what business support they need or what is most appropriate for effective business development. Government Investment Government Investment: needs to be clear and well structured from school level skills development to clear strategic business support. 37 NESTA(2006) Creative Business Survey 38 NESTA(2006) Creative Business Survey 39 Digital Britain (2009) 40 DEMOS (date) Expressive Lives 41 NESTA(2006) Creative Business Survey 8 The government recognises that it will be crucial to future prosperity to expand into new 42. global markets and make Britain‟s CCIs accessible to a wider pool of talent Government also recognises that it can only provide the framework and that those working in the sector 43 must be centrally engaged and appropriately skilled to build a prosperous creative Britain . The government has set out plans to provide „clear routes‟ into creative careers in schools. A commitment exemplified through a target to significantly expand creative apprenticeships to 5,000 a year by 2013. In sum they aim to: Give all children a creative education Turn talent into jobs Support research and innovation Help creative businesses grow and access finance Fostering and protecting intellectual property Supporting creative clusters Promoting Britain as the world‟s creative hub 44 Keeping the Strategy up-to-date . The government also aims to use regulation, public procurement and public services to help 45 to shape the market for innovative solutions in business and commercial activities . The CCIs are well placed to take advantage of these commitments to invest in knowledge and innovation due to the inherent innovative, creative thinking and the „pushing the boundaries‟ nature of the sector. There is little CCI specific information or policy in place that sets out clear steps to move the CCIs „up the skills value chain‟. However, this gap may be driven by the fact that the sector is currently very near the top of this chain. National policies to encourage skills development include: DIUS & DCSF (2008) Draft Apprenticeships Bill DIUS & DCSF (2009) Apprenticeships, Skills, Children and Learning Bill Train 2 Gain –policies to get low skilled economically inactive people back into work Future jobs Fund & September guarantee, to support young people maintain economic activity or training during recession. Freud review (2007) the change from Incapacity Benefit being changed to the Employment Support Allowance to make it more difficult for people to remain long term inactive from the labour market and more incentives to get back into work. Future Skills needs It has been found to be essential for the future development of the CCIs that higher-level skills are developed (or maintained) in order for fast and effective growth and to remain globally competitive. Higher-level skills are said to provide the tools and knowledge for effective business development and hence increase productivity levels. Skills should be developed through both formal and informal education routes to suit the needs of the sector and be encouraged from a young age. The increasing importance of the knowledge-based economy in the UK has been recognised 46 to be essential to economic growth and wealth creation . This increases a need for England to trade and compete on knowledge and innovation, thus a highly and relevantly skilled, 47 flexible workforce is required . Due to their levels of global competitiveness the CCIs are important to contribute to the development of the knowledge economy. There is a need to 42 DCMS, BERR & DIUS (2008) Creative Britain New Talents for the New Economy 43 DCMS, BERR & DIUS (2008) Creative Britain New Talents for the New Economy 44 DCMS, BERR & DIUS (2008) Creative Britain New Talents for the New Economy 45 DIUS (2008) Innovation Nation 46 Investing in the Creative Industries, A Guide for Local Authorities 47 New Industry, New Jobs 9 increase skill levels to meet knowledge expansion and job growth aims in higher-level occupations to hopefully increase the productivity of the CCIs. Specific future skills needs for the CCI include: Creative specific leadership and management skills Leadership skills, crucial for strategy formulation and success ICT skills, as also identified by the Digital Britain (2009) ICT skills will be essential for the development of the sector Business skills, the sector has a historical lack of business aptitude but this needs to change to ensure productivity and success Negotiation/ selling skills, again historically not the essence of the CCI, but very 48 important for its survival and growth . Challenges Challenges: numerous but actionable. Within the CCIs there are a number of challenges that might impact future development. A core challenge is access to (or breaking into) the CCIs and the capacity to make a living from full time employment in the sector. A danger frequently lamented in that that the CCIs can be closed and elitist. There is a risk is that without appropriate action, employment segregation will widen rather than narrow and there will continue to be a lack of ability to move up social 49 ladders . A further challenge is the development of skills to meet future skills needs. There is a need to build a skills and training system which matches the increasingly competitive needs of the sector in the future. Other challenges include: Access to new customers Long-term, sustainable funding Maintaining the existing high levels of skills The recession, potential funding cuts and lack of money to invest in training Opportunities The United Nations estimates that cultural and creative trade represents 3.4% of all world 50 trade and is growing at a rate of 8.7% . The CCIs are expected to be one of the driving industries of growth throughout the recession, individually and alongside other sectors of the economy that have significant opportunity in the digital expansion. Furthermore, creative 51 innovation links with the development of the new „green economy‟ could be an opportunity for growth of the sector. It has been suggested that 10 year funding programmes would allow more organizations to further that ambition and fulfil their potential. However, employers also need to be encouraged to invest in and see the value of investing in their workforce. In 2007, DEMOS suggested a toolkit of improved access to the CCIs by way of developing: A digital resource for maintaining portfolios of people‟s learning and production life, access to potential employees and collaborators, mentors and knowledge. Easy access to micro-finance, and underwriting risk in business loans Creative spaces and meeting places that combine sector-specific expertise and local knowledge and provide a point of connection to new opportunities to build networks and provide a place for building informal relationships. 48 49 CCS (2008) Creative Blueprint The Panel on Fair Access to the Professions ( 2009) Unleashing Aspiration 50 Creative Economy Programme, Outline Programme (2010- 2013) Corporate Outcomes. 51 CCS (2009) After the Crunch 10 Develop articles of how others have made it to illustrate different avenues of 52 success. Other opportunities for the development of the CCIs include: Capitalising on the UK CCIs high global positioning and reputation The creative economy being invested in as an area for fast and large growth, especially when emerging from recession the CCI has been suggested as a specific industry that is well placed for growth in the new era of development Develop (more) creative hubs Developments of creative innovation being well placed to integrate with the new green agenda, which is a national and global „hot-topic‟ for development. Gaps in Knowledge Certain gaps have been identified that exist in current research into the development of the CCIs, especially the development of skills and sectoral growth. The most pertinent gaps are: Understanding how the specific demographic make-up of the sector has become established and how this might be impacting on productivity. How this might be translated to attain a more representative mix from different areas of the population. The full impact of the regular need for un-paid work experience to enter the sector is not understood. A lack of understating about creative-specific business support; what support is most needed and suited to the creative sector and how is it most effectively delivered to aid growth. It has been stated that creative skills and knowledge can be a valuable asset to enterprise and innovation development in any sector. However, other than via the development of „creative hubs or clusters‟ specifically how this might work and how creative partnerships could be established is not known. Gaps in investment can be identified, in that there are many pledges to help support entrepreneurial development of the CCIs but little evidence of the support on the ground. Providing this support would widen opportunities and give more options for entry routes into the sector thus, increase participation and development. There is a need to establish a specific entrepreneurial development strategy and more joined up working with relevant government departments and creative industry support bodies such as NESTA to facilitate this support. Finally, a key gap is a lack of understanding of how forthcoming public sector budget cuts are likely to impact the CCI. This is unlikely to be understood easily given the ambiguity of potential government funding cuts and the potential of a new government being elected in 2010 that could totally re-direct funding streams. Industry Skills and Training The sector is highly qualified - 54% of people working in the creative and cultural industry have at least a level 4 qualification - but skills shortages and gaps are still a significant 53 issue . Almost a quarter of businesses who have tried to recruit recently have faced difficulties. Only 6% of employers facing recruitment difficulties believe this to be due to a lack of appropriate qualifications. Rather, candidates for vacancies in the sector lack the requisite experience 54 and specialist skills . 52 53 DEMOS (2007) So what do you do? Ibid 54 Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey 11 Just over one third of all employers within the footprint (37%) perceive that skills gaps exist in their current workforce. Skills gaps tend to relate to information communication Technology 55 (ICT), marketing and technical skills . Gaps in an organisations existing skills base have a broader impact on businesses than skills shortages, with employers stating key impacts as being lost business, increased workload for 56 others and delays to developing new products/services . Across the industry, a greater proportion of employers have not undertaken/provided any 57 training or development in the last 12 months than have . The most popular forms of training are those that people can engage in on an ad-hoc basis 58 and, which require investment in terms of time as opposed to money . Skills Shortages Almost a quarter (24%) of businesses that have tried to recruit recently have faced difficulties. These difficulties tend not to relate to a lack of appropriate qualifications, with only 6% of employers stating that they felt this to be the reason they were finding recruitment problematic. This may be driven by the fact that, across the creative and cultural industry, half of employers have no minimum expectations in terms of qualifications. Of the remaining half, 22% expect new recruits to be qualified to at least first degree level. Interestingly, despite an anecdotal preference for postgraduate qualifications, only 3% of employers would 59 expect new recruits to have postgraduate qualifications as a minimum . A lack of experience or a lack of specialist skills were the main reasons for recruitment difficulties noted by employers (42% and 35% respectively), this is key in an industry where 60 nearly half of all professions are associate professional or technical based . Additionally, almost a quarter of employers stated that there have had been few or no applicants. In exploring the impacts of the difficulties in recruitment, employers tended to 61 report a range of outcomes, the most significant indicators are as follows ; 45% of business experienced an increased workload for others in the business 26% lost business 22% turned away business as a result of skills shortages Skills gaps Just over one third of all employers within the creative and cultural industry (37%) perceive 62 that skills gaps exist in their current workforce . There is a wide diversity of occupations within the industry that employers report as displaying skills gaps: 14% relate to management occupations, 11% to the specific occupation of graphic design and 10% in marketing. Considering management and marketing together, there are 63 significant issues in the transferable and business related skill sets of the current workforce . As a result of the high number of small businesses in the industry, in many cases one or two individuals are required to perform a number of roles. Taking into account the large proportion of technical roles that exist in the sector, it can be assumed that many employees with a technical skill set and focus are taking on management and business related responsibilities, which may not be their areas of expertise. 55 Ibid Ibid 57 Ibid 58 Ibid 59 Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey 60 Ibid 61 Ibid 62 Ibid 63 Ibid 56 12 Assessing the overall picture of skills gaps, for those companies acknowledging the existence of skills gaps; 27% of these gaps relate to ICT skills 26% relate to a diverse pool of „other‟ skills 15% relate to marketing/advertising/PR skills 13% relate to technical skills 64 There are a number of drivers and reasons lying behind the existence of the skills gaps . For example: 37% of respondents had a limited amount of time available for training to fill gaps 32% of skills gaps are driven by a lack of experience in the role 25% are driven by a limited budget for training It is interesting to note that skills gaps have a much broader impact on the business than the impact of skills shortages (where most of the impact was felt in increased workload and 65 lost/turned away business). With employers stating key impacts as ; Lost business (26%), Increased workload for others (17%) Delays to developing new products/services (14%) More work is outsourced (12%) Turned away business (12%) Training Across the footprint, more employers have not undertaken/provided any training or 66 development in the last 12 months than have (61% compared to 39%) . Employers have not undertaken/provided training because; Staff are already fully proficient (50%) They do not have time for training (27%) They lack the funds for training (14%) Very few employers had not provided training/development opportunities because staff were not keen to participate in training or because no suitable training was available in terms of 67 mode of delivery or at the right level . Employers believe that the most popular forms of training are those that people can engage in on an ad-hoc basis and which, in general, require investment in terms of time as opposed to 68 money . Over the last twelve months employers have undertaken or provided: 45% - Personal knowledge development e.g. reading 42% - Attending conferences 42% - On-the-job coaching 41% - Networking Specific Industry Examples Qualification levels Employers in Cultural Heritage have the highest expectations of new recruits, with 47% expecting new recruits to be qualified to degree level as a minimum and 7% expecting postgraduate qualifications There is little variance by creative and cultural sector in terms of the expectation for employees to be qualified to at least A-level. In most sub-sectors between 25% and 64 Ibid Ibid 66 Ibid 67 Ibid 68 Ibid 65 13 29% of employers expect A-Level as a minimum. This excludes cultural heritage and performing arts, in which 19% and 18% of employers respectively expect A-Level as a minimum standard Performing arts, music and craft appear to have the most open approach to qualifications, with approximately 60% of employers in each requiring no minimum 69 level of qualification Skills shortages Only 12% of music and 16% of visual art organisations have faced recruitment difficulties. Compared to 34% of performing art and 29% of literature organisations Advertising and design businesses experienced particular difficulty recruiting to graphic design roles (46% and 32% of businesses respectively), while cultural heritage organisations experienced difficulty with archaeologists and visitor relations roles Employers in music were most likely to find that candidates lack the appropriate qualifications (15% compared to 6% across the footprint) Advertising businesses and employers in visual arts had significantly more difficulty finding candidates with the appropriate specialist skills, with 74% and 80% of employers respectively stating this as an issue Outsourcing work is a particular impact of experiencing a skills shortage for music and visual arts businesses. While for advertising and cultural heritage organisations, 70 skills shortages can cause delays to the development of new products and services Skills gaps Advertising (46%) has the highest number of respondents stating that they perceived gaps in the skills base of their current workforce, closely followed by design (44%) Only 26% of craft employers perceived that skills gaps were present in their current workforce Skills gaps in administrative roles were stated as being present frequently in literature (25%), visual arts (14%), performing arts (13%) and cultural heritage (10%) Similar to the picture for the industry in total, a large number of respondents with skills gaps stated that there was no direct impact on productivity and performance from these gaps. However the following sector specific features are of note: o 12% of respondents with skills gaps indicated that they were impacting on business development in advertising o A lack of digital skills are having a significant impact in design (12%) and advertising (8%) o Respondents from the visual arts sub sector stated that fundraising skills gaps were having a significant impact (12%) o In literature, finance and accounting (13%) and sales (13%) skills gaps impact significantly on productivity and performance. Specific impacts that skills gaps have on businesses in the creative and cultural industry are as follows; o In all sectors except cultural heritage and visual arts, the key impact is lost business o In cultural heritage and visual arts, however, the key impact is increased workload for others. This impact is the joint most significant along with lost 71 business in visual arts and craft also Use of Training 69 Ibid Ibid Ibid 70 71 14 The advertising and cultural heritage sectors provided an above average proportion of training, with 51% and 79% of employers respectively undertaking some form of training or development in the last 12 months Craft and music employers had undertaken the least amount of training (26% and 30% respectively) Performing arts and advertising businesses had the least time available for training (approx. 40% of businesses in each) Although cultural heritage organisations were the most likely to provide training, they were also the most likely to lack funding for training (29%) Performing arts organisations were most likely to find that no appropriate training was available in terms of subject area (13% compared to an average of 7%) Organisations in the cultural heritage sector showed a much greater usage of NVQs and SVQs, with 14% of employers undertaking/providing this kind of training Cultural heritage, along with advertising businesses, were also more likely to deliver 72 training developed by the organisation (39% and 33% respectively) National Skills and Training Skills Shortages A higher proportion of employers in Scotland have difficulty recruiting (19% compared to 13% across the UK) and those in Wales have experienced least difficulty, with only 2% experiencing recruitment issues. In terms if the challenges experienced, businesses in Northern Ireland have particular issues recruiting to roles in public relations, with almost half employers (47%) noting this as a problem area. Where businesses in Wales are experiencing difficulty recruiting, this tends to be in visitor relations/services roles. Attracting candidates with a suitable level of experience is a particular issue for businesses in Scotland, with 60% of organisations identifying this as a challenge. In Scotland and Wales an increase in operating 73 costs is more likely to be an impact of skills shortages than in England or Northern Ireland . Skills gaps Employers are least likely to state that their current workforce displays skills gaps in England (36%), compared to 44% in Scotland, 42% in Wales and 41% in Northern Ireland. England followed the UK creative and cultural industry pattern of skills gaps most closely, as one would expect given that it contains the majority of the workforce. There is no marked 74 difference in the pattern of reasons for skills gaps across the four nations . Employers concur that the four main reasons for experiencing skills gaps are; Lack of time available for training Lack of experience in the role „Other‟ reasons, and Limited budget for training Employers in England are the least likely to perceive that skills gaps are having a significant impact on the performance and productivity of their business; 40% of employers were of this 75 view, compared to 24% in Wales and 22% in both Scotland and Wales . So not only are employers in the three devolved nations more likely to experience skills gaps, but they also perceive them to have a greater impact. ICT skills gaps are seen to have the greatest impact in England and Wales, while in Scotland this has been through a gap in marketing/advertising/PR skills. Employers in Northern Ireland concur with the Scotland perspective, with marketing/advertising/PR skills gaps being 76 perceived as having the greatest impact . 72 Ibid Ibid 74 Ibid 75 Ibid 76 Ibid 73 15 In all nations, the greatest impact of skills gaps is that it leads to lost business. Employers in Wales and Northern Ireland also recognise a significant impact on the workload of colleagues in order to make up for the skills gaps that are present. Businesses in Scotland, Wales and Northern Ireland are also more likely to recognise an impact on the speed at which they can 77 develop new products and services . Use of Training Employers in Wales, Scotland and Northern Ireland tend to undertake/provide more training than those based in England. Businesses in Northern Ireland provide the most, with 55% undertaking or providing some form of training or development in the last 12 months 78 compared to 39% across the UK . In terms of the issues involved in providing access to training opportunities, employers in Wales were more likely to find that no appropriate training was available in terms of subject area (17% compared to an average of 7%) and employers in Scotland were the most likely to 79 lack funding for training (20% compared to an average of 14%) . Organisations in Northern Ireland showed a much higher propensity to attend conferences as a mode of training, with 74% of employers providing this compared to an average of 42%. Employers in Scotland made more extensive use of mentoring (45% compared to 25%) and employers in Wales were least likely to develop their own training programmes, with only 8% 80 selecting this method compared to 19% across the UK . UK Future Skills 81 Research undertaken by the UK Commission for Employment and Skills suggests that, over the next seven years, the creative and cultural industries across the UK are expected to grow by a further 151,000 people in newly created jobs; significantly, over half of all these jobs (55%) will be in „associated professional and technical roles‟, those requiring specialist technical skills. Figure 1: Occupational growth in the creative and cultural industries (numbers in 000's) 77 Ibid Ibid 79 Ibid 80 Ibid 81 UKCES (2008) Working Futures 78 16 UKCES (2008) Working Futures 3 Meanwhile, employment in professional and associated and technical roles will increase at a 82 faster rate than compared to the UK as a whole (26% compared to 15% respectively) . This places a huge emphasis on the industry and its support mechanisms to prepare people with the right skills for these growth areas. It would seem vital, therefore, that businesses begin to invest in training in associate professional and technical roles as soon as possible. However, evidence suggests (figure 9) that of the training that does occur (and only 39% of businesses in the sector arrange or fund for training), only 13% of this is focussed on associate professional and technical roles (off the job) and 16% for training on the job in these 83 occupational areas . Figure 2: Percentage of training taking place specifically focused on professional and associate professional/technical roles UKCES (2009) Employment and Skills Almanac It is vital, therefore, that creative and cultural businesses begin to invest in training in these roles as soon as possible. Currently, organisations in the industry tend not to „think forward‟ in terms of the skills issues that might affect them in the future. Nearly a third of businesses (32%) do not anticipate future skills gaps, and 11% are unable to predict what they might be, 84 though digital and ICT skills score highest (see table 25) . Perceived future skills needs Creative and cultural industries None Digital skills Don't know ICT skills Creative expertise Online skills 82 83 84 32% 16% 11% 10% 8% 8% Ibid UKCES (2009) Employment and Skills Almanac Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey 17 Marketing skills N/A Administrative skills 7% 7% 3% Management Fundraising Finance/ Accounting Design skills Sales skills Business skills Foreign language skills 2% 2% 2% 2% 2% 2% 1% Teaching skills 1% Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey Free training in certain areas (65%), funding via sector skills councils (55%), subsidies (53%) and tax breaks for essential training (47%) are the four most commonly cited kinds of support that would help employers provide more training. The same general trend is true across all the industry sectors, although free training in certain areas was of particular relevance to the 85 cultural heritage sub sector . Support for training Free training in certain areas Funding available via Sector Skills Council’s Subsidies Tax breaks for essential training None Funding via any source Creative and cultural industries 65% 55% 53% 47% 17% 2% Availability – Subject Other Don't Know Awareness of provision 1% 1% 1% 1% Greater capacity Availability - Delivery Method 0% 0% Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey Over two thirds of organisations in the creative and cultural industry (69%) would support a funding system where the money went directly to companies to manage, rather than via a funding body. Across the industry, 39% of employers state that all occupations will maintain their current importance. It is cited by 21% that ICT will become increasingly important and 12% understand that marketing will become increasingly important to achieving a high level of 86 success over the next few years . Individual sectors generally follow the same pattern as the overall footprint, although fundraising is forecast to be of increasing importance in the cultural heritage sub sector (19%) and creative writers are expected to be important to success in the literary arts sub sector 87 (23%) . 85 86 87 Ibid Ibid Ibid 18 Occupations likely to be important in the future All Occupations will maintain current importance ICT Marketing Management Other Retail/Sales Fundraising Education Graphic Designer Finance Programme/Project Management Public Relations Research Creative Facilities Creative and cultural industries 39% 21% 12% 6% 5% 4% 4% 4% 3% 3% 3% 3% 2% 2% 2% Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey Future Skills: Scotland A quarter of businesses (25%) do not anticipate future skills gaps, and 9% are unable to predict what they might be, though digital and ICT skills score highest (see table 26). Perceived future skills needs None Digital skills ICT skills Online skills Marketing skills Don't know Management Creative expertise N/A Administrative skills Fundraising Finance/ Accounting Business skills Design skills Foreign language skills Sales skills Teaching skills Scotland creative and cultural industries 25% 17% 14% 12% 12% 9% 8% 8% 6% UK Creative and cultural industries 4% 4% 4% 4% 3% 1% 1% 1% 32% 16% 10% 8% 7% 11% 2% 8% 7% 3% 2% 2% 2% 2% 1% 2% 1% Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey Free training in certain areas (57%), funding via sector skills councils (53%), subsidies (52%) and tax breaks for essential training (49%) are the four most commonly cited kinds of support that would help employers provide more training. The same general trend is true across all 19 the industry sectors, although free training in certain areas was of particular relevance to the cultural heritage sub sector. Support for training Scotland creative and cultural industries 57% 53% UK Creative and cultural industries 65% 55% 52% 35% 13% 6% 53% 47% 17% 2% Availability – Subject Other Don't Know Awareness of provision 0% 0% 0% 0% 1% 1% 1% 1% Greater capacity Availability - Delivery Method 2% 1% 0% 0% Free training in certain areas Funding available via Sector Skills Council’s Subsidies Tax breaks for essential training None Funding via any source Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey Over two thirds of organisations in the creative and cultural industry in Scotland (70%) would support a funding system where the money went directly to companies to manage, rather than via a funding body. Across the industry in Scotland, 38% of employers state that all occupations will maintain their current importance. It is cited by 15% that marketing will become increasingly important and 14% understand that ICT will become increasingly important to achieving a high level of success over the next few years. Occupations likely to be important in the future All Occupations will maintain current importance Marketing ICT Other Graphic Designer Management Retail/Sales Programme/Project Management Finance Fundraising Education Public Relations Research Creative Facilities Scotland creative and cultural industries 38% UK Creative and cultural industries 39% 15% 14% 6% 6% 5% 4% 3% 2% 0% 0% 0% 0% 0% 0% 12% 21% 5% 3% 6% 4% 3% 3% 4% 4% 3% 2% 2% 2% Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey Future Skills Wales 20 Nearly a third of businesses (41%) do not anticipate future skills gaps, and 12% are unable to predict what they might be, though digital and ICT skills score highest (see table 26). Perceived future skills needs Wales creative and cultural industries UK creative and cultural industries 41% 14% 12% 8% 4% 4% 4% 32% 16% 11% 10% 8% 2% 8% 3% None Digital skills Don't know ICT skills Creative expertise Finance/ Accounting Online skills Administrative skills Design skills N/A Foreign language skills Management Marketing skills Fundraising Teaching skills Business skills Sales skills 3% 3% 3% 2% 7% 1% 2% 2% 2% 1% 1% 0% 0% 2% 7% 2% 1% 2% 2% Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey Free training in certain areas (59%), subsidies (45%) and funding via sector skills councils (43%) are the three most commonly cited kinds of support that would help employers provide more training. Support for training Free training in certain areas Subsidies Funding available via Sector Skills Council’s None Tax breaks for essential training Funding via any source Wales creative and cultural industries 59% 45% 43% UK creative and cultural industries 65% 53% 55% 27% 26% 2% 17% 47% 2% Other Availability - Delivery Method Availability – Subject Awareness of provision 2% 0% 0% 0% 1% 0% 1% 1% Don't Know Greater capacity 0% 0% 1% 0% Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey Over two thirds of organisations in the creative and cultural industry in Wales (62%) would support a funding system where the money went directly to companies to manage, rather than via a funding body. 21 Across the industry in Wales, 37% of employers state that all occupations will maintain their current importance. It is cited by 28% that ICT will become increasingly important and 21% understand that marketing will become increasingly important to achieving a high level of success over the next few years. Occupations likely to be important in the future All Occupations will maintain current importance ICT Marketing Finance Management Other Public Relations Facilities Fundraising Graphic Designer Retail/Sales Creative Education Programme/Project Management Research Wales creative and cultural industries 37% UK creative and cultural industries 39% 28% 21% 10% 4% 4% 3% 1% 1% 1% 1% 0% 0% 0% 0% 21% 12% 3% 6% 5% 3% 2% 4% 3% 4% 2% 4% 3% 2% Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey Future Skills Needs Northern Ireland Nearly a third of businesses (30%) do not anticipate future skills gaps, and 16% are unable to predict what they might be, though and marketing skills score highest (see table 26). Perceived future skills needs None ICT skills Don't know N/A Marketing skills Online skills Creative expertise Digital skills Management Administrative skills Business skills Design skills Finance/ Accounting Foreign language skills Fundraising Northern Ireland creative and cultural industries 30% 18% 16% 16% 13% 11% 6% 6% 1% 0% 0% 0% 0% 0% 0% UK Creative and cultural industries 32% 10% 11% 7% 7% 8% 8% 16% 2% 3% 2% 2% 2% 1% 2% 22 Sales skills Teaching skills 2% 1% 0% 0% Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey Free training in certain areas (82%), subsidies (48%), funding via sector skills councils (41%), and tax breaks for essential training (38%) are the four most commonly cited kinds of support that would help employers provide more training. Support for training Northern Ireland creative and cultural industries 82% 48% 41% UK Creative and cultural industries 65% 53% 55% 38% 11% 10% 5% 47% 1% 17% 2% Other Don't Know Awareness of provision 0% 0% 0% 1% 1% 1% Greater capacity Availability - Delivery Method 0% 0% 0% 0% Free training in certain areas Subsidies Funding available via Sector Skills Council’s Tax breaks for essential training Availability – Subject None Funding via any source Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey Over two thirds of organisations in the creative and cultural industry in Northern Ireland (83%) would support a funding system where the money went directly to companies to manage, rather than via a funding body. Across the industry in Northern Ireland, 44% of employers state that all occupations will maintain their current importance. It is cited by 22% that fundraising will become increasingly important and 18% understand that marketing will become increasingly important to achieving a high level of success over the next few years. Generally, a wide spread of occupations are considered important. Occupations likely to be important in the future All Occupations will maintain current importance Fundraising Marketing ICT Management Programme/Project Management Other Public Relations Creative Retail/Sales Education Graphic Designer Northern Ireland creative and cultural industries 44% UK Creative and cultural industries 39% 22% 18% 16% 16% 16% 13% 8% 7% 5% 0% 0% 4% 12% 21% 6% 3% 5% 3% 2% 4% 4% 3% 23 Finance Research Facilities 0% 0% 0% 3% 2% 2% Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey Future Skills England Nearly a third of businesses (32%) do not anticipate future skills gaps, and 11% are unable to 88 predict what they might be, though digital and ICT skills score highest (see table 26) . Perceived future skills needs None Digital skills Don't know ICT skills Creative expertise Online skills Marketing skills N/A Administrative skills Management Fundraising Finance/ Accounting Design skills Sales skills Business skills Foreign language skills Teaching skills England creative and cultural industries 32% 16% 11% 9% 8% 8% 6% 6% UK Creative and cultural industries 32% 16% 11% 10% 8% 8% 7% 7% 3% 2% 2% 2% 2% 2% 2% 2% 2% 2% 2% 2% 2% 2% 2% 1% 1% 1% Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey Free training in certain areas (65%), funding via sector skills councils (56%), subsidies (53%) and tax breaks for essential training (49%) are the four most commonly cited kinds of support that would help employers provide more training. The same general trend is true across all the industry sectors, although free training in certain areas was of particular relevance to the 89 cultural heritage sub sector . Support for training Free training in certain areas Funding available via Sector Skills Council’s Subsidies Tax breaks for essential training None Funding via any source 88 89 England creative and cultural industries 65% 56% UK Creative and cultural industries 65% 55% 53% 49% 17% 2% 53% 47% 17% 2% Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey Ibid 24 Availability – Subject Other Don't Know Awareness of provision 1% 1% 1% 1% 1% 1% 1% 1% Greater capacity Availability - Delivery Method 0% 0% 0% 0% Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey Over two thirds of organisations in the creative and cultural industry in England (69%) would support a funding system where the money went directly to companies to manage, rather than via a funding body. Across the industry in England, 39% of employers state that all occupations will maintain their current importance. It is cited by 22% that ICT will become increasingly important and 11% understand that marketing will become increasingly important to achieving a high level of 90 success over the next few years . Table 1: Occupations likely to be important in the future All Occupations will maintain current importance ICT Marketing Management Other Retail/Sales Fundraising Education Graphic Designer Finance Programme/Project Management Public Relations Research Creative Facilities England creative and cultural industries 39% UK Creative and cultural industries 39% 22% 11% 6% 5% 4% 4% 4% 4% 3% 2% 3% 2% 2% 2% 21% 12% 6% 5% 4% 4% 4% 3% 3% 3% 3% 2% 2% 2% Creative & Cultural Skills (2009) Creative and Cultural Industries Workforce Survey 90 Ibid 25 2. Sub-sector Advertising 2.1 A brief description of what the sub-sector covers at UK level Advertising agencies (creative, media, direct marketing, digital, sponsorship, specialist agencies etcetera) are core to the advertising industry and are firmly positioned within the „creative industries‟, alongside architecture, design, fashion and computer services. 2.2 Information on careers available and new emerging jobs, transferability of skills, career paths and opportunities for progression Jobs available in Advertising include: Account Manager Account Planner Advertising Account Executive Advertising Account Planner Advertising Art Director Advertising Installer Advertising Media Buyer Advertising Media Planner Brand Manager Copywriter / Art Director Event and Exhibition Organiser For full details see section on Job Profiles (8.10) Creative Careers in Advertising: Creative careers in advertising include jobs in copywriting and art direction/graphic design. Copywriters are in charge of writing the words that accompany the main image, while the job of art directors and graphic designers is to develop the illustrations, colouring and layout of the advertisement. Art directors also need to see how the copywriters' words fit in with the illustrations and how the two look together. As a result, creative opportunities in advertising require a lot of imagination, ingenuity and original ideas. The ability to work long hours and do whatever it takes to meet deadlines is also a must. Commercial Careers in Advertising: Commercial careers in advertising involve planning the advertising strategy and an analysis of markets and targets. Media management and market research are the main strands here. Media managers or strategy planners use data available to them through the market researchers to construct the marketing plan. Skills needed are common sense, numeracy and an ability to tap the consumer mindset. Once a plan has been made, it is passed to the creative department. For more information on careers in the advertising industry visit Creative Choices. 2.3 Information on pay scales in the sector Pay scales in this industry are variable and therefore care should be taken when advising on this area. The following data provides an indication of the wages structure of the current advertising workforce: 37% earn more than £41,000 per annum 12% earn between £29,000-£41,000 6% earn between £20,000-£29,000 26 18% earn between £10,000-£20,000 28% earn less than £10,000 40% Distribution of employees by wage band 37% 35% 30% 28% 25% 20% 18% 15% 12% 10% 6% 5% 0% £9,999 or below £10,000 - £19,999 £20,000 - £28,999 £29,000 - £40,999 £41,000 or above % Employment 2.4 Information on entry requirements, application processes (e.g. Apprenticeships) It is not always necessary to have a degree or qualifications for advertising careers. More important is creativity, quick-thinking, an outgoing personality and the ability to keep up with regular deadlines. In short, recruiters tend to look at applicants' characteristics rather than qualifications or training. However, this is being challenged at the moment, with critics saying the industry needs to be more structured. Recruitment methods tend to be very informal and a number of those looking for opportunities in advertising begin with undertaking low-paid or unpaid placements. In the industry, as their highest qualification: 52% have a level 4+ qualification (degree and above) 7% have a level 4 qualification (foundation degree level) 14% have a level 3 qualification (A-levels) 17% have a level 2 qualification (GCSE level) 6% have a below level 2 qualification or no qualification 27 60% Distribution of employees by skill level 52% 50% 40% 30% 20% 17% 14% 10% 7% 4% 4% 2% 0% No Quals Level <2 Level 2 Level 3 Level 4 Level 4+ Other % Employment Entry requirements for this industry vary depending on the job role being applied for. Some roles require no formal qualifications; however having relevant qualifications and experience will enhance employment opportunities, especially for higher paid job roles. Technical/specialist roles may require specific qualifications and/or experience; however some employers may invest in training a suitable candidate. Employers are also looking for employees who show enthusiasm and have basic employability skills (team working; turn up on time, communication skills etc.). Application requirements will vary dependant on the organisation. Advertising agencies demand creativity from everyone. The ability to create new ideas rather than execute existing ones is becoming more crucial then ever to the industry and to be able to think laterally about how those ideas can be applied to solve business problems. Related to this has been the recent drive led by the IPA, and supported by Creative & Cultural Skills, to validate the Diagonal Thinking™ hypothesis and then develop a test for it. To be successful in the advertising industry requires 'linear' and 'lateral' thinking. Creative Apprenticeships: The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t normally have the chance to work in, for example, music or theatre, are given flexible workbased learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. There are no current plans for a Creative Apprenticeship in Advertising. 2.5 Qualifications In all the creative and cultural industries, the dominance of „talent‟ as the raw material on which the sector depends is often perceived as transcending educational processes such as examinations, qualifications and training. 28 Relative to other creative and cultural industries, there is very little provision of specific advertising education at any level. In schools, there is an advertising option within the sector related disciplines of the new Diploma in Creative & Media (more information available here www.skillset.org) There are no accredited „low level‟ qualifications (levels 1 – 3) that directly relate to the advertising industry. Across the creative and cultural industries there is a high level of graduate recruitment and currently 46% of the workforce is educated to graduate level or above. Because these industries are perceived as attractive to new entrants there is an over-reliance on degrees and higher degrees as a means of shortlisting new recruits. Reflecting this, there are high level qualifications (such as undergraduate and postgraduate degrees) available in advertising or closely related subject areas. There are also Foundation Degrees available in Digital Advertising and Graphic Design and Advertising. These can be found through Creative Choices Find a Course tool. However, advertising draws its employees from many sources and as there is no overt agreement on the merits of particular qualifications it is difficult to generalise the most common types of qualifications that people in the industry have, or that employers value. Therefore the type of qualifications an individual has gained before entering the industry is generally not seen as important. Employers in the advertising industry use external training for their staff far more often than the other creative and cultural sectors. These are commonly specialised training programmes offered by industry bodies, such as the IPA‟s Professional Development courses or D&AD‟s professional development programmes and workshops, which do not lead to accredited qualifications. Apprenticeships: The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t normally have the chance to work in, for example, music or theatre, are given flexible workbased learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. There are no current plans for a Creative Apprenticeship in Advertising. Training, Further and Higher Education: Advertising specific education and training information can be found through Creative Choices Find a Course tool and Creative & Cultural Skills Sector Qualification Strategy. 2.6 Data on employment and labour market trends and forecasts Across the UK there are 345 businesses employing just over 21,000 people. The sector differs to other creative and cultural industries in that 64% of businesses employ more than 20 staff. Business and workforce characteristics: There are 21,455 people working in the advertising sector. 17% are self employed This has declined by 19% since 2006 Those who are self employed have on average a lower qualification as their highest qualification than those who are employed There is a majority of male workers in the sector (56%) Women are generally more highly qualified than men (53% have an above level 4 qualification as their highest qualification compare to 50% of men) 29 Women are likely to earn less money than men (79% of women in advertising earn less than £20,000 per annum, compared to 33% of men). 92% of the advertising workforce is white. Advertising contributes £1.11B of GVA to the UK economy. There are 345 businesses in the sector. 64% of businesses employ more than 20 people. The advertising market is oversupplied across the UK and barriers to entry are low. New technologies have led to the proliferation of different media advertising opportunities. Because of the fragmentation of consumers across different media, new markets are opening up. This has led to agencies setting up specialist services working alongside favoured specialist suppliers or training their existing staff to understand and deliver a broader spread of communications tools. Recruitment methods can be very informal (e.g. a conversation in a pub). The industry tends to be outward looking and the relationship between agencies and clients is paramount. This comes at the risk of neglecting employees and their development. Staff turnover is generally high with the perception that this keeps the industry fresh, ensures agencies can access new ideas, and is a good indicator of an employee‟s ambition, drive, and determination to succeed. Advertising is small industry that has real influence. This leads some agencies to describe it as a „cottage industry‟, where personal relationships are very important. Changes in employment: The key drivers of change in the industry include: The proliferation of new advertising methods (digital and interactive media) driven in large part by new technology. There is a virtuous circle of media fuelling technology and vice versa. The changing behaviour of consumers as a result of new technology and the pressures this puts on the industry to maintain lines of communication with the consumer. The convergence of different technology and the effects this is having on communication planning. The challenges and opportunities presented by globalisation. The demographics of the industry. Regulation (e.g. employment law). Increasing client sophistication (e.g. introduction of procurement layer), which is forcing the industry to become more professional. Renewed focus on improving creativity throughout all job roles (i.e. the quality of the creative product, quality of ideas). Further information is available in The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries. 2.7 Skill shortages Three broad skills shortage areas are described below; drivers of skills, current skills needs and future skills need. Drivers of Skills: There are 5 key drivers of new skills in the advertising industry: Digital, Interactive Technology and the Proliferation of Channels: New technology offers advertisers new opportunities for communicating ideas to an audience. 30 Globalisation: Specifically, the rise of multi-national corporations has presented new opportunities for global branding. Demographics: How an agency reflects its target audience will be increasingly vital. Client Sophistication: Pressure on potential clients to show value for money and return on investment in advertising has put pressure on the advertising industry to demonstrate effectiveness. Procurement of Advertising: Companies are realising more and more that they need to cut costs not just through products but also through services. Current Skills: With regards to current skills needs in the industry: Creative and IT roles are most difficult to fill. This is linked to the growing importance of digital and interactive media and how to creatively apply this knowledge. Management and leadership were skills considered most sought after in new recruits into the industry. Of those employed in the sector, the creative role is again considered the most difficult to provide for. There are three key skills that companies feel are insufficiently retained by their staff; IT, sales, and management skills. Future Skills: Key future skills include: Communication Planning: Communication planners will need to understand differing communication media, their costs, effectiveness, and availability and to evaluate their effectiveness in bringing brands to consumers. IP and the Ownership of Ideas: The importance of owning ideas will become even more important as will the ability to apply an idea across a number of different markets. Organisation and Logistics: The ability to coordinate and organise campaigns effectively. Management and Leadership: With increasingly integrated campaigns, the need for an individual to manage the practical requirements and ensure smooth integration is increasingly important. Further information on skills shortages is available in The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries. 2.8 Information on opportunities for adults changing career direction It is not always necessary to have a degree or qualifications for advertising careers. Entry requirements for this industry vary depending on the job role being applied for. Some roles require no formal qualifications; however having relevant qualifications and experience will enhance employment opportunities, especially for higher paid job roles. Technical/specialist roles may require specific qualifications and/or experience; however some employers may invest in training a suitable candidate. Employers are also looking for employees who show enthusiasm and have basic employability skills (team working; turn up on time, communication skills etc.). Application requirements will vary dependant on the organisation. For more information visit Creative Choices Careers Clinic tool. 2.9 Information on points of entry or transfer into a sector from another area sector. 31 It is not always necessary to have a degree or qualifications for advertising careers. Entry requirements for this industry vary depending on the job role being applied for. Some roles require no formal qualifications; however having relevant qualifications and experience will enhance employment opportunities, especially for higher paid job roles. Relevant transferable skills will also enhance employment opportunities. Technical/specialist roles may require specific qualifications and/or experience; however some employers may invest in training a suitable candidate. Employers are also looking for employees who show enthusiasm and have basic employability skills (team working; turn up on time, communication skills etc.). Application requirements will vary dependant on the organisation. For more information visit Creative Choices Careers Clinic tool. 2.10 Job profiles Job profiles in the Advertising industry can be found on Creative Choices Job Profile page. Job profiles listed are as follows: Account Manager Account Planner Advertising Account Executive Advertising Account Planner Advertising Art Director Advertising Installer Advertising Media Buyer Advertising Media Planner Brand Manager Copywriter / Art Director Event and Exhibition Organiser 2.11 Case studies A number of case studies are available, about working in the advertising industry; these can be found on Creative Choices Advertising Case Studies page. 2.12 FAQs Q. I want to work in advertising, but I have no qualifications or experience. What should I do? Firstly, the most traditional route into Advertising is via graduate entry although not all roles require a qualification, for example, administration. Media and Advertising agencies are highly dependent on effective and highly sophisticated professional administration services. These include progress chasing, scheduling, record maintenance, and the provision of meticulous routine reporting and accounting services. Formal qualifications are not normally as important as shrewd common sense and reliability. Just about all advertising jobs demand an interest in people. This is more or less the only common denominator. The other qualifications depend on specific job, which can call for very different interest, attitudes and temperaments. The main categories of work available in Advertising are; „Creative‟, „Planning‟, „Statistics‟, „Research and Analysis‟, „Buying and Selling‟, „Sales Promotion‟, „Management‟ and „Administration‟. Q. Once I gain employment what are the opportunities for progression? There are many options for moving sideways as well as upwards – e.g. between an advertising agency and a client, or perhaps in, out of, or between the media. This is partly 32 because similar skills and knowledge are in demand in all three sectors, partly because hands-on experience in one field is often thought valuable by an employer in another one. 2.13 Sources of additional information, web-links etc Further information about the industry and links to industry organisations can be found on Creative Choices Advertising Links page For the latest news, events and career information for the Advertising industry visit the Creative Choices Advertising News Pages 2.14 Advertising Regional Information The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. For national and regional creative and cultural industries news visit Creative Choices Creative and Cultural Industries News pages 2.14.1 Advertising East Midlands. - Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages. The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 44380 people in the Creative & Cultural Skills workforce. This 7% of the UK workforce. 35% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 63% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 54% under 40 years. The region contributes £1.1B or 4% GVA, UK £25B. GVA per employee is £25,000 There are 3950 creative businesses in the region. 92% of creative businesses employ less than 50 people and 8% have a turnover of more than £1M. 2.14.2 Advertising East of England Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages 33 The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 63,700 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 37% are self employed, (41% UK Creative & Cultural Skills average), (UK total workforce average 12%). 66% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 46% under 40 years. The region contributes £1.8B or 7% GVA, UK £25B. GVA per employee is £27000 There are 6710 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1M. 2.14.3 Advertising London Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 164690 people in the Creative & Cultural Skills workforce in London, this represents 24% of the workforce. 51% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 84% of the sector workforce is white 56% under 40 years. The industries contribute £13.1B GVA of the Creative & Cultural UK wide £25B GVA per employee is £79700 There are 21600 businesses in London. 93% of the businesses employ less than 50 people and 7% have a turnover of more than £1M 2.14.4 Advertising North East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. 34 All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 19680 people in the Creative & Cultural Skills workforce. This 3% of the UK workforce. 38% are self employed, UK average 41%. 63% of the workforce is male, UK Creative & Cultural workforce average 60% (UK total workforce average 54%). 96% of the sector workforce is white and 53% under 40 years. The region contributes £491 million or 2% GVA, UK £25B. GVA per employee is £25000 There are 1330 creative businesses in the region. 90% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m 2.14.5 Advertising North West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 59580 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 34% are self employed majority in Arts and Music, UK Creative & Cultural workforce total 41% (UK total workforce average 12%). 62% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 55% under 40 years. The region contributes £1.9B or 8% GVA, UK £25B. GVA per employee is £32 200 There are 5660 creative businesses in the region. 91% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m. 2.14.6 Advertising South East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 98170 people in the Creative & Cultural Skills workforce. 35 This 14% of the UK workforce. SE and London together represent 44% of the UK workforce. 43% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%), 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 97% of the sector workforce is white and 47% under 40 years. The region contributes £3.8B or 15% GVA, UK £25B. GVA per employee is £39 200. There are 12 300 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1m. 2.14.7 Advertising South West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 60690 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 47% are self employed majority in Arts, Design and Music, UK Creative & Cultural workforce average 41% (UK total workforce average 12%). 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 98% of the sector workforce is white and 46% under 40 years. The region contributes £1.5B or 6% GVA, UK £23.5B. GVA per employee is £25000 There are approximately 5000 creative businesses in the region 93% employ less than 50, 7% have a turnover of more than £1m. 2.14.8 Advertising West Mids Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 40300 people in the Creative & Cultural Skills workforce. This 6% of the UK workforce. 36 31% are self employed. This is the lowest regional figure, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total workforce average 54%). 91% of the sector workforce is white, and 49% under 40 years. The region contributes £1.7B or 6% GVA, UK £25B. GVA per employee is £41 500 There are 5060 creative businesses in the region. 91% of creative businesses employ less than 150 people and 8% have a turnover of more than £1m. 2.14.9 Advertising Yorkshire and the Humber Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 45900 people in the Creative & Cultural Skills workforce. This 7% of the UK workforce. 40% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 60% of the workforce is male, the same as the UK Creative & Cultural Skills average (UK total UK workforce average 54%). 97% of the sector workforce is white and 53% under 40 years. The region contributes £1.4B or 6% GVA, UK £25B. GVA per employee is £31200 There are just under 4000 creative businesses in the region. 90% of creative businesses employ less than 50 people and 8% have a turnover of more than £1m. 2.14.10 Advertising Northern Ireland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 21455 people working in Advertising sub-sector 1% of the Advertising industry is located in N. Ireland. More than 99% of the Advertising sector is white. 74% of the Advertising sector is male. Advertising in Northern Ireland contributes £7M of GVA to the UK economy 2.14.11 Advertising Scotland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. 37 The presentation of national data is at a sectoral level There are 21455 people working in advertising sector 2% of the Advertising industry is located in Scotland. More than 88% of the Advertising sector is white. 57% of the Advertising sector are female. Advertising in Scotland contributes £36M of GVA to the UK economy. 2.14.12 (Advertising) Wales Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 21455 people working in Advertising sector 2% of the advertising industry is located in Wales. More than 99% of the advertising sector is white. 79% of those working in Advertising in Wales are male. Advertising in Wales contributes £5.3M of GVA to the UK economy. 38 3. Sub-sector Craft 3.1 A brief description of what the sub-sector covers at UK level Craft is predominantly made up of individual designer makers and small businesses from a diverse range of disciplines spanning the contemporary and traditional/heritage spectrum. Designer made traditional and contemporary craft covers a wide range of individual disciplines including: basketmaking bookbinding candlemaking ceramics fashion accessories furniture glass heritage and traditional crafts jewellery leather working lettering and calligraphy metal working mosaic musical instrument making paper crafts recycled textiles stone carving taxidermy textiles toys and automata wood turning and sculpture. 3.2 Information on careers available and new emerging jobs, transferability of skills career paths and opportunities for progression Entry routes into the crafts sector are diverse, with the majority of professionals entering as a second career. In addition, a significant proportion of professional makers describe themselves as being mostly self-taught: 35% of makers in England and Wales, 51% of makers in Scotland and 46% of makers in Northern Ireland. This diversity of routes into the sector, together with the frequently part time nature of crafts work, demands a wide range of educational opportunities, including adult education, formal apprenticeships and learning-on-the-job, as well as undergraduate, postgraduate and foundation level degrees. Informal learning opportunities, including courses run by makers and by craft guilds, are also a key part of the education landscape, often offering the first contact which fires an individual‟s enthusiasm for craft. For more information on Craft specific entry routes visit Creative Choices crafts page. 3.3 Information on pay scales in the sector 39 Pay scales in this industry are variable and therefore care should be taken when advising on this area. The following data provides an indication of the wages structure of the current craft workforce: 4% earn more than £41,000 per annum 14% earn between £29,000-£41,000 27% earn between £20,000-£29,000 38% earn between £10,000-£20,000 17% earn less than £10,000 40% Distribution of employees by wage band 38% 35% 30% 27% 25% 20% 17% 15% 14% 10% 4% 5% 0% £9,999 or below £10,000 - £19,999 £20,000 - £28,999 £29,000 - £40,999 £41,000 or above % Employment 3.4 Information on entry requirements, application processes (e.g. Apprenticeships) The nature of the craft sector raises challenges both for career progression and for guidance on navigating that progression. In schools and Further Education, knowledge of career opportunities and pathways within crafts is limited and this has a knock-on effect on the diversity and age profile of the sector. That such a large proportion of makers come to craft as a second career suggests that at earlier career stages, individuals may be unaware of the breadth of available opportunities. The craft sector‟s relatively low profile (compounded by the issues of leadership, ambition, and research considered elsewhere in this section) contributes to this lack of awareness, particularly of the nature of contemporary craft practice and of portfolio working. Craft working itself presents challenges to progression routes and careers advice. Working across a range of contexts, makers need to develop a suite of skills in addition to core making and creative skills if they are to progress. In some cases, progression can be hampered when a craft practice is dispersed across too wide a range of fields, often in order to sustain a living but limiting development in any one direction. In the craft industry, as their highest qualification: 28% have a level 4+ qualification (degree and above) 5% have a level 4 qualification (foundation degree level) 22% have a level 3 qualification (A-levels) 23% have a level 2 qualification (GCSE level) 15% have a below level 2 qualification or no qualification 40 30% Distribution of employees by skill level 28% 25% 23% 22% 20% 15% 10% 10% 7% 5% 5% 5% 0% No Quals Level <2 Level 2 Level 3 Level 4 Level 4+ Other % Employment Creative Apprenticeships: The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t normally have the chance to work in, for example, music or theatre, are given flexible workbased learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. Consultation for a Creative Apprenticeship in Craft is currently under discussion. For more information on Entry, progression and applications in the craft sector go to Creative Choices Craft Café Blog. The nature of self employed work in the craft sector makes specific entry and progression routes hard to identify. The sector relies more on individual talent and a passion for craft making. 3.5 Qualifications In all the creative and cultural industries, the dominance of „talent‟ as the raw material on which the sector depends is often perceived as transcending educational processes such as examinations, qualifications and training. However there are a range of qualifications that prepare learners for further learning and develop their knowledge and/ or skills in craft. In schools craft education is embedded within, and split between, Design & Technology and Art & Design GCSE and A Level qualifications. However there is a specific craft option within the sector related disciplines of the new Diploma in Creative & Media (more information available here www.skillset.org) 41 There are around 25 different accredited vocational craft qualifications offered by a variety of Awarding Bodies through colleges and employers. These provide either a broad grounding in craft disciplines (such as in Creative Craft or Design & Craft) or in more specialised areas (such as Bookbinding, Model Making, or Gemmology). There are also a very large number (100+) of accredited low-level vocational qualifications on offer in Art & Design and in even broader subjects (such as Creative Arts, Creative Skills and The Arts) which provide elements of craft education. The only accredited occupational qualification (which confirms a learner is competent in a particular occupation) currently available in a craft discipline is a Level 2 National Vocational Qualification (NVQ) in Jewellery Manufacture. There is some evidence that craft employers (including sole traders) value accredited qualifications, but they tend not to use them in training their staff or themselves. More commonly employers and practitioners create their own informal, non-accredited, bespoke training solutions or work through Guilds and Societies who provide training programmes for their members. There is a wide range of this kind of informal craft education which provides a variety of entry and progression routes. Apprenticeships historically formed the basis of learning in craft and they continue informally within the traditional crafts sector, but not to any significant level within contemporary craft. There is currently no craft apprenticeship pathway within the Creative Apprenticeships, though the potential for this is being explored. Over the last 40 years the basis of learning has been taken over by formal higher education. Across the creative and cultural industries there is a high level of graduate recruitment and currently 46% of the workforce is educated to graduate level or above. Because these industries are perceived as attractive to new entrants there is an over-reliance on degrees and higher degrees as a means of shortlisting new recruits. Reflecting this, there are over 50 Foundation Degrees in craft or closely related disciplines, and a range of undergraduate and postgraduate degrees in craft, ceramics & glass, and other art and design subject areas. These can be found through Creative Choices Find a Course tool Creative Apprenticeships: The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t normally have the chance to work in, for example, music or theatre, are given flexible workbased learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. Creative Apprenticeships in craft are under discussion. Training, Further and Higher Education: Craft specific education and training information can be found through Creative Choices Find a Course tool, Creative & Cultural Skills Sector Qualification Strategy and The Craft Blueprint (due for publication in June 2009). 3.6 Data on employment and labour market trends and forecasts Across the UK there are over 13,000 businesses employing more than 88,000 people. Business and workforce characteristics: There are 88250 people working in the Craft sector. 37% are self employed 42 Self employed workers are more likely to have a qualification at level 4 or above (51%) compared to those who are employed (23%) There is a majority of male workers in the sector (65%) Women (43%) are more likely to have a level 4 or above qualification than men (27%) Women (67%) are more likely to earn less than £20,000 per year compared to men (50%) 94% of the Craft workforce is white. Craft contributes £2.9B of GVA to the UK economy. There are 13060 businesses in the sector. 98% of businesses employ less than 50 people. Key features of the craft sector include: Large number of makers operating in the same, often small and localised, market places. A split between focus upon conceptual work and more commercial work. Buyers put a lot of value on individual, bespoke, one-off items. Provenance is important as is continual new product design and development. Pricing and establishing the value of the craft sector is poorly understood. To be successful, professionalism within the sector should be recognised and understood by peers within the creative and cultural industries and the general public. To be successful, the makers within the sector should be able to maintain a sustainable living. To be successful, makers within the sector should have the freedom to pursue the development of their skills. Further information is available in The Craft Blueprint. 3.7 Skill shortages Three broad skills shortage areas are described below; drivers of skills, current skills needs and future skills need. Drivers of Skills: The key drivers of change in the industry include: Innovation: Craft is about creating something unique. Innovation is a key element of the sector in terms of both product and method. Information Technology: IT is increasingly being used in the production of craft for example the use of CAD/CAM products. Education: Declining craft education in school and fewer evening and weekend courses prohibit entry to the sector. Environmentalism: Traditionally many craft practitioners have been driven by the desire to produce environmentally sound goods. The current focus on climate change and eco-friendly industries has improved the market for craft. Diversity: Makers draw upon diverse backgrounds and experience to influence their work and will sell different types of products, in different market places. Government Policy: The lack of representation for craft in government statistics means it can be over looked and craft is sometimes perceived as the poor relation to fine art. 43 Leadership: Practitioners are becoming more involved in decision making groups, panels and forums regarding the future of the sector. Public Interest: Through increased interest in craft, practitioners are recognising the value of their creative skills and capitalising upon them. Current Skills: With regards to current skills needs in the industry: There has been a serious decline in the practical and technical element of craft training where provision of workshop space, equipment and materials is causing institutions to review and reduce provision. The relatively small numbers of potential trainees in specialised craft areas is a barrier to provision and can lead these skills being overlooked within the scope of broad educational developments and can cause problems in gaining accreditation and funding. The majority of crafts people operate as sole-traders or micro-businesses and there is a need to provide business support and training tailored to sector needs particularly in the areas of business start-up and pricing, selling and marketing. There is a need to support the development of leadership within the sector, for both existing leaders and developing a new generation. There is currently a lack of infrastructure to support leadership development in the sector. Future Skills: With regards to current skills needs in the industry: Negotiation and Partnership Building: As more makers look to collaborate with other industries there is likely to be an increased demand for training in negotiation and partnerships. IT and Digital Technology: New entrants to the sector will continue to need training in areas such as e-commerce, using software packages to build websites and present their work. Teaching: Makers may need further training in how to teach their skills to others particularly children. Leadership: To continue having more focused leadership the sector needs to be able to train a next generation of leaders appropriately. Further information on skills shortages is available in The Craft Blueprint. 3.8 Information on opportunities for adults changing career direction Entry routes into the crafts sector are diverse, with the majority of professionals entering as a second career. In addition, a significant proportion of professional makers describe themselves as being mostly self-taught. This diversity of routes into the sector, together with the frequently part time nature of crafts work, means there is a wide range of educational opportunities available to adults changing career direction, including adult education, formal apprenticeships and learning-on-the-job, as well as undergraduate, postgraduate and foundation level degrees. Informal learning opportunities, including courses run by makers and by craft guilds, are also a key part of the education landscape, and may facilitate a transition into a new career in craft. Most craft organisation or centre qualifications will ask to assess a portfolio of work and past experience of adult entrants on interview. Sole-makers will need to develop a suite of skills in addition to core making and creative skills if they are to progress, including marketing skills. For more information visit Creative Choices Careers Clinic tool. 44 3.9 Information on points of entry or transfer into a sector from another area sector. Key transferable skills from other area sectors will be needed to facilitate a transfer into craft. If these are lacking, there is a wide range of educational opportunities available to adults changing career direction, including adult education, formal apprenticeships and learning-onthe-job, as well as undergraduate, postgraduate and foundation level degrees. Informal learning opportunities, including courses run by makers and by craft guilds, are also a key part of the education landscape, and may facilitate a transition into a new career in craft. Most craft organisation or centre qualifications will ask to assess a portfolio of work and past experience of adult entrants on interview. Sole-makers will need to develop a suite of skills in addition to core making and creative skills if they are to progress, including marketing skills. For more information visit Creative Choices Careers Clinic tool. 3.10 Job profiles Job profiles in the Craft industry can be found on Creative Choices Job Profile page. Job profiles listed are as follows. The craft sector is very diverse and the list below is not exhaustive: Blacksmith Craft Maker Engraver Gemologist Glassmaker Gold/Silversmith Graphic Crafts Maker Hair Makeup and Wigs Heritage and Historical Skills Illustrator Joiner and Cabinet Maker Leatherworker Medical Illustrator Model Maker Musical Instrument Maker Potter/Ceramicist Props Maker Rural Crafts Maker Sculptor Stone Mason Studio Jeweler Taxidermist Technical Illustrator Textile Maker Toy Maker Wood Worker 3.11 Case studies A number of case studies are available, about working in the advertising industry; these can be found on Creative Choices Craft Case Studies page. 3.12 FAQs 45 Q: I want to work in craft but I have no qualifications or experience. What should I do? A: It is not always necessary to have qualifications to work in craft however it is essential to have skills which can be learnt informally or formally either through work shadowing, apprenticeships, attending short courses offered through guilds and societies or the short courses or weekend workshops that many makers offer. Or you could enroll on an adult education course or commence formal study with either a public or a private training provider at HE or FE level although many craft disciplines are not always covered in formal training – especially in the nations. Q: Once I gain employment what are the opportunities for progression? A: It depends on the craft discipline and on your desired job role. If you are not interested in designing objects then there are many other highly skilled jobs within craft that you could pursue. In jewellery you might be a polisher and work for an employer as part of their company, or you could work for several jewellery employers simultaneously. If you are interested in designing as well as making objects then you could have a career as a sole trader, freelancer, set up your own company employing staff, or be involved in portfolio working with other craft and design disciplines, craft galleries, health and engineering sectors. If you are interested in craft research and identifying new digital technologies and/or combinations of materials and processes then you could be employed by universities, and many different craft employers to inform their work. If you are interested in craft curatorial work then you could work for craft retailers and craft galleries or outsource your skills to hospitals and other public sector exhibition spaces. If you are interested in craft conservation and restoration work then you could be employed by museums and built heritage organisations as well as construction companies on „grand design‟ projects as well. 3.13 Sources of additional information, web-links etc Further information about the industry and links to industry organisations can be found on Creative Choices Craft Links page For the latest news, events and career information for the craft industry visit the Creative Choices Craft News Pages 3.14 Creative and Cultural Industry Regional Information The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. For national and regional creative and cultural industries news visit Creative Choices Creative and Cultural Industries News pages 3.14.1 East Midlands Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages. The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. 46 All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 44380 people in the Creative & Cultural Skills workforce. This 7% of the UK workforce. 35% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 63% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 54% under 40 years. The region contributes £1.1B or 4% GVA, UK £25B. GVA per employee is £25,000 There are 3950 creative businesses in the region. 92% of creative businesses employ less than 50 people and 8% have a turnover of more than £1M. 3.14.2 East of England Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 63,700 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 37% are self employed, (41% UK Creative & Cultural Skills average), (UK total workforce average 12%). 66% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 46% under 40 years. The region contributes £1.8B or 7% GVA, UK £25B. GVA per employee is £27000 There are 6710 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1M. 3.14.3 London Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. 47 All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 164690 people in the Creative & Cultural Skills workforce in London, this represents 24% of the workforce. 51% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 84% of the sector workforce is white 56% under 40 years. The industries contribute £13.1B GVA of the Creative & Cultural UK wide £25B GVA per employee is £79700 There are 21600 businesses in London. 93% of the businesses employ less than 50 people and 7% have a turnover of more than £1M 3.14.4 North East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 19680 people in the Creative & Cultural Skills workforce. This 3% of the UK workforce. 38% are self employed, UK average 41%. 63% of the workforce is male, UK Creative & Cultural workforce average 60% (UK total workforce average 54%). 96% of the sector workforce is white and 53% under 40 years. The region contributes £491 million or 2% GVA, UK £25B. GVA per employee is £25000 There are 1330 creative businesses in the region. 90% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m 3.14.5 North West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 59580 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 48 34% are self employed majority in Arts and Music, UK Creative & Cultural workforce total 41% (UK total workforce average 12%). 62% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 55% under 40 years. The region contributes £1.9B or 8% GVA, UK £25B. GVA per employee is £32 200 There are 5660 creative businesses in the region. 91% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m. 3.14.6 South East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 98170 people in the Creative & Cultural Skills workforce. This 14% of the UK workforce. SE and London together represent 44% of the UK workforce. 43% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%), 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 97% of the sector workforce is white and 47% under 40 years. The region contributes £3.8B or 15% GVA, UK £25B. GVA per employee is £39 200. There are 12 300 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1m. 3.14.7 South West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 60690 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 49 47% are self employed majority in Arts, Design and Music, UK Creative & Cultural workforce average 41% (UK total workforce average 12%). 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 98% of the sector workforce is white and 46% under 40 years. The region contributes £1.5B or 6% GVA, UK £23.5B. GVA per employee is £25000 There are approximately 5000 creative businesses in the region 93% employ less than 50, 7% have a turnover of more than £1m. 3.14.8 West Mids Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 40300 people in the Creative & Cultural Skills workforce. This 6% of the UK workforce. 31% are self employed. This is the lowest regional figure, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total workforce average 54%). 91% of the sector workforce is white, and 49% under 40 years. The region contributes £1.7B or 6% GVA, UK £25B. GVA per employee is £41 500 There are 5060 creative businesses in the region. 91% of creative businesses employ less than 150 people and 8% have a turnover of more than £1m. 3.14.9 Yorkshire and the Humber Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 45900 people in the Creative & Cultural Skills workforce. This 7% of the UK workforce. 40% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 60% of the workforce is male, the same as the UK Creative & Cultural Skills average (UK total UK workforce average 54%). 50 97% of the sector workforce is white and 53% under 40 years. The region contributes £1.4B or 6% GVA, UK £25B. GVA per employee is £31200 There are just under 4000 creative businesses in the region. 90% of creative businesses employ less than 50 people and 8% have a turnover of more than £1m. 3.14.10 (Craft) Northern Ireland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 88250 people working in Craft sub-sector 2% of the Craft industry is located in N. Ireland. 99% of the Craft sector is white. 72% of the Craft sector is male. Craft in Northern Ireland contributes £39.9M of GVA to the UK economy 3.14.11 (Craft) Scotland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 88250 people working in Craft sub-sector 6% of the Craft industry is located in Scotland 99% of the Craft sector is white. 63% of the Craft sector is male. Craft in Scotland contributes £131M of GVA to the UK economy 3.14.12 (Craft) Wales Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level National data is presented below. There are 88250 people working in Craft sub-sector 4% of the Craft industry is located in Wales More than 99% of the Craft sector is white. 68% of the Craft sector is male. Craft in Scotland contributes £73M of GVA to the UK economy 3.14.13 (Craft) England National data is presented below. There are 88250 people working in Craft sub-sector 88% of the Craft industry is located in England 51 91% of the Craft sector is white. 65% of the Craft sector is male. Craft in England contributes £2.6B of GVA to the UK economy 52 4. Sub-sector Cultural Heritage 4.1 A brief description of what the sub-sector covers at UK level The cultural heritage sector includes museums, galleries with collections, built heritage, conservation, heritage landscape, archaeology, and related member organisations. The sector contributes £1.01 billion to the UK economy, an increase from £952 million in 2006. Cultural heritage is the legacy of past generations that is preserved and shared with today‟s society and kept for future generations. Cultural heritage helps us to understand how society has evolved and contributes to shaping the future. It is broad, encompassing historic buildings, landscapes and collections – from towns, cities and rural spaces in the UK, to collections from across the world. It stretches beyond the tangible to languages, customs and practices. Cultural heritage is owned and held in trust on behalf of the public. The public are central to defining what constitutes the UK‟s cultural heritage by the value that they place on it. The sector‟s unique role has ensured its position as a key driver for regeneration. It supports the development of cohesive communities and contributes to shaping the cultural identity of specific places. The sector comprises all those who collect, preserve, study and communicate the past, present and future in order to develop and promote understanding and curiosity. It consists of a variety of organisations, institutions, sector bodies and individuals. They operate at a national level across the UK, for devolved nations or at a regional and grass-roots level. A core part of the sector is publicly funded and volunteering is significant in the industry. The cultural heritage sector: Collects, preserves and interprets the past Develops and shares knowledge and ideas Provides opportunities for learning and engagement Enriches people‟s lives and creates a sense of place and identity Provides creativity, inspiration, and enjoyment. 4.2 Information on careers available and new emerging jobs, transferability of skills career paths and opportunities for progression Jobs available in Cultural Heritage include: Administration Admission Staff Archaeological Scientist Archaeologist Archivist Art Exhibition Organisor Art Handler Art Valuer Artistic Director Arts Administrator Attendant / Gallery Staff Box Office Staff Conservation Officer Curator Curator, Heritage Manager Development Staff Director / manager Documentation Staff Events Staff Exhibitions Staff Front of House Guide / Demonstrator 53 Historian Inspector of Ancient Monuments Museums Assistant Volunteer Co-ordinator For full details see section on Job Profiles (8.10) For more information on careers in cultural heritage visit Creative Choices. 4.3 Information on pay scales in the sector Pay scales in this industry are variable and therefore care should be taken when advising on this area. The following data provides an indication of the wages structure of the current cultural heritage workforce: <1% earn more than £41,000 per annum <1% earn between £29,000-£41,000 6% earn between £20,000-£29,000 34% earn between £10,000-£20,000 60% earn less than £10,000 4.4 Information on entry requirements, application processes (e.g. Apprenticeships) There are few entry routes into the cultural heritage sector, with a strong emphasis on academic qualifications. The high cost of training, limited opportunities for on-the-job training, and the high number of graduates make entry into the sector very competitive. 54 Over the past twenty years organisations have moved away from training their own entry-level staff to relying on Higher Education providers, but there is growing consensus that many of the skills needed can only be learned on the job. The sector needs to do more entry-level training itself and develop closer collaboration with Higher Education Institutions, not only on an organisation to organisation basis, but also in a nationally or regionally co-ordinated way. In the industry, as their highest qualification: 50% have a level 4+ qualification (degree and above) 4% have a level 4 qualification (foundation degree level) 14% have a level 3 qualification (A-levels) 16% have a level 2 qualification (GCSE level) 10% have a below level 2 qualification or no qualification Volunteering: Volunteering is a key part of the sector. Experience is a requirement for many jobs across the sector and volunteering is seen as a key route to gain that experience. For more information about volunteering in the Cultural Heritage sector visit the following sites: Volunteering England Volunteering Scotland Volunteering Northern Ireland Volunteering Wales Creative Apprenticeships: The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t normally have the chance to work in, for example, music or theatre, are given flexible workbased learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. In Cultural Heritage the following pathway has been developed: 55 Area Activity Job Roles Cultural Venues Administration Dealing effectively with customers Helping organise event and exhibitions Use IT and systems Front of house staff, admin Attendant /gallery staff Customer/ visitor service staff Guide Demonstrator Schools liaison 4.5 Qualifications In schools, GCSE and A Level qualifications are offered in history, archaeology, and history of art though a wider range of subjects have relevance to the cultural heritage sector. There are also relevant lines of learning within the new Diplomas in Creative & Media and Humanities & Social Sciences (more information available here www.skillset.org and here www.humanitiesdiploma.co.uk) There are a number of accredited vocational qualifications offered by a variety of Awarding Bodies through colleges and employers. These qualifications prepare learners for further learning and develop their knowledge and/ or skills in cultural heritage related disciplines including Front of House Management, Curators and Bookbinding. There are a few accredited occupational qualifications (which confirms a learner is competent in a particular occupation) currently available in areas of cultural heritage including National Vocational Qualifications (NVQs) in Archaeological Practice; and Museums, Galleries and Heritage. There are also Level 2 and 3 National Awards in Cultural and Heritage Venue Operations which form part of the Creative Apprenticeship (more information available here: http://www.creative-choices.co.uk/server.php?show=nav.189) Accredited work-based learning is virtually non-existent. Over the past twenty years employers have moved away from training their own entry-level staff to relying on Higher Education providers. Across the creative and cultural industries there is a high level of graduate recruitment and currently 46% of the workforce is educated to graduate level or above. Because these industries are perceived as attractive to new entrants there is an overreliance on degrees and higher degrees as a means of shortlisting new recruits. Reflecting this, Cultural Heritage employers often demand unnecessary qualification requirements for entry level positions. To fulfill this demand there are large numbers of popular undergraduate and postgraduate qualifications in broadly-based programmes within historical & philosophical studies; history, archaeology, fine art and other sector related areas. These can be found through Creative Choices Find a Course tool. Apprenticeships The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t normally have the chance to work in, for example, music or theatre, are given flexible workbased learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. In Cultural Heritage the following pathway has been developed: Area Activity Job Roles 56 Cultural Venues Administration Dealing effectively with customers Helping organise event and exhibitions Use IT and systems Front of house staff, admin Attendant /gallery staff Customer/ visitor service staff Guide Demonstrator Schools liaison Training, Further and Higher Education Cultural Heritage specific education and training information can be found through Creative Choices Find a Course tool and Creative & Cultural Skills Sector Qualification Strategy. 4.6 Data on employment and labour market trends and forecasts Across the UK there are 1,510 businesses employing just over 57,000 people. 77% businesses in the sector employ less than 50 staff. Business and workforce characteristics There are just over 57000 people working in the cultural heritage. 4% are self employed o Self employed workers (73%) are more likely to have at least a level 4 qualification, compared to those who are employed (53%) Cultural heritage contributes £1.01B of GVA to the UK economy. There is a small majority of female workers in the industry (52%). o Women (60%) are more likely to have a level 4 or above qualification than men (46%) o 74% of women earn less than £10,000 compared to 51% of men 93% of the cultural heritage workforce is white. There are 1,510 businesses in the sector. 77% of organisations employ less than 50 people. The sector is heavily publicly funded. Targets and benchmarks are generally ascribed to this funding. These targets often involve increasing customer numbers in socio-economic groups of importance to the funding provider. It is a feature of the public sector that funds are often delivered through specific programmes that have a finite time frame. This results in two identifiable features: Short time horizons: Long term planning is considered difficult because funding is contingent on many factors, some outside the control of the sector itself. A disjointed relationship with customers: Within cultural heritage the relationship with customers and standards of customer service are often routed through the conditions and targets set by funders rather than through a direct demand and supply relationship. Although the sector is moving towards a more commercial model it still does not tend to compete in the traditional sense. The focus is on organisations being the best that they can be, rather than being better than another similar organisation. Non specialists are often employed in key strategic positions in cultural heritage organisations. Changes in employment: The key drivers of change in the industry include: Social Inclusion: Heritage is seen by central Government as a significant route to engage excluded individuals and communities. 57 Public Sector priorities and funding: Cultural heritage, more than any other sector is driven significantly by Public Sector spending priorities. Planning Policy: Applies particularly to Historic Environment businesses and organisations in relation to Local Authorities planning role. Increasing Commercialisation: Accountability and performance targets are embedded in the conditions of funding across the Public Sector. This has meant organisations becoming far more business like. Threats to Heritage: Where funding from outside of the sector is perceived by some parts of the cultural heritage industry to be influencing the structure of the industry. Further information is available in The Cultural Heritage Blueprint 4.7 Skill shortages Three broad skills shortage areas are described below; drivers of skills, current skills needs and future skills need. There are 5 key drivers of new skills in the cultural heritage industry: Drivers of Skills: Social Inclusion: Heritage is seen by central Government as a significant route to engage excluded individuals and communities. Public Sector priorities and funding: Cultural heritage, more than any other sector is driven significantly by Public Sector spending priorities. Planning Policy: Applies particularly to Historic Environment businesses and organisations in relation to Local Authorities planning role. Increasing Commercialisation: Accountability and performance targets are embedded in the conditions of funding across the Public Sector. This has meant organisations becoming far more business like. Threats to Heritage: Where funding from outside of the sector is perceived by some parts of the cultural heritage industry to be influencing the structure of the industry. Current Skills: With regards to current skills needs in the industry: Leadership: including advocacy and the skills needed to provide vision and direction to the industry. Management: skills needed to ensure that organisations operates efficiently and effectively. Technical Skills: maintaining standards and quality e.g., in Conservation. Customer Services: skills focussing on the quality of service provided. Education and Interpretation: focussing on communication, audience and services. Future Skills: Key future skills include: Management and Leadership: Two broad views on management and leadership are prevalent; firstly that, where possible, managers and leaders should have experience of the sector (and not be recruited from other industries). And secondly, despite this, these skills were so lacking that it is important to import best practice examples from other successful industries. Technical skills: This encompasses a broad range of skills in conservation, collection care, collection development and archaeology. However, it is not enough to simply be a specialist who works in isolation, skills associated with communication, education and public engagement are also required for effective working. 58 Partnership Working: Cross sector working and organisational collaboration is seen as vital in ensuring the success of the industry. The current structure of qualifications was not seen to address this. Further information on skills shortages is available in The Cultural Heritage Blueprint 4.8 Information on opportunities for adults changing career direction There is a wide variety of careers within the cultural heritage sector, some requiring specialist training, others on-the-job experience. The most traditional entry route into cultural heritage is via academic qualifications e.g. a degree in museum studies/history/fine art. A period of volunteering/internships/placements can also be a useful way to gain relevant experience. More vocational entry routes like Apprenticeships are now being developed. Cultural Heritage specific education and training information can be found through Creative Choices Find a Course tool and Creative & Cultural Skills Sector Qualification Strategy. For more information visit Creative Choices Careers Clinic tool. 4.9 Information on points of entry or transfer into a sector from another area sector. Demonstrating key transferable skills will apply to certain job roles, for example in business management or communications. Other specialist positions may require retraining. The most traditional entry route into cultural heritage is via academic qualifications e.g. a degree in museum studies/history/fine art. A period of volunteering/internships/placements can also be a useful way to gain relevant experience. More vocational entry routes like Apprenticeships are now being developed. Cultural Heritage specific education and training information can be found through Creative Choices Find a Course tool and Creative & Cultural Skills Sector Qualification Strategy. Many careers in cultural heritage value transferable skills or qualifications particularly if gained within the creative sector, for example education, marketing or finance. For more information visit Creative Choices Careers Clinic tool. 4.10 Job profiles Job profiles in the cultural heritage sector can be found on Creative Choices Job Profile page. Job profiles listed are as follows: Administration Admission Staff Archaeological Scientist Archaeologist Archivist Art Exhibition Organisor Art Handler Art Valuer Artistic Director Arts Administrator Attendant / Gallery Staff Box Office Staff Conservation Officer Curator Curator, Heritage Manager Development Staff Director / manager 59 Documentation Staff Events Staff Exhibitions Staff Front of House Guide / Demonstrator Historian Inspector of Ancient Monuments Museums Assistant Volunteer Co-ordinator 4.11 Case studies A number of case studies are available, about working in the cultural heritage industry; these can be found on Creative Choices Cultural Heritage Case Studies page. 4.12 FAQs Q: I want to work in Cultural Heritage but I have no qualifications or experience. What should I do? A: The cultural heritage sector tends to have 2 main routes into it that you should look at to enter the sector. Firstly the more traditional route is via academia. You could look at a degree in museum studies/history/fine art etc or something along those lines. This would be coupled with volunteering/internships/placements at a museum or place of interest such as a National Trust property; this could be followed by an MA and/or other studies. You will find that the vast majority of people who are competing to work in our sector have looked at this route to employment. The other route tends to be more vocational where you learn whilst working in an Apprenticeship role. This gives you the chance to enter the sector at entry level and gain the skills for the sector whilst you are working. You will also gain a nationally recognised award which could lead you to continue onto further studying. Q: Once I gain employment what are the opportunities for progression? A: Progression routes whilst you are in the cultural heritage sector are more varied depending on the type of museum you work in. If you are in a small, local or independent museum you will find you are doing a number of jobs in one role which gives you an idea of where you would like to focus. This will allow you to look at specialisms and forwarding your career in that area. You may wish to take other courses whilst you are working or look at informal learning or mentoring in the sector. If you are in a larger or national museum you will find you are more specialized in a certain department to start with and will learn your sector this way. You may then wish to experience other departments and look at secondments within them to learn more and progress your skills as well as job opportunities. You may also find that you can continue to learn and gain qualifications which will enhance your skills to allow you to progress your role. The interesting thing about cultural heritage is that there is not one specified route which enables you to be very proactive in choosing your career path and progression. 4.13 Sources of additional information, web-links etc Further information about the industry and links to industry organisations can be found on Creative Choices Cultural Heritage Links page For the latest news, events and career information for the cultural heritage industry visit the Creative Choices Cultural Heritage News Pages 4.14 Creative and Cultural Industry Regional Information 60 The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. For national and regional creative and cultural industries news visit Creative Choices Creative and Cultural Industries News pages 4.14.1 East Midlands Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages. The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 44380 people in the Creative & Cultural Skills workforce. This 7% of the UK workforce. 35% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 63% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 54% under 40 years. The region contributes £1.1B or 4% GVA, UK £25B. GVA per employee is £25,000 There are 3950 creative businesses in the region. 92% of creative businesses employ less than 50 people and 8% have a turnover of more than £1M. 4.14.2 East of England Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 63,700 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 37% are self employed, (41% UK Creative & Cultural Skills average), (UK total workforce average 12%). 61 66% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 46% under 40 years. The region contributes £1.8B or 7% GVA, UK £25B. GVA per employee is £27000 There are 6710 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1M. 4.14.3 London Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 164690 people in the Creative & Cultural Skills workforce in London, this represents 24% of the workforce. 51% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 84% of the sector workforce is white 56% under 40 years. The industries contribute £13.1B GVA of the Creative & Cultural UK wide £25B GVA per employee is £79700 There are 21600 businesses in London. 93% of the businesses employ less than 50 people and 7% have a turnover of more than £1M 4.14.4 North East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 19680 people in the Creative & Cultural Skills workforce. This 3% of the UK workforce. 38% are self employed, UK average 41%. 63% of the workforce is male, UK Creative & Cultural workforce average 60% (UK total workforce average 54%). 96% of the sector workforce is white and 53% under 40 years. The region contributes £491 million or 2% GVA, UK £25B. 62 GVA per employee is £25000 There are 1330 creative businesses in the region. 90% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m 4.14.5 North West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 59580 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 34% are self employed majority in Arts and Music, UK Creative & Cultural workforce total 41% (UK total workforce average 12%). 62% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 55% under 40 years. The region contributes £1.9B or 8% GVA, UK £25B. GVA per employee is £32 200 There are 5660 creative businesses in the region. 91% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m. 4.14.6 South East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 98170 people in the Creative & Cultural Skills workforce. This 14% of the UK workforce. SE and London together represent 44% of the UK workforce. 43% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%), 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 97% of the sector workforce is white and 47% under 40 years. The region contributes £3.8B or 15% GVA, UK £25B. GVA per employee is £39 200. 63 There are 12 300 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1m. 4.14.7 South West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 60690 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 47% are self employed majority in Arts, Design and Music, UK Creative & Cultural workforce average 41% (UK total workforce average 12%). 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 98% of the sector workforce is white and 46% under 40 years. The region contributes £1.5B or 6% GVA, UK £23.5B. GVA per employee is £25000 There are approximately 5000 creative businesses in the region 93% employ less than 50, 7% have a turnover of more than £1m. 4.14.8 West Mids Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 40300 people in the Creative & Cultural Skills workforce. This 6% of the UK workforce. 31% are self employed. This is the lowest regional figure, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total workforce average 54%). 91% of the sector workforce is white, and 49% under 40 years. The region contributes £1.7B or 6% GVA, UK £25B. GVA per employee is £41 500 There are 5060 creative businesses in the region. 64 91% of creative businesses employ less than 150 people and 8% have a turnover of more than £1m. 4.14.9 Yorkshire and the Humber Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 45900 people in the Creative & Cultural Skills workforce. This 7% of the UK workforce. 40% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 60% of the workforce is male, the same as the UK Creative & Cultural Skills average (UK total UK workforce average 54%). 97% of the sector workforce is white and 53% under 40 years. The region contributes £1.4B or 6% GVA, UK £25B. GVA per employee is £31200 There are just under 4000 creative businesses in the region. 90% of creative businesses employ less than 50 people and 8% have a turnover of more than £1m. 4.14.10 (Cultural Heritage) Northern Ireland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 57300 people working in Craft sub-sector 3% of the Cultural Heritage industry is located in N. Ireland. More than 99% of the Cultural Heritage sector is white. 23% of the Cultural Heritage sector is male. Cultural Heritage in Northern Ireland contributes £0.1M of GVA to the UK economy 4.14.11 (Cultural Heritage) Scotland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 57300 people working in the Cultural Heritage sub-sector 10% of the Cultural Heritage industry is located in Scotland More than 99% of the Cultural Heritage Sector sector is white. 47% of the Craft sector is male. Cultural Heritage in Scotland contributes £41M of GVA to the UK economy 65 4.14.12 (Cultural Heritage) Wales Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level National data is presented below. There are 57300 people working in the Cultural Heritage sector 4% of Cultural Heritage industry is located in Wales 99% of the Cultural Heritage sector is white. 49% of the Craft sector is male. Craft in Scotland contributes £0.3M of GVA to the UK economy 4.14.13 (Cultural Heritage) England National data is presented below. There are 57300 people working in Craft sub-sector 83% of the Cultural Heritage industry is located in England 93% of the Cultural Heritage sector is white. 48% of the Cultural Heritage sector is male. Cultural Heritage in England contributes £0.9B of GVA to the UK economy 66 5. Sub-sector Design 5.1 A brief description of what the sub-sector covers at UK level The design industry covers a range of disciplines including communications, graphic, product and industrial, interior and exhibitions, digital and multimedia and service design. Design is an integral part of modern culture combining aesthetic techniques, practicality and creativity to deliver solutions that make everyday life simpler and businesses more effective. 5.2 Information on careers available and new emerging jobs, transferability of skills career paths and opportunities for progression Jobs available in Design include: Advertising Design Computer Game Designer Costume Designer Exhibition Designer Fashion Designer Footwear Designer Graphic Designer Industrial Designer Interactive Designer Interior Designer Product Designer Textile Designer Textile Maker For full details see section on Job Profiles (8.10) There are no professional pathways for work in the design industry For more information on careers in the design industry visit Creative Choices. 5.3 Information on pay scales in the sector Pay scales in this industry are variable and therefore care should be taken when advising on this area. The following data provides an indication of the wages structure of the current design workforce: 15% earn more than £41,000 per annum 13% earn between £29,000-£41,000 27% earn between £20,000-£29,000 38% earn between £10,000-£20,000 8% earn less than £10,000 67 5.4 Information on entry requirements, application processes (e.g. Apprenticeships) In the industry, as their highest qualification: 50% have a level 4+ qualification (degree and above) 15% have a level 4 qualification (foundation degree level) 15% have a level 3 qualification (A-levels) 10% have a level 2 qualification (GCSE level) 4% have a below level 2 qualification or no qualification 68 Although the design industry is served by qualifications at most levels and in most categories, employers tend not to use accredited qualifications, or, where they do, they only use higher level qualifications. Across the sector, employers focus on training needs and skills gaps rather than qualifications. In terms of employee training, employers often create their own training solutions or work through trade associations who provide training programmes for their memberships. Employers use higher level qualifications (e.g. degrees) at entry level. In art and design roles, art school graduates are preferred, and although they have higher-level qualifications, progression is usually linked to portfolios and experience. Recruitment to managerial and administrative roles usually requires a degree or equivalent. More information can be found in Creative & Cultural Skills Sector Qualification Strategy. Creative Apprenticeships: The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t normally have the chance to work in, for example, music or theatre, are given flexible workbased learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. There are no current plans for a Creative Apprenticeship in Design. 5.5 Qualifications In all the creative and cultural industries, the dominance of „talent‟ as the raw material on which the sector depends is often perceived as transcending educational processes such as examinations, qualifications and training. In schools, GCSE and A Level qualifications are available in Art & Design and Design & Technology. There are specific product and graphic design options within the sector related 69 disciplines of the new Diploma in Creative & Media (more information available here www.skillset.org) There are around 50 accredited vocational design qualifications offered by a variety of Awarding Bodies through colleges. These qualifications prepare learners for further learning and develop their knowledge and/ or skills in specific Design disciplines such as Graphic Design, 3D Design, Interior Design and Typography. There are also around 35 qualifications with the same purpose under the broader banner of art & design. The only three accredited occupational qualifications (which confirms a learner is competent in a particular occupation) currently available in Design are the Level 2 National Vocational Qualification (NVQ) in Design Support, Level 3 NVQ in Design and Level 4 NVQ in Design Management. When recruiting, design employers generally only value higher-level qualifications. Those available include a wide range of broadly-based programmes within creative arts & design, design studies, and many others in creative arts & design at both undergraduate and postgraduate degree level. There are also a large number of Foundation Degrees in design specialisms such as 3D Design, Art and Design, Design and Enterprise, Design Technology, Graphic Communication, Interior Design, and Spatial Design. These can be found through Creative Choices Find a Course tool Although art school graduates with high-level qualifications are preferred, progression is usually linked to portfolios and experience. Apprenticeships: The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t normally have the chance to work in, for example, music or theatre, are given flexible workbased learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. There are no current plans for a Creative Apprenticeship in design. Training, Further and Higher Education: Design specific education and training information can be found through Creative Choices Find a Course tool and Creative & Cultural Skills Sector Qualification Strategy. 5.6 Data on employment and labour market trends and forecasts Across the UK there are 18,105 businesses employing just over 194000 people. 94% of businesses employ less than 50 staff. Business and workforce characteristics 194000 people currently work in the design sector. 32% are self employed o Those who are self employed are less likely (61%) to have a level 4 or above qualification than those who are employed (68%) Design contributes £6.8B to the UK economy. There is a majority of male workers in the sector (68%). o Men and women are equally likely (66%) to have a qualification at level 4 or above o Women are more likely (66%) to earn less than £20,000 per year compared to men (39%) 93% of the design workforce is white. There are 18,105 businesses in the design sector. 70 94% of design businesses employ less than 50 people. The design sector is a very commercial one. For businesses within the sector, financial results and profits matter. However this is not the only parameter of success. The delivery of „successful‟ design – where success can be defined in a large number of ways – is also a key goal for many. There is widely held pride in the output that the industry and designers within it produce. Indeed, clients are increasingly demanding more and more from the industry (i.e. more creativity, more impact on the bottom line, a better understanding of client business needs, a more strategic approach, better ideas, etc.). Design business leaders vary in their overall aims and objectives in much the same way as leaders do across the wider economy. Some seek growth and the greater responsibility and financial reward (and sometimes risk) that growth brings. Others seek to generate incomes either through establishing their own small businesses in which they and (perhaps) their partners are the only staff, and others take the freelance route and the greater freedom and control that that brings. Some business owners and practitioners see success simply as survival, especially in the current challenging climate. A successful design sector is therefore one which is providing opportunities for designers to apply their trade under whatever business model the individuals involved wish to pursue. It should be growing in terms of fee income and employment terms and building success on the foundation of highly creative staff (supported by good managers and sales/service and admin staff) with strong empathy for client needs and the ability to generate and communicate ideas that meet those needs. Changes in employment: The key drivers of change in the industry include: Emerging economies: There is competitive threat posed by the emerging economies (e.g. India and China). Technology Use: Information Technology has had a major impact on the design sector, including; shortening design timescales, faster communication, the emergence of rapid prototyping, and businesses requiring fewer people carrying out more tasks. Growth of the service sector: In response to the strong growth of UK service industries, designers are working more in non-visual areas and businesses. Increasing sophistication of branding: Design‟s ability to utilise emotional mechanisms (such as aesthetics, taste, pleasure and memory) for commercial benefit and to integrate brand values into products and services is giving it an increasing role in marketing. IP with clients: On the designers‟ side there is likely to be a demand for more joint ownership of intellectual property with clients and even a refusal to work on a fee only basis. Knowledge Economy: Traditional, developed nations are increasingly finding that they cannot compete on a manufacturing basis alone. Government policy is aimed at generating a service based, knowledge economy that the UK can continue to compete. Consumer preference: As the reality of climate change permeates the public conscience, a new culture of sustainable development and environmentally aware practice is developing. Further information is available in The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries. 5.7 Skill shortages Three broad skills shortage areas are described below; drivers of skills, current skills needs and future skills need. 71 Drivers of Skills There are 7 key drivers of new skills in the design industry: Emerging economies: There is competitive threat posed by the emerging economies (e.g. India and China). Technology Use: Information Technology has had a major impact on the design sector, including; shortening design timescales, faster communication, the emergence of rapid prototyping, and businesses requiring fewer people carrying out more tasks. Growth of the service sector: In response to the strong growth of UK service industries, designers are working more in non-visual areas and businesses. Increasing sophistication of branding: Design‟s ability to utilise emotional mechanisms (such as aesthetics, taste, pleasure and memory) for commercial benefit and to integrate brand values into products and services is giving it an increasing role in marketing. IP with clients: On the designers‟ side there is likely to be a demand for more joint ownership of intellectual property with clients and even a refusal to work on a fee only basis. Knowledge Economy: Traditional, developed nations are increasingly finding that they cannot compete on a manufacturing basis alone. Government policy is aimed at generating a service based, knowledge economy that the UK can continue to compete. Consumer preference: As the reality of climate change permeates the public conscience, a new culture of sustainable development and environmentally aware practice is developing. Current Skills With regards to current skills needs in the industry: The role proving hardest to fill in the design industry is the creative role. Other problematic roles relate to the sales and service function of the industry. Design organisations are finding most applicants lack the right level of experience to be able to do their job well enough. Within design organisations the creative and management roles are most likely to experience missing skills. IT positions were also considered as lacking some key skill. IT and technical skills (i.e. specialisms) are the skills most likely to be missing from design organisations. Future Skills Key future skills include: Marketing and PR: The greatest demand for skills is likely to be around Marketing and PR. IT and digital skills: in particular for the freelance workforce. Business acumen and management: Linked to Marketing and PR and key for business growth and expansion into new markets. Creative Design skills: These are the core creative specialisms for design. There is a suggestion that new recruits into the industry are not as skilled in this area as they should be. Global business development: With an increasingly global market, tapping into emerging economies is essential. 72 Further information on skills shortages is available in The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries. 5.8 Information on opportunities for adults changing career direction The most traditional entry route into design is academic, with employers requiring higher level qualifications (e.g. degrees). Adults interested in pursuing a design career should initially get a degree in a design discipline and then either work for an agency or become self employed or freelance developing a client list. For people wanting to work for an agency gaining work experience is often key. In art and design roles, art school graduates are preferred, and although they have higher-level qualifications, progression is usually linked to portfolios and experience. Recruitment to managerial and administrative roles usually requires a degree or equivalent. For School leavers: the main entry routes to a job in the design industry are at two levels, as a design technician or at designer or freelance level after study at degree level. There are very few jobs available for direct entry from school. For Adult entry: most centres of education will examine the qualifications, a portfolio of work and/or past industrial experience of adult entrants on interview to assess the relevant level of entry. However, each case is decided on merit by the individual institution. Employment opportunities for adults without qualifications or industrial experience are very limited. For more information visit Creative Choices Careers Clinic tool. 5.9 Information on points of entry or transfer into a sector from another area sector. When recruiting, design employers generally only value higher-level qualifications. Those available include a wide range of broadly-based programmes within creative arts & design, design studies, and many others in creative arts & design at both undergraduate and postgraduate degree level. There are also a large number of Foundation Degrees in design specialisms such as 3D Design, Art and Design, Design and Enterprise, Design Technology, Graphic Communication, Interior Design, and Spatial Design. These can be found through Creative Choices Find a Course tool There may be key transferable skills from other sectors that may facilitate a career change into design, for example marketing or communications. However, a portfolio of work is usually necessary for progression to jobs or to higher qualifications in design. For School leavers: the main entry routes to a job in the design industry are at two levels, as a design technician or at designer or freelance level after study at degree level. There are very few jobs available for direct entry from school. For Adult entry: most centres of education will examine the qualifications, a portfolio of work and/or past industrial experience of adult entrants on interview to assess the relevant level of entry. However, each case is decided on merit by the individual institution. Employment opportunities for adults without qualifications or industrial experience are very limited. For more information visit Creative Choices Careers Clinic tool. 5.10 Job profiles Job profiles in the design industry can be found on Creative Choices Job Profile page. Job profiles listed are as follows: Advertising Design Computer Game Designer Costume Designer Exhibition Designer 73 Fashion Designer Footwear Designer Graphic Designer Industrial Designer Interactive Designer Interior Designer Product Designer Textile Designer Textile Maker 5.11 Case studies A number of case studies are available, about working in the design industry; these can be found on Creative Choices Design Case Studies page. 5.12 FAQs Q: I want to work in Design but I have no qualifications or experience. What should I do? As someone who wants to become a designer the route into the industry would be to initially get a degree in a design discipline and then either work for an agency or become self employed or freelance developing a client list. For people wanting to work for an agency gaining work experience is often key. There is also a Design Support NVQ at level 2 which is a work-based route into employment within the design sector. Q. Once I gain employment what are the opportunities for progression? Progression within a design agency is dependent on how the agency is structured. Conventionally the route would be to start as a junior designer and then to a senior designer/management position to then possibly a director. Many designers progress “out of the agency” either becoming freelance or setting up their own design agency. 5.13 Sources of additional information, web-links etc Further information about the industry and links to industry organisations can be found on Creative Choices Design Links page For the latest news, events and career information for the design industry visit the Creative Choices Design News Pages 5.14 Creative and Cultural Industry Regional Information The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. For national and regional creative and cultural industries news visit Creative Choices Creative and Cultural Industries News pages 5.14.1 East Midlands Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages. 74 The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 44380 people in the Creative & Cultural Skills workforce. This 7% of the UK workforce. 35% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 63% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 54% under 40 years. The region contributes £1.1B or 4% GVA, UK £25B. GVA per employee is £25,000 There are 3950 creative businesses in the region. 92% of creative businesses employ less than 50 people and 8% have a turnover of more than £1M. 5.14.2 East of England Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 63,700 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 37% are self employed, (41% UK Creative & Cultural Skills average), (UK total workforce average 12%). 66% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 46% under 40 years. The region contributes £1.8B or 7% GVA, UK £25B. GVA per employee is £27000 There are 6710 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1M. 5.14.3 London Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages 75 The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 164690 people in the Creative & Cultural Skills workforce in London, this represents 24% of the workforce. 51% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 84% of the sector workforce is white 56% under 40 years. The industries contribute £13.1B GVA of the Creative & Cultural UK wide £25B GVA per employee is £79700 There are 21600 businesses in London. 93% of the businesses employ less than 50 people and 7% have a turnover of more than £1M 5.14.4 North East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 19680 people in the Creative & Cultural Skills workforce. This 3% of the UK workforce. 38% are self employed, UK average 41%. 63% of the workforce is male, UK Creative & Cultural workforce average 60% (UK total workforce average 54%). 96% of the sector workforce is white and 53% under 40 years. The region contributes £491 million or 2% GVA, UK £25B. GVA per employee is £25000 There are 1330 creative businesses in the region. 90% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m 5.14.5 North West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. 76 All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 59580 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 34% are self employed majority in Arts and Music, UK Creative & Cultural workforce total 41% (UK total workforce average 12%). 62% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 55% under 40 years. The region contributes £1.9B or 8% GVA, UK £25B. GVA per employee is £32 200 There are 5660 creative businesses in the region. 91% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m. 5.14.6 South East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 98170 people in the Creative & Cultural Skills workforce. This 14% of the UK workforce. SE and London together represent 44% of the UK workforce. 43% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%), 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 97% of the sector workforce is white and 47% under 40 years. The region contributes £3.8B or 15% GVA, UK £25B. GVA per employee is £39 200. There are 12 300 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1m. 5.14.7 South West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. 77 All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 60690 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 47% are self employed majority in Arts, Design and Music, UK Creative & Cultural workforce average 41% (UK total workforce average 12%). 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 98% of the sector workforce is white and 46% under 40 years. The region contributes £1.5B or 6% GVA, UK £23.5B. GVA per employee is £25000 There are approximately 5000 creative businesses in the region 93% employ less than 50, 7% have a turnover of more than £1m. 5.14.8 West Mids Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 40300 people in the Creative & Cultural Skills workforce. This 6% of the UK workforce. 31% are self employed. This is the lowest regional figure, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total workforce average 54%). 91% of the sector workforce is white, and 49% under 40 years. The region contributes £1.7B or 6% GVA, UK £25B. GVA per employee is £41 500 There are 5060 creative businesses in the region. 91% of creative businesses employ less than 150 people and 8% have a turnover of more than £1m. 5.14.9 Yorkshire and the Humber Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 45900 people in the Creative & Cultural Skills workforce. 78 This 7% of the UK workforce. 40% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 60% of the workforce is male, the same as the UK Creative & Cultural Skills average (UK total UK workforce average 54%). 97% of the sector workforce is white and 53% under 40 years. The region contributes £1.4B or 6% GVA, UK £25B. GVA per employee is £31200 There are just under 4000 creative businesses in the region. 90% of creative businesses employ less than 50 people and 8% have a turnover of more than £1m. 5.14.10 (Design) Northern Ireland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 194000 people working in Design in the UK 2% of the industry is located in N. Ireland. More than 99% of the Design sector in Northern Ireland is white. 72% of the Design sector is male. Design in Northern Ireland contributes £69M of GVA to the UK economy 5.14.11 (Design) Scotland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 194000 people working in the Design sector in Scotland 7% of the Design industry is located in Scotland 99% of the Design Sector in Scotland is white. 68% of the Design sector is male. Design in Scotland contributes £327M of GVA to the UK economy 5.14.12 (Design) Wales Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 194000 people working in the Design sector 3% of the Design industry is located in Wales More than 99% of the Design sector is white. 64% of the Design sector is male. Design in Wales contributes £164M of GVA to the UK economy 79 4.14.13 (Design) England National data is presented below. There are 194000 people working in the Design sector 88% of the industry is located in England 91% of the sector is white. 68% of the sector is male. Design in England contributes £6.2B of GVA to the UK economy 80 6. Sub-sector Literature 6.1 A brief description of what the sub-sector covers at UK level The literature sector includes areas of work such as; aspiring writers, novelists, poets, playwrights, editors, agents, translators, critics and literature development sector. 6.2 Information on careers available and new emerging jobs, transferability of skills, career paths and opportunities for progression Jobs available in Literature include: Author Critic Editor Education Staff (Arts) Promoter Writer For full details see section on Job Profiles (8.10) For more information on careers in the literature industry visit Creative Choices. 6.3 Information on pay scales in the sector Pay scales in this industry are variable and therefore care should be taken when advising on this area. The following data provides an indication of the wages structure of the current literature workforce: <1% earn more than £41,000 per annum 20% earn between £29,000-£41,000 29% earn between £20,000-£29,000 17% earn between £10,000-£20,000 34% earn less than £10,000 81 6.4 Information on entry requirements, application processes (e.g. Apprenticeships) The literature sector needs a high quality, able workforce. It has to be attractive to those people with the skills and competencies that will help the sector grow and thrive. Similarly it must equip those already in post for their current role and for progression to the next, while at the same time building leadership capacity at all levels. The sector‟s size and demography means there are relatively few opportunities for career progression within. Furthermore, organising effective professional development can seem onerous when organisations have limited funds and few staff managing large workloads. It is often a struggle to provide full and effective professional development provision even where there is a commitment to doing so. In the industry, as their highest qualification: 67% have a level 4+ qualification (degree and above) 4% have a level 4 qualification (foundation degree level) 9% have a level 3 qualification (A-levels) 9% have a level 2 qualification (GCSE level) 3% have a below level 2 qualification or no qualification 82 The sector is relatively small and historically its activity has been funding-driven, with many organisations dependent on core funding from the public purse or charitable sources. The work of the sector is carried out by organisations employing low numbers of staff and a relatively high proportion of freelancers, or people employed on short-term contracts. For all groups the availability of posts fluctuates with the ebb and flow of funding. Literature salaries do not compare particularly well to other sectors, either outside or within the arts field. Creative Apprenticeships: The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t normally have the chance to work in, for example, music or theatre, are given flexible workbased learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. There are no current plans for a Creative Apprenticeship in Literature. 6.5 Qualifications In all the creative and cultural industries, the dominance of „talent‟ as the raw material on which the sector depends is often perceived as transcending educational processes such as examinations, qualifications and training. In schools, GCSE and A Level qualifications are available in English and English Literature. There is a specific creative writing option within the sector related disciplines of the new Diploma in Creative & Media (more information available here www.skillset.org) The only accredited vocational qualification available in the literature sector is a Level 3 Award in Narrative Structures. This qualification prepares learners for further learning and develops their knowledge and skills in literature. 83 There are a number of undergraduate and postgraduate degrees available in areas of literature such as comparative literary studies, English studies, and Imaginative writing. These can be found through Creative Choices Find a Course tool There are a large number of non-accredited, bespoke training schemes such as the National Association of Writers in Education (NAWE) Professional Development Programme and the Arvon residential writing course run by writers. Apprenticeships: The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t normally have the chance to work in, for example, music or theatre, are given flexible workbased learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. There are no current plans for a Creative Apprenticeship in Literature. Training, Further and Higher Education: Literature specific education and training information can be found through Creative Choices Find a Course tool and Creative & Cultural Skills Sector Qualification Strategy. 6.6 Data on employment and labour market trends and forecasts Across the UK there are 17,805 businesses employing just over 68,900 people. 93% of the industry employs less than 5 people. Business and workforce characteristics 74400 people currently work in the literary arts industry. Literary arts contribute £2.1B to the UK economy. 54% of the sector is male o Both men and women (71% and 70% respectively) are highly likely to have at least a level 4 qualification o Women (57%) are more likely to earn less than £20,000 per year than men (43%) 91% of the workforce is white. 65% of the workforce are self employed o Self employed workers are slightly more likely to have a level 4 or above qualification than those who are employed (75% and 65% respectively) There are 17,000 businesses in the sector. 95% employ less than 50 people. The following aspects are key in the literature sector: The core craft skill itself is generally seen as instinctive and cannot be taught. It can however be nurtured (with the exception of storytelling which can be „experienced‟ in the nature of a tradition). Professionalism exists on a scale - from hobbyist to full time professional. Demarcations along this continuum are blurred, but the following indicative definitions are possible (in this case using authors): o Emergent authors – hobbyists that may have published or are otherwise engaged in the field in a professional manner (e.g. by readings, or perhaps completion of a writers retreat). 84 o Portfolio authors – being writers that, in addition to being directly involved in professional writing, are involved in areas closely related to writing (such as education, workshop facilitation or occupational therapy). o Full time professionals – those who earn a sustainable living from the industry. The fragmentation of key markets in the publishing sector has led to the need for an „augmentation‟ of skills that can at any point involve editing, proof reading, marketing and so on. Skills involved in the technical or production side of the industry are becoming more and more important. The artist as educator is seen as vital in the sector: there is a clear link between art and education, with authors, poets and storytellers involved as educators most typically in schools, but also in facilitating community and prison workshops, in a form akin to occupational therapy. This brings up a number of issues: o Compliances such as Child Protection (CRBC). (The requirement that an employer apply for this on the freelancers‟ behalf can create difficulties for very short-term contracts). o Relevant training in educational delivery as appropriate. Also, given the seeming pervasiveness of the artist as educator, the question of its location within existing provision arises, by embedding formalised education skills. o The artist as trainer is equally important, although not as common with the artist acting as trainer and facilitator in corporate settings. There is a link to advertising, specifically branding with professional writers, and storytellers narrating the corporate story. Changes in employment: The key drivers of change in the industry include: Legislative changes: It is an increasingly difficult market to access, which is reflected throughout the supply chain. Artists find that they are producing a product themselves and finding an alternative market. Technology: This has shortened the necessary steps required for a literary artist to take their creative work to a finished creative product. It is now within the means of an author to self-publish a book or a poet to record a DVD. Markets: The development of new markets and technology have opened up the accessibility of the literary arts to a wider group. Further information is available in The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries. 6.7 Skill shortages Three broad skills shortage areas are described below; drivers of skills, current skills needs and future skills need. Drivers of Skills The key drivers of change in the industry include: Legislative changes: It is an increasingly difficult market to access, which is reflected throughout the supply chain. Artists find that they are producing a product themselves and finding an alternative market. Technology: This has shortened the necessary steps required for a literary artist to take their creative work to a finished creative product. It is now within the means of an author to self-publish a book or a poet to record a DVD. 85 Markets: The development of new markets and technology have opened up the accessibility of the literary arts to a wider group. Current Skills With regards to current skills needs in the industry: Creative roles lacking writing skills Management roles lacking technical skills (copyright, internet strategy development) IT roles lacking internet development skills Finance staff lacking book-keeping skills Future Skills Key future skills include: Editing Creative writing skills Editing Professional skills (now encapsulating previous professional skills and education skills) Fundraising (at all levels, from entry to senior) Transition skills IT / Digital Further information on skills shortages is available in The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries. 6.8 Information on opportunities for adults changing career direction There are many different careers that can be pursued within literature and professionalism exists on a scale - from hobbyist to full time professional. The core craft skill of writing is generally seen as instinctive and cannot be taught. It can however be nurtured and qualifications and training can help develop writing skills. There are a number of undergraduate and postgraduate degrees available in areas of literature such as comparative literary studies, English studies, and Imaginative writing. There are a large number of nonaccredited, bespoke training schemes such as the National Association of Writers in Education (NAWE) Professional Development Programme and the Arvon residential writing course run by writers. Developing business skills and an understanding of the industry is also vital in order to be able to profit from writing. A wide range of careers in publishing, editing and education are also possible. For more information visit Creative Choices Careers Clinic tool. 6.9 Information on points of entry or transfer into a sector from another area sector. There are many different careers that can be pursued within literature and professionalism exists on a scale - from hobbyist to full time professional. The core craft skill of writing is generally seen as instinctive and cannot be taught. It can however be nurtured and qualifications and training can help develop writing skills. There are a number of undergraduate and postgraduate degrees available in areas of literature such as comparative literary studies, English studies, and Imaginative writing. There are a large number of nonaccredited, bespoke training schemes such as the National Association of Writers in 86 Education (NAWE) Professional Development Programme and the Arvon residential writing course run by writers. Developing business skills and an understanding of the industry is also vital in order to be able to profit from writing. A wide range of careers in publishing, editing and education are also possible and being able to demonstrate transferable skills enhances employment opportunities. For more information visit Creative Choices Careers Clinic tool. 6.10 Job profiles Job profiles in the Literature industry can be found on Creative Choices Job Profile page. Job profiles listed are as follows: Author Critic Editor Education Staff (Arts) Promoter Writer 6.11 Case studies A number of case studies are available, about working in the literature industry; these can be found on Creative Choices Literature Case Studies page. 6.12 FAQs Q. I want to work in Literature, but I have no qualifications or experience. What should I do? It is not always necessary to have qualifications to work in literature. To be a writer, you can develop your writing skills informally or formally; there are creative writing courses at Higher Education level or numerous informal long and short-term training courses available. As most writers support their practice by taking their writing into education and community settings, gaining some experience or skills in working in the community may also help. To work in the wider literature sector, a degree in Literature or a Humanities subject is usually required. Volunteering or doing an internship, for example at a literature development organization or literature festival, is also common route through to work. Networking and getting involved in literature projects is a good way to meet potential employers, improve your practice and scope what opportunities exist in the sector. Q. Once I gain employment what are the opportunities for progression? Progression for someone working within literature is dependent on what they do. Practicing freelance or self-employed writers often have a portfolio career and would measure success in terms of such things as publication, making a living from their practice, peer recognition or representation by an agent. Writers who work in an academic environment can “progress” to having full-time teaching jobs. As most literature organizations are small, jobs tend to be multi-faceted and provide you with the opportunity to learn a range of skills to move into different areas within and outside the sector. 6.13 Sources of additional information, web-links etc Further information about the industry and links to industry organisations can be found on Creative Choices Literature Links page 87 For the latest news, events and career information for the literature industry visit the Creative Choices Literature News Pages 6.14 Creative and Cultural Industry Regional Information The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. For national and regional creative and cultural industries news visit Creative Choices Creative and Cultural Industries News pages 6.14.1 East Midlands Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages. The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 44380 people in the Creative & Cultural Skills workforce. This 7% of the UK workforce. 35% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 63% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 54% under 40 years. The region contributes £1.1B or 4% GVA, UK £25B. GVA per employee is £25,000 There are 3950 creative businesses in the region. 92% of creative businesses employ less than 50 people and 8% have a turnover of more than £1M. 6.14.2 East of England Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 63,700 people in the Creative & Cultural Skills workforce. 88 This 9% of the UK workforce. 37% are self employed, (41% UK Creative & Cultural Skills average), (UK total workforce average 12%). 66% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 46% under 40 years. The region contributes £1.8B or 7% GVA, UK £25B. GVA per employee is £27000 There are 6710 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1M. 6.14.3 London Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 164690 people in the Creative & Cultural Skills workforce in London, this represents 24% of the workforce. 51% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 84% of the sector workforce is white 56% under 40 years. The industries contribute £13.1B GVA of the Creative & Cultural UK wide £25B GVA per employee is £79700 There are 21600 businesses in London. 93% of the businesses employ less than 50 people and 7% have a turnover of more than £1M 6.14.4 North East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 19680 people in the Creative & Cultural Skills workforce. This 3% of the UK workforce. 38% are self employed, UK average 41%. 89 63% of the workforce is male, UK Creative & Cultural workforce average 60% (UK total workforce average 54%). 96% of the sector workforce is white and 53% under 40 years. The region contributes £491 million or 2% GVA, UK £25B. GVA per employee is £25000 There are 1330 creative businesses in the region. 90% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m 6.14.5 North West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 59580 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 34% are self employed majority in Arts and Music, UK Creative & Cultural workforce total 41% (UK total workforce average 12%). 62% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 55% under 40 years. The region contributes £1.9B or 8% GVA, UK £25B. GVA per employee is £32 200 There are 5660 creative businesses in the region. 91% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m. 6.14.6 South East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 98170 people in the Creative & Cultural Skills workforce. This 14% of the UK workforce. SE and London together represent 44% of the UK workforce. 43% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%), 90 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 97% of the sector workforce is white and 47% under 40 years. The region contributes £3.8B or 15% GVA, UK £25B. GVA per employee is £39 200. There are 12 300 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1m. 6.14.7 South West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 60690 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 47% are self employed majority in Arts, Design and Music, UK Creative & Cultural workforce average 41% (UK total workforce average 12%). 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 98% of the sector workforce is white and 46% under 40 years. The region contributes £1.5B or 6% GVA, UK £23.5B. GVA per employee is £25000 There are approximately 5000 creative businesses in the region 93% employ less than 50, 7% have a turnover of more than £1m. 6.14.8 West Mids Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 40300 people in the Creative & Cultural Skills workforce. This 6% of the UK workforce. 31% are self employed. This is the lowest regional figure, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total workforce average 54%). 91 91% of the sector workforce is white, and 49% under 40 years. The region contributes £1.7B or 6% GVA, UK £25B. GVA per employee is £41 500 There are 5060 creative businesses in the region. 91% of creative businesses employ less than 150 people and 8% have a turnover of more than £1m. 6.14.9 Yorkshire and the Humber Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 45900 people in the Creative & Cultural Skills workforce. This 7% of the UK workforce. 40% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 60% of the workforce is male, the same as the UK Creative & Cultural Skills average (UK total UK workforce average 54%). 97% of the sector workforce is white and 53% under 40 years. The region contributes £1.4B or 6% GVA, UK £25B. GVA per employee is £31200 There are just under 4000 creative businesses in the region. 90% of creative businesses employ less than 50 people and 8% have a turnover of more than £1m. 6.14.10 (Literature) Northern Ireland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 74400 people working in the literature sub-sector 2% of the industry is located in N. Ireland. More than 99% of the sector is white. 37% of the sector is male. Literature in Northern Ireland contributes £11M of GVA to the UK economy 4.14.11 (Literature) Scotland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 74000 people working in the Literature sector 92 5% of the Literature industry is located in Scotland 95% of the Literature Sector is white. 46% of the Literature sector is male. Literature in Scotland contributes £52M of GVA to the UK economy 4.14.12 (Literature) Wales Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level National data is presented below. There are 74000 people working in the Literature sector 3% of Literature industry is located in Wales 98% of literature sector is white. 46% of the literature sector is male. Literature in Wales contributes £27M of GVA to the UK economy 4.14.13 (Literature) England National data is presented below. There are 74000 people working in Literature sub-sector 91% of the Literature industry is located in England 95% of the Literature sector is white. 55% of the Literature sector is male. Literature in England contributes £2B of GVA to the UK economy 93 7. Sub-sector Music 7.1 A brief description of what the sub-sector covers at UK level The music industry includes trade associations, businesses and employers in recording/labels companies, music publishers, musical instruments & audio production & retail, live events & promotion, specialist music retailers and not-for-profit music organisation, as well as music education and training providers. 7.2 Information on careers available and new emerging jobs, transferability of skills, career paths and opportunities for progression Jobs available in Music include: Agent Artistic Director Arts Administrator Booking Agent Classical Musician Community Musician Composer/Arranger Development Staff Distribution Staff DJ Events Staff Licensing and Royalty Collection Lighting Technician Lyricist/Songwriter Management (Record Retail) Management (Record Label) Manager (Music) Marketing (Record Label) Music and Audio Manufacturer Music Conductor Music Director Music Industry Promotions manager Music Publisher Music Teacher Musical and Audio repairs Musical Instrument Maker Performer (Music) Performer (Recording Artist) Popular Musician Producer Live Event Producer / Engineer Producer (Music) Publicity and Promotions Record Production and Marketing Singer Sound Engineer Sound Technician Studio Manager Technical Support (Studios and facilities) For full details see section on Job Profiles (8.10) For more information on careers in the music industry visit Creative Choices. 94 7.3 Information on pay scales in the sector Pay scales in this industry are variable and therefore care should be taken when advising on this area. The following data provides an indication of the wages structure of the current music workforce: 5% earn more than £41,000 per annum 19% earn between £29,000-£41,000 16% earn between £20,000-£29,000 21% earn between £10,000-£20,000 39% earn less than £10,000 7.4 Information on entry requirements, application processes (e.g. Apprenticeships) In the industry, as their highest qualification: 36% have a level 4+ qualification (degree and above) 4% have a level 4 qualification (foundation degree level) 18% have a level 3 qualification (A-levels) 20% have a level 2 qualification (GCSE level) 13% have a below level 2 qualification or no qualification 95 Creative Apprenticeships: The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t normally have the chance to work in, for example, music or theatre, are given flexible workbased learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. In Music the following pathway has been developed: Pathway Activity 1. Live Events and Promotion Promotion of live events Making license applications Planning a live event/ booking venues Technical support Stage management support Supporting artists 2. Music Business Working with artists Production of contracts Preparing royalty statements Supporting a music industry marketing campaign Looking at the impact of the web Job Roles Director’s Assistant Assistant Stage Manager Production Assistant Technical Assistant Wardrobe Licensing/Contracts Artist Management Publicity & Promotion Programmer Producers' Assistant Marketing & Communications Artist Management Booking Agent 96 National Skills Academy: The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries revealed a need for 30,000 technical staff and the need to replace and expand the current workforce by 2013 including to support the London 2012 Olympics and Paralympic Games. Through the Academy, we will address the urgent skills shortages in theatre and live music. There is currently as mis-match between the investment in performing arts and music provision within the education sector and the needs of employers in the sector. Students are attracted to courses in further and higher education which do not lead to employment and employers are not engaging adequately with the training and education world. The National Skills Academy is made up of a network of employers and colleges throughout England. It is supported by the LSC, Arts Council England, the Regional Development Agencies (particularly in the Thames Gateway) as well as the trades unions, the Association of Colleges and industry bodies such as the Independent Theatre Council (TMA), the Society of London Theatres (SoLT), and the Professional Lighting and Sound Association (PLASA). 7.5 Qualifications In all the creative and cultural industries, the dominance of „talent‟ as the raw material on which the sector depends is often perceived as transcending educational processes such as examinations, qualifications and training. In schools, GCSE and A Level qualifications are available in Music. There is a specific music option within the sector related disciplines of the new Diploma in Creative & Media (more information available here www.skillset.org.uk). There are a large number of qualifications that prepare learners for further learning and develop their knowledge and/ or skills in music disciplines. This includes around 30 graded exam qualifications in areas such as music performance, music literacy and music theatre. There are also around 150 accredited vocational qualifications in the music sector (levels 1– 7) available through Further Education colleges in areas such as music technology, music performance, music teaching, music practice, music composition and music business. In the classical (subsidised) music sector, qualifications gained at a small list of conservatoires in the Conservatoires UK group are often preferred by employers (The members are Birmingham Conservatoire, Leeds College of Music, Royal College of Music, Royal Northern College of Music, Royal Scottish Academy of Music and Drama, Royal Welsh College of Music and Drama, Trinity College of Music and The Guildhall School of Music and Drama). The only accredited occupational qualifications (which confirm a learner is competent in a particular occupation) currently available in music are the Level 2 and 3 National Awards in Music Business (Recording Industry), and the Level 2 and 3 National Awards in Live Events and Promotion. These form part of the Creative Apprenticeship (more information available here: http://www.creative-choices.co.uk/server.php?show=nav.189) There are a large number of undergraduate and postgraduate degrees in music. There are also around 30 foundation degrees in subjects such as Music and New Media Management, Music Technology, Live Music and Touring Production and Musical Instruments. These can be found through Creative Choices Find a Course tool Employers often develop their own courses and trade organisations commonly arrange well received short training courses (neither usually lead to qualifications). Examples are the Association of British Orchestras‟ Brass Tacks Professional development and business training; The Royal School of Church Music‟s Voice for Life Training Scheme and London Centre of Contemporary Music‟s LCCM Foundation. Apprenticeships The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t 97 normally have the chance to work in, for example, music or theatre, are given flexible workbased learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. In Music the following pathway has been developed: Pathway Activity 1. Live Events and Promotion Promotion of live events Making license applications Planning a live event/ booking venues Technical support Stage management support Supporting artists 2. Music Business Working with artists Production of contracts Preparing royalty statements Supporting a music industry marketing campaign Looking at the impact of the web Job Roles Director’s Assistant Assistant Stage Manager Production Assistant Technical Assistant Wardrobe Licensing/Contracts Artist Management Publicity & Promotion Programmer Producers' Assistant Marketing & Communications Artist Management Booking Agent National Skills Academy: The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries revealed a need for 30,000 technical staff and the need to replace and expand the current workforce by 2013 including to support the London 2012 Olympics and Paralympic Games. Through the Academy, we will address the urgent skills shortages in theatre and live music. There is currently as mis-match between the investment in performing arts and music provision within the education sector and the needs of employers in the sector. Students are attracted to courses in further and higher education which do not lead to employment and employers are not engaging adequately with the training and education world. The National Skills Academy is made up of a network of employers and colleges throughout England. It is supported by the LSC, Arts Council England, the Regional Development Agencies (particularly in the Thames Gateway) as well as the trades unions, the Association of Colleges and industry bodies such as the Independent Theatre Council (TMA), the Society of London Theatres (SoLT), and the Professional Lighting and Sound Association (PLASA). Training, Further and Higher Education: Music specific education and training information can be found through Creative Choices Find a Course tool and Creative & Cultural Skills Sector Qualification Strategy. 7.6 Data on employment and labour market trends and forecasts Across the UK there are 13800 businesses employing just over 102,000 people. 89% of businesses in the industry employ less than 50 people. Business and workforce characteristics 102,000 people work in the music Industry. 46% are self employed 98 o Self employed workers are more likely (51%) to have a level 4 or above qualification than those who are employed (32%) Music contributes £4.2B of GVA to the UK economy. There is a significant majority of male workers in the sector (66%) o Men and women are equally likely to have a level 4 or above qualification (40%) o Women (78%) are more likely to earn less than £20,000 than men (51%) 92% of the music workforce is white. There are 13800 businesses in the music sector in the UK. 89% employ less than 50 people. The following aspects are key in the music sector: IT and Digital Technology development: The effects of digitalisation are numerous, from convergence of product delivery onto digital platforms, to the ease of creating and recording new music, to publishing and marketing this music. The Continuing Importance of Marketing: Despite changes surrounding distribution channels and entry barriers brought about by the digital revolution, the role marketing plays in achieving commercial success continues to be of prime importance. The sort of impact required to achieve success in an increasingly global marketplace brings very high levels of investment in marketing and promotion. Major labels are still likely to dominate the market, although possibly in different forms. The outsourcing of international marketing is emerging as a trend as companies reduce their fixed overheads. Engaging with Universities in Innovation Partnership: There is a relatively low rate of research and development collaboration with universities. Small Businesses in Music: There are some excellent examples of successful small businesses in the industry but the statistical data available about the skills agenda of the 17,680 or so SME music businesses is poor. Small businesses in the sector have considerable entrepreneurial drive led by people who will invest their personal collateral in their businesses. Better relationships with banks should be encouraged, and the perceived risk associated with small music businesses could be diminished through demonstrating better skills development. Keeping hold of Intellectual Property in small businesses is a real challenge. Changes in employment: The key drivers of change in the industry include: IT and Digital Technology: This ranges from convergence of product delivery onto digital platforms, to the ease with which new music can be created and marketed. In many cases new music that is considered cutting edge is developed through unique applications of technology, to create new sounds. Intellectual Property: With new distribution channels, challenges arise in both formal and informal ways of accessing music. 99 Marketing Specialisms: The role of marketing in achieving commercial success continues to be of prime importance. The sort of impact required to achieve success in an increasingly global marketplace brings very high levels of investment in marketing and promotion. Small Music Firms: At the heart of these businesses are organisations with considerable entrepreneurial drive led by people who will invest their personal funds in their businesses. Further information is available in The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries. 7.7 Skill shortages Three broad skills shortage areas are described below; drivers of skills, current skills needs and future skills need. Drivers of Skills IT and Digital Technology: This ranges from convergence of product delivery onto digital platforms, to the ease with which new music can be created and marketed. In many cases new music that is considered cutting edge is developed through unique applications of technology, to create new sounds. Intellectual Property: With new distribution channels, challenges arise in both formal and informal ways of accessing music. Marketing Specialisms: The role of marketing in achieving commercial success continues to be of prime importance. The sort of impact required to achieve success in an increasingly global marketplace brings very high levels of investment in marketing and promotion. Small Music Firms: At the heart of these businesses are organisations with considerable entrepreneurial drive led by people who will invest their personal funds in their businesses. Current Skills Management skills were considered most deficient in the industry. Significantly, a focus on the small business model is imperative. IT and Technical skills are also considered important skills needed by the industry. More collaboration with technology firms and universities will be important if the industry is to keep up to date with new developments. Live music has increased dramatically in the last ten years, and technical specialisms are vital to maintain this upsurge. Knowledge of specialist contract law and Intellectual Property rights is essential. Future Skills Creating and managing knowledge Management skills Selling and Marketing skills IT and digital skills Negotiation skills 100 Performing skills Further information on skills shortages is available in The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries. 7.8 Information on opportunities for adults changing career direction Different careers in music have different entry requirements. Understanding what these are and how to demonstrate relevant skills is vital. There are a large number of qualifications that can help develop knowledge and/ or skills in music disciplines. This includes around 30 graded exam qualifications in areas such as music performance, music literacy and music theatre. There are also around 150 accredited vocational qualifications in the music sector (levels 1–7) available through Further Education colleges in areas such as music technology, music performance, music teaching, music practice, music composition and music business. Qualifications do not guarantee entry into the music industry and on the job experience and a good understanding of how the industry operates is highly valued which means internships, apprenticeships or volunteering can enhance employment opportunities. For more information visit Creative Choices Careers Clinic tool. 7.9 Information on points of entry or transfer into a sector from another area sector. Different careers in music have different entry requirements. Understanding what these are and how to demonstrate relevant skills is vital. There are a large number of qualifications that can help develop knowledge and/ or skills in music disciplines. This includes around 30 graded exam qualifications in areas such as music performance, music literacy and music theatre. There are also around 150 accredited vocational qualifications in the music sector (levels 1–7) available through Further Education colleges in areas such as music technology, music performance, music teaching, music practice, music composition and music business. Qualifications do not guarantee entry into the music industry and on the job experience and a good understanding of how the industry operates is highly valued which means internships, apprenticeships or volunteering can enhance employment opportunities. For more information visit Creative Choices Careers Clinic tool. 7.10 Job profiles Job profiles in the Music industry can be found on Creative Choices Job Profile page. Job profiles listed are as follows: Author Critic Editor Education Staff (Arts) Promoter Writer 7.11 Case studies A number of case studies are available, about working in the music industry; these can be found on Creative Choices Music Case Studies page. 7.12 FAQs 101 Q. I want to work in commercial music, but I have no qualifications or experience. What should I do? Qualifications do not guarantee entry into the music industry however they are required for specific specialist functions around business affairs and finance. Jobs are limited and the supply of the potential workforce vastly outstrips demand. The value of training and education as perceived by employers in generally increasing but in an industry renowned for its „mavericks‟ there will always be a career route for the untrained, imaginative entrepreneur as well as the educated individual. 7.13 Sources of additional information, web-links etc Further information about the industry and links to industry organisations can be found on Creative Choices Music Links page For the latest news, events and career information for the music industry visit the Creative Choices Music News Pages 7.14 Creative and Cultural Industry Regional Information The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. For national and regional creative and cultural industries news visit Creative Choices Creative and Cultural Industries News pages 7.14.1 East Midlands Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages. The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 44380 people in the Creative & Cultural Skills workforce. This 7% of the UK workforce. 35% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 63% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 54% under 40 years. The region contributes £1.1B or 4% GVA, UK £25B. GVA per employee is £25,000 There are 3950 creative businesses in the region. 102 92% of creative businesses employ less than 50 people and 8% have a turnover of more than £1M. 7.14.2 East of England Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 63,700 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 37% are self employed, (41% UK Creative & Cultural Skills average), (UK total workforce average 12%). 66% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 46% under 40 years. The region contributes £1.8B or 7% GVA, UK £25B. GVA per employee is £27000 There are 6710 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1M. 7.14.3 London Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 164690 people in the Creative & Cultural Skills workforce in London, this represents 24% of the workforce. 51% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 84% of the sector workforce is white 56% under 40 years. The industries contribute £13.1B GVA of the Creative & Cultural UK wide £25B GVA per employee is £79700 There are 21600 businesses in London. 93% of the businesses employ less than 50 people and 7% have a turnover of more than £1M 103 7.14.4 North East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 19680 people in the Creative & Cultural Skills workforce. This 3% of the UK workforce. 38% are self employed, UK average 41%. 63% of the workforce is male, UK Creative & Cultural workforce average 60% (UK total workforce average 54%). 96% of the sector workforce is white and 53% under 40 years. The region contributes £491 million or 2% GVA, UK £25B. GVA per employee is £25000 There are 1330 creative businesses in the region. 90% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m 7.14.5 North West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 59580 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 34% are self employed majority in Arts and Music, UK Creative & Cultural workforce total 41% (UK total workforce average 12%). 62% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 55% under 40 years. The region contributes £1.9B or 8% GVA, UK £25B. GVA per employee is £32 200 There are 5660 creative businesses in the region. 91% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m. 7.14.6 South East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages 104 The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 98170 people in the Creative & Cultural Skills workforce. This 14% of the UK workforce. SE and London together represent 44% of the UK workforce. 43% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%), 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 97% of the sector workforce is white and 47% under 40 years. The region contributes £3.8B or 15% GVA, UK £25B. GVA per employee is £39 200. There are 12 300 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1m. 7.14.7 South West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 60690 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 47% are self employed majority in Arts, Design and Music, UK Creative & Cultural workforce average 41% (UK total workforce average 12%). 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 98% of the sector workforce is white and 46% under 40 years. The region contributes £1.5B or 6% GVA, UK £23.5B. GVA per employee is £25000 There are approximately 5000 creative businesses in the region 93% employ less than 50, 7% have a turnover of more than £1m. 7.14.8 West Mids Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages 105 The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 40300 people in the Creative & Cultural Skills workforce. This 6% of the UK workforce. 31% are self employed. This is the lowest regional figure, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total workforce average 54%). 91% of the sector workforce is white, and 49% under 40 years. The region contributes £1.7B or 6% GVA, UK £25B. GVA per employee is £41 500 There are 5060 creative businesses in the region. 91% of creative businesses employ less than 150 people and 8% have a turnover of more than £1m. 7.14.9 Yorkshire and the Humber Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 45900 people in the Creative & Cultural Skills workforce. This 7% of the UK workforce. 40% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 60% of the workforce is male, the same as the UK Creative & Cultural Skills average (UK total UK workforce average 54%). 97% of the sector workforce is white and 53% under 40 years. The region contributes £1.4B or 6% GVA, UK £25B. GVA per employee is £31200 There are just under 4000 creative businesses in the region. 90% of creative businesses employ less than 50 people and 8% have a turnover of more than £1m. 7.14.10 (Music) Northern Ireland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 102000 people working in Music 106 1% of the music industry is located in N. Ireland. 99% of the Music sector is white. 63% of the Music sector is male. Music in Northern Ireland contributes £59M of GVA to the UK economy 4.14.11 (Music) Scotland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 102000 people working in the Music sub-sector 6% of the Music industry is located in Scotland 98% of the Music sector is white. 63% of the Music sector is male. Music in Scotland contributes £230M of GVA to the UK economy 4.14.12 (Music) Wales Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 102000 people working in the Music sector 4% of the Music industry is located in Wales More than 99% of the Music sector is white. 69% of the sector is male. Music in Wales contributes £69M of GVA to the UK economy 4.14.13 (Music) England National data is presented below. There are 102000 people working in the Music sub-sector 88% of the Music industry is located in England 91% of the Music sector is white. 66% of the Music sector is male Music in England contributes £3.9B of GVA to the UK economy 107 8. Sub-sector Performing Arts 8.1 A brief description of what the sub-sector covers at UK level The performing arts industry includes everything from opera, dance, theatre through to street arts and carnival while skills needs include both backstage and onstage requirements. 8.2 Information on careers available and new emerging jobs, transferability of skills, career paths and opportunities for progression Jobs available in Performing Arts include: Actor Agent Artistic Director Arts Administrator Choreographer Circus Performer Costume Designer Dancer Entertainer Hair, Makeup and Wigs Lighting Technician Makeup Artist Props Maker Puppeteer Rigger Sound Engineer Sound Technician Special Effects Stage Manager Stage Hand Studio Manager Technical Manager Theatre Director Wardrobe Assistant For full details see section on Job Profiles (8.10) For more information on careers in the performing arts industry visit Creative Choices. 8.3 Information on pay scales in the sector Pay scales in this industry are variable and therefore care should be taken when advising on this area. The following data provides an indication of the wages structure of the current performing arts industry workforce: 18% earn more than £41,000 per annum <1% earn between £29,000-£41,000 10% earn between £20,000-£29,000 31% earn between £10,000-£20,000 42% earn less than £10,000 108 8.4 Information on entry requirements, application processes (e.g. Apprenticeships) Working as a performer unfortunately does not always provide constant and consistent income. Becoming a performing artist will probably require balancing a variety of part-time roles which could often include work not specific to the sector. Being proactive in considering potential sources of future income is essential to earn a sufficient living from performance, especially in the early stages of careers. There is a lack of structured career paths and progression plus information for employers and individuals about the relevance and value of courses to enter into performing arts. For more information visit the Performing Arts Page on Creative Choices In the industry, as their highest qualification: 40% have a level 4+ qualification (degree and above) 4% have a level 4 qualification (foundation degree level) 18% have a level 3 qualification (A-levels) 20% have a level 2 qualification (GCSE level) 11% have a below level 2 qualification or no qualification 109 Creative Apprenticeships: The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t normally have the chance to work in, for example, performing arts or theatre, are given flexible work-based learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. In performing arts the following pathways have been developed: Pathway Activity Job Roles Technical Theatre Planning sound/lighting Getting in, fitting up, getting out Operating sound/lighting Running and crewing an ongoing production Setting up/checking sound Stage Assistant Production Assistant Technical Assistant Lighting/Stage Engineer Rigger/Flyman Special Effects & Pyrotechnics Costume & Wardrobe Community Arts & Education Drafting patterns for costumes Making, fitting and altering costumes Planning, maintaining & sourcing costumes, materials & equipment Acquiring funding/bursaries Developing a project Partnership building/liaison Cross art form collaboration * Peer training, mentoring Wardrobe Assistant Pattern Cutting Repairs & Alterations Costume Design Arts Development officer/ coordinator Outreach worker Youth work Fundraising Assistant Community Artist 110 National Skills Academy: The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries revealed a need for 30,000 technical staff and the need to replace and expand the current workforce by 2013 including to support the London 2012 Olympics and Paralympic Games. Through the Academy, we will address the urgent skills shortages in theatre and live performing arts. There is currently as mis-match between the investment in performing arts and performing arts provision within the education sector and the needs of employers in the sector. Students are attracted to courses in further and higher education which do not lead to employment and employers are not engaging adequately with the training and education world. The National Skills Academy is made up of a network of employers and colleges throughout England. It is supported by the LSC, Arts Council England, the Regional Development Agencies (particularly in the Thames Gateway) as well as the trades unions, the Association of Colleges and industry bodies such as the Independent Theatre Council (TMA), the Society of London Theatres (SoLT), and the Professional Lighting and Sound Association (PLASA). 8.5 Qualifications In all the creative and cultural industries, the dominance of „talent‟ as the raw material on which the sector depends is often perceived as transcending educational processes such as examinations, qualifications and training. In schools, GCSE and A Level qualifications are available in Performing Arts as well as drama & theatre studies, dance and expressive arts. There are specific dance and drama options within the sector related disciplines of the new Diploma in Creative & Media (more information available here www.skillset.org) There are a large number of qualifications that prepare learners for further learning and develop their knowledge and/ or skills in performing arts disciplines. There are around 50 graded exam qualifications in areas such as speech & drama, ballet, drama, dance, speech and communication skills. There are also around 50 accredited vocational qualifications (levels 1–7) offered by a variety of Awarding Bodies through colleges and employers in areas such as performing skills, drama, speech and drama education, and technical theatre. The only accredited occupational qualifications (which confirm a learner is competent in a particular occupation) are Level 2 and 3 National Awards in Technical Theatre (Costume & Wardrobe and Rigging, Lighting and Sound). These form part of the Creative Apprenticeship, along with other relevant pathways in Live Events & Promotion and Community Arts (more information available here: http://www.creative-choices.co.uk/server.php?show=nav.189) Trade associations such as the Professional Lighting and Sound Association (PLASA) have developed qualifications which they have validated. The Dance and Drama Awards (DaDA) scheme also has validated courses and training for singers, dancers and stage managers developed by the sector and has drawn bespoke solutions into the formal Further and Higher Education sector. In very specialist areas employers prefer graduates from a preferred list of specialist courses. For acting, dancing and stage management employers prefer students graduating from Higher Education Institutions and Further Education offering DaDA funded qualifications. There are a large number of undergraduate and postgraduate degrees in both dance and drama. There are also foundation degrees in subjects such as Acting, Ballet, Dance & Theatre Arts, Touring and Community Theatre and Inclusive Performance. These can be found through Creative Choices Find a Course tool Creative Apprenticeships: The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t normally have the chance to work in, for example, performing arts or theatre, are given 111 flexible work-based learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. In performing arts the following pathways have been developed: Pathway Activity Job Roles Technical Theatre Planning sound/lighting Getting in, fitting up, getting out Operating sound/lighting Running and crewing an ongoing production Setting up/checking sound Stage Assistant Production Assistant Technical Assistant Lighting/Stage Engineer Rigger/Flyman Special Effects & Pyrotechnics Costume & Wardrobe Community Arts & Education Drafting patterns for costumes Making, fitting and altering costumes Planning, maintaining & sourcing costumes, materials & equipment Acquiring funding/bursaries Developing a project Partnership building/liaison Cross art form collaboration * Peer training, mentoring Wardrobe Assistant Pattern Cutting Repairs & Alterations Costume Design Arts Development officer/ coordinator Outreach worker Youth work Fundraising Assistant Community Artist National Skills Academy: The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries revealed a need for 30,000 technical staff and the need to replace and expand the current workforce by 2013 including to support the London 2012 Olympics and Paralympic Games. Through the Academy, we will address the urgent skills shortages in theatre and live performing arts. There is currently as mis-match between the investment in performing arts and performing arts provision within the education sector and the needs of employers in the sector. Students are attracted to courses in further and higher education which do not lead to employment and employers are not engaging adequately with the training and education world. The National Skills Academy is made up of a network of employers and colleges throughout England. It is supported by the LSC, Arts Council England, the Regional Development Agencies (particularly in the Thames Gateway) as well as the trades unions, the Association of Colleges and industry bodies such as the Independent Theatre Council (TMA), the Society of London Theatres (SoLT), and the Professional Lighting and Sound Association (PLASA). Training, Further and Higher Education: Performing arts specific education and training information can be found through Creative Choices Find a Course tool and Creative & Cultural Skills Sector Qualification Strategy. 8.6 Data on employment and labour market trends and forecasts Across the UK there are 5,480 businesses employing just over 102,000 people. 92% of businesses in the industry employ less than 50 people. Business and workforce characteristics 102000 people currently work in the performing arts sector. 58% are self-employed 112 o Self employed workers (50%) are slightly less likely to have a level 4 or above qualification than those who are employed (41%) Performing arts contribute £4.6B to the UK economy. 51% of the sector is male o Men and women are equally likely to have a level 4 or above qualification (45%) o Men (87%) are much more likely to earn less than £20,000 per year than women (58%) 94% of the workforce is white. There are 5,480 businesses in the sector. 92% employ less than 50 people. There are a high number of freelancers in the sector and portfolio working is common with a second job to supplement artistic income. Income may also be seasonal. The sector is also well qualified but poorly paid. Experience is valued and at entry level this leads to volunteering, which is a barrier to workforce diversity. There is a lack of career structures or paths to support progression, for example for technical staff or middle managers progressing to senior management. This means people leave the sector, particularly women. Many performing arts organisations face competition for venues to stage events. It is essential that touring companies gain good box office returns at the venue, or they may not be invited back. Public funding is a key revenue stream often from the relevant national Arts Council, The sector, therefore, is also sensitive to changes in public funding and policy towards the arts. Where training needs are identified, freelancers and smaller theatres often find it difficult to organise and cannot achieve the volumes necessary for economic training (whereas a large national theatre could potentially run something in-house). Past high levels of European funding have contributed to a community based arts culture. This means that there is more of a „bottom-up‟ approach to the arts, with education tending to be participant led. Changes in employment: The key drivers of change in the industry include: Funding: Since such a large proportion of performing arts are reliant upon funding from various sources, changes in this landscape can have serious consequences. The Increasing Importance of Freelancing: Freelancers may originate from different areas. For example there are those that started as employees and broke out and those that have come out of university straight into freelancing because they cannot find employment. These people tend to be around 20-25 years old. Evidence of the need to become multi-skilled and have more to offer employers can be observed through the wide range of courses that freelancers enrol on. Regulation: Health & Safety and Human Resources: Regulation means that rigging, working at height, HR, the Working Time Directive etc., have a significant impact on production & rehearsal schedules i.e. imposing regulations and limitations on a fixed structure by consuming more of existing workers time. 113 There will be a need for 30,000 back stage and technical staff in the performing arts and live performance by 2017. Further information is available in The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries. 8.7 Skill shortages Three broad skills shortage areas are described below; drivers of skills, current skills needs and future skills need. Drivers of Skills Funding: Since such a large proportion of performing arts are reliant upon funding from various sources, changes in this landscape can have serious consequences. The Increasing Importance of Freelancing: Freelancers may originate from different areas. For example there are those that started as employees and broke out and those that have come out of university straight into freelancing because they cannot find employment. These people tend to be around 20-25 years old. Evidence of the need to become multi-skilled and have more to offer employers can be observed through the wide range of courses that freelancers enrol on. Regulation: Health & Safety and Human Resources: Regulation means that rigging, working at height, HR, the Working Time Directive etc., have a significant impact on production & rehearsal schedules i.e. imposing regulations and limitations on a fixed structure by consuming more of existing workers time. There will be a need for 30,000 back stage and technical staff in the performing arts and live performance by 2017. Current Skills Education skills with education staff are becoming harder to recruit while teaching skills are seen as an issue for existing staff. Also education skills for artists/practitioners working in schools and community settings. Technical skills: in particular in relation to technical theatre and live events. Management skills: for specialists and artist/practitioners moving into management. This is also contributing to lack of career progression to senior positions. Customer service is also seen as a management gap. IT skills for artists: managers and in marketing. Marketing skills: in relation to fundraising, selling and developing new markets. Business and professional skills: in the transition from education to work, also generically in business planning and finance. Future Skills Creative and performance skills: in areas of growth e.g. street arts. Technical skills: with demand for experienced staff/practitioners. Leadership and management skills: for freelance/portfolio working and collaboration. Education and community development skills: for organisations and artist/practitioners. Fundraising from entry level upwards with an increasing demand for fundraisers. 114 Further information on skills shortages is available in The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries. 8.8 Information on opportunities for adults changing career direction It can be difficult to find out about structured career paths and progression into the performing arts. Working as a performer unfortunately does not always provide constant and consistent income. Becoming a performing artist will probably require balancing a variety of part-time roles which could often include work not specific to the sector. Being proactive in considering potential sources of future income is essential to earn a sufficient living from performance, especially in the early stages of careers. There are a large number of qualifications that prepare develop knowledge and/ or skills in performing arts disciplines and in some areas, like technical theatre, these are becoming mandatory. Experience is valued and at entry level this often means stints of volunteering. For more information visit Creative Choices Careers Clinic tool. 8.9 Information on points of entry or transfer into a sector from another area sector. It can be difficult to find out about structured career paths and progression into the performing arts. Working as a performer unfortunately does not always provide constant and consistent income. Becoming a performing artist will probably require balancing a variety of part-time roles which could often include work not specific to the sector. Being proactive in considering potential sources of future income is essential to earn a sufficient living from performance, especially in the early stages of careers. There are a large number of qualifications that prepare develop knowledge and/ or skills in performing arts disciplines and in some areas, like technical theatre, these are becoming mandatory. Experience is valued and at entry level this leads to stints of volunteering. Many careers in the performing arts value transferable skills or qualifications particularly if gained within the creative sector, for example education, marketing or finance. For more information visit Creative Choices Careers Clinic tool. 8.10 Job profiles Job profiles in the Performing arts industry can be found on Creative Choices Job Profile page. Job profiles listed are as follows: Actor Agent Artistic Director Arts Administrator Choreographer Circus Performer Costume Designer Dancer Entertainer Hair, Makeup and Wigs Lighting Technician Makeup Artist Props Maker Puppeteer Rigger 115 Sound Engineer Sound Technician Special Effects Stage Manager Stage Hand Studio Manager Technical Manager Theatre Director Wardrobe Assistant 8.11 Case studies A number of case studies are available, about working in the literature industry; these can be found on Creative Choices Performing Arts Case Studies page. 8.12 FAQs Q. I want to work in the Performing Arts, but I have no qualifications or experience. What should I do? Qualifications are important if you want to work as a performer. Professional training at a recognized dance or drama school is the most conventional way to train, although it should be mentioned that competition for places (and for jobs afterwards) is high. Before attending a vocational school, you will need to have had as much practical experience as possible, and for dance particularly you will need to train from a young age. As most performers support their practice by working in education and community settings, gaining some experience or skills in teaching may also help. A Further Education course in Stage Management or Technical Theatre courses is a route into the management or backstage side of the sector, where the chance of employment is much higher. Q. Once I gain employment what are the opportunities for progression? Performers are very likely to have a portfolio career, working as a freelance or self-employed performer. Your career may involve work in film, corporate training videos, radio, commercials, voice-overs, cruise ship entertainment, small-scale theatre touring, theatre-ineducation and West End productions. Some performers later move into the management side of the sector, where you could direct, produce or be involved in the running of a company or venue. Opportunities in technical theatre and other backstage roles are varied, as there are many different kinds of venues, touring companies, festivals and other events where your skills will equip you to work. 8.13 Sources of additional information, web-links etc Further information about the industry and links to industry organisations can be found on Creative Choices Performing Arts Links page For the latest news, events and career information for the visual arts industry visit the Creative Choices Visual Arts News Pages 8.14 Creative and Cultural Industry Regional Information The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. For national and regional creative and cultural industries news visit Creative Choices Creative and Cultural Industries News pages 116 8.14.1 East Midlands Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages. The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 44380 people in the Creative & Cultural Skills workforce. This 7% of the UK workforce. 35% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 63% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 54% under 40 years. The region contributes £1.1B or 4% GVA, UK £25B. GVA per employee is £25,000 There are 3950 creative businesses in the region. 92% of creative businesses employ less than 50 people and 8% have a turnover of more than £1M. 8.14.2 East of England Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 63,700 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 37% are self employed, (41% UK Creative & Cultural Skills average), (UK total workforce average 12%). 66% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 46% under 40 years. The region contributes £1.8B or 7% GVA, UK £25B. GVA per employee is £27000 There are 6710 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1M. 8.14.3 London 117 Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 164690 people in the Creative & Cultural Skills workforce in London, this represents 24% of the workforce. 51% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 84% of the sector workforce is white 56% under 40 years. The industries contribute £13.1B GVA of the Creative & Cultural UK wide £25B GVA per employee is £79700 There are 21600 businesses in London. 93% of the businesses employ less than 50 people and 7% have a turnover of more than £1M 8.14.4 North East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 19680 people in the Creative & Cultural Skills workforce. This 3% of the UK workforce. 38% are self employed, UK average 41%. 63% of the workforce is male, UK Creative & Cultural workforce average 60% (UK total workforce average 54%). 96% of the sector workforce is white and 53% under 40 years. The region contributes £491 million or 2% GVA, UK £25B. GVA per employee is £25000 There are 1330 creative businesses in the region. 90% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m 8.14.5 North West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages 118 The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 59580 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 34% are self employed majority in Arts and Music, UK Creative & Cultural workforce total 41% (UK total workforce average 12%). 62% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 55% under 40 years. The region contributes £1.9B or 8% GVA, UK £25B. GVA per employee is £32 200 There are 5660 creative businesses in the region. 91% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m. 8.14.6 South East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 98170 people in the Creative & Cultural Skills workforce. This 14% of the UK workforce. SE and London together represent 44% of the UK workforce. 43% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%), 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 97% of the sector workforce is white and 47% under 40 years. The region contributes £3.8B or 15% GVA, UK £25B. GVA per employee is £39 200. There are 12 300 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1m. 8.14.7 South West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages 119 The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 60690 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 47% are self employed majority in Arts, Design and Music, UK Creative & Cultural workforce average 41% (UK total workforce average 12%). 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 98% of the sector workforce is white and 46% under 40 years. The region contributes £1.5B or 6% GVA, UK £23.5B. GVA per employee is £25000 There are approximately 5000 creative businesses in the region 93% employ less than 50, 7% have a turnover of more than £1m. 8.14.8 West Mids Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 40300 people in the Creative & Cultural Skills workforce. This 6% of the UK workforce. 31% are self employed. This is the lowest regional figure, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total workforce average 54%). 91% of the sector workforce is white, and 49% under 40 years. The region contributes £1.7B or 6% GVA, UK £25B. GVA per employee is £41 500 There are 5060 creative businesses in the region. 91% of creative businesses employ less than 150 people and 8% have a turnover of more than £1m. 8.14.9 Yorkshire and the Humber Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. 120 All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 45900 people in the Creative & Cultural Skills workforce. This 7% of the UK workforce. 40% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 60% of the workforce is male, the same as the UK Creative & Cultural Skills average (UK total UK workforce average 54%). 97% of the sector workforce is white and 53% under 40 years. The region contributes £1.4B or 6% GVA, UK £25B. GVA per employee is £31200 There are just under 4000 creative businesses in the region. 90% of creative businesses employ less than 50 people and 8% have a turnover of more than £1m. 8.14.10 (Performing Arts) Northern Ireland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 102000 people working in Performing Arts 2% of the industry is located in N. Ireland. More than 99% of the sector is white. 86% of the sector is male. Performing Arts in Northern Ireland contributes £42M of GVA to the UK economy 8.14.11 (Performing Arts) Scotland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 102000 people working in the Cultural Heritage sub-sector 10% of the Cultural Heritage industry is located in Scotland More than 99% of the sector is white. 51% of the sector is male. Performing Arts in Scotland contributes £143M of GVA to the UK economy 8.14.12 (Performing Arts) Wales Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 102000 people working in the Performing Arts sector 3% of Performing Arts industry is located in Wales 99% of the sector is white. 121 58% of the sector is male. Performing Arts in Wales contributes £86M of GVA to the UK economy 8.14.13 (Performing Arts) England National data is presented below. There are 102000 people working in the Performing Arts sector 89% of the industry is located in England 92% of the Cultural Heritage sector is white. 50% of the Cultural Heritage sector is male. Cultural Heritage in England contributes £4.2B of GVA to the UK economy 122 9. Sub-sector Visual Arts 9.1 A brief description of what the sub-sector covers at UK level Throughout the UK, the visual arts involve a vast range of people in an array of different jobs and practices. Around the creative hub of artists, many of whom also contribute to education programmes and community work, the art world is supported by technicians, curators, managers, publicists, academics, educators, project managers, art theorists, critics and more. Employers are museums, galleries, studios, arts centres, public sector agencies, public art agencies, educational bodies, studio organisations, festivals and art fairs. Statistically the workforce is, however, dominated by individuals and sole traders – artists, freelancers, consultants, interns and volunteers. Many visual artists have portfolio careers combining a variety of different jobs. The visual arts landscape is particularly complex to analyse, a task made more difficult by the fact that data provided by the Office of National Statistics does not clearly describe types of activity, patterns of work or conditions of employment. It is a heterogeneous sector where there are many individual practitioners and where, apart from a few large institutions, most organisations that there are are classified as micro-enterprises with 1-9 employees. Its activities range from the small, local and community-based to the global, and from the not-forprofit to the highly lucrative. The visual arts sector does not stand alone. It also acts as a feeder for industries such as advertising, interactive media, the games industry, publishing and design. Its position within the creative industries has therefore important implications for more general workforce development and many of visual arts skills are transferable to other creative professions. 9.2 Information on careers available and new emerging jobs, transferability of skills, career paths and opportunities for progression Jobs available in Visual Arts Industry include: Animator Art Editor Art Exhibition Organisor Art Handler Art Valuer Artist Artistic Director Arts Administrator Attendant/Gallery Staff Cartoonist - Updated Development Arts - Staff Education Arts - Staff Illustrator Manager - Arts Centre Sculptor Technical Illustrator For full details see section on Job Profiles (8.10) For more information on careers in the Visual arts industry visit Creative Choices. 9.3 Information on pay scales in the sector Pay scales in this industry are variable and therefore care should be taken when advising on this area. The following data provides an indication of the wages structure of the current visual arts industry workforce: 123 3% earn more than £41,000 per annum 2% earn between £29,000-£41,000 5% earn between £20,000-£29,000 31% earn between £10,000-£20,000 59% earn less than £10,000 9.4 Information on entry requirements, application processes (e.g. Apprenticeships) In the visual arts sector, gaining experience and learning through action is a fundamental principle. Few occupations in the sector are entered with a complete range of skills. Consequently, industry point out the value of work based learning, continuing professional development and the provision of courses that provide a relevant skill set. There is a lack of knowledge concerning the types of skills needed to succeed in the sector. Occupational pathways in the industry are either non existent, unclear or overly complicated. There is a lack of objective, impartial advice for learners making decisions regarding which courses and qualification are right for the jobs they want to do. For more information visit the Visual Arts Page on Creative Choices In the industry, as their highest qualification: 57% have a level 4+ qualification (degree and above) 5% have a level 4 qualification (foundation degree level) 15% have a level 3 qualification (A-levels) 124 13% have a level 2 qualification (GCSE level) 7% have a below level 2 qualification or no qualification Creative Apprenticeships: The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t normally have the chance to work in, for example, performing arts or theatre, are given flexible work-based learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. In visual arts the following pathways have been developed: Pathway Activity Job Roles Community Arts & Education Acquiring funding/bursaries Developing a project Partnership building/liaison Cross art form collaboration * Peer training, mentoring Arts Development officer/ coordinator Outreach worker Youth work Fundraising Assistant Community Artist 9.5 Qualifications In all the creative and cultural industries, the dominance of „talent‟ as the raw material on which the sector depends is often perceived as transcending educational processes such as examinations, qualifications and training. There are a number of accredited vocational qualifications offered by a variety of Awarding Bodies through colleges. These qualifications prepare learners for further learning and 125 develop their knowledge and/ or skills in Visual Arts related areas such as fine art, life drawing, illustration, printing and a number under the broader heading of art & design. Employers tend to look for undergraduate and postgraduate qualifications, even for entry level roles but particularly in specialist areas like curating and gallery management. Reflecting this, there are a large number of undergraduate and postgraduate degrees in fine art and other creative art and design areas, as well as history of art. There are also Foundation Degrees which include applied art, arts management, digital fine art, fine art, and visual studies. In schools, GCSE and A Level qualifications are available in Art & Design and History of Art. There are also specific 2D and 3D visual art option within the sector related disciplines of the new Diploma in Creative & Media (more information available here www.skillset.org.uk). Creative Apprenticeships: The Creative Apprenticeships programme is designed to meet the needs of the creative and cultural sectors. Approved by industry and supported by Government, those who wouldn‟t normally have the chance to work in, for example, performing arts or theatre, are given flexible work-based learning opportunities where they can learn valuable skills and obtain qualifications (GSCE or A-level equivalent) whilst earning a wage. In visual arts the following pathways have been developed: Pathway Activity Job Roles Community Arts & Education Acquiring funding/bursaries Developing a project Partnership building/liaison Cross art form collaboration * Peer training, mentoring Arts Development officer/ coordinator Outreach worker Youth work Fundraising Assistant Community Artist Training, Further and Higher Education: Visual arts specific education and training information can be found through Creative Choices Find a Course tool and Creative & Cultural Skills Sector Qualification Strategy. 9.6 Data on employment and labour market trends and forecasts Across the UK there are 4,580 businesses employing just over 37500 people. 82% of businesses in the industry employ less than 50 people. Business and workforce characteristics 37500 people currently work in the visual arts industry. Visual arts contribute £1.9B to the UK economy. The sector is evenly split between male and female workers. o Men (66%) are lightly more likely to have a level 4 qualification than women (58%) o More than 9 in 10 women earn less than £20,000 per year, compared to 8 in 10 men 95% of the workforce is white. 70% are self-employed o Self employed workers are much more likely (76%) to have at least a level 4 qualification (31%) 126 There are 4,580 businesses in the sector. Less than 82% employ less than 50 people. For many organisations, the main revenue stream is public funding, generally with a degree of Arts Council input. Public funding is therefore key to the vitality of this sector and changes to the funding landscape should be examined carefully as the effect will be magnified by its centrality to the sector. Parts of the sector are also very commercially driven and this reveals a dichotomy within the market. Some organisations rely entirely upon Arts Council funding, and are sensitive to any changes in government policy, whilst other organisations rely on sales generation. There is money to be made in the sector and that there is potential to exploit latent demand through effective business strategy and planning. The markets for artists are brokered within internal and external spaces through Galleries and Public Art curators. These have specific features: Gallery: Can be public (large scale to small), with a focus on audience development, or private, with a focus on private sales and typically some form of niche (e.g. regional, specific contemporary). Public Art: Typically crosses a number of boundaries and traditional sectors operating within the local council planning framework at one end of the scale, and involving multi-faceted stakeholders at the regional (RDA) and European level. As a result key features of the market are networking and collaborative working. Due to its diversity, it is difficult to categorise further, but the following sub sectors could be seen to exist: o Art for the public realm o Art for regeneration o Art for sustainable communities o Craft for the designed environment o Process based practise without artistic product Past high levels of European funding have contributed to a community based arts culture and this means that there is more of a „bottom-up‟ approach to the arts, with education tending to be participant led. Changes in employment: Due to government policy and social regeneration, a widening of the perception of public art has occurred. Public art is increasingly seen as a quality marker for the built environment, which also means that it does not fit comfortably within the traditional boundaries of the creative sector. The cross-disciplinary situational nature of public art does however lead to a myriad of sector drivers, with examples from public transport through to shopping precincts. Further information is available in The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries. 9.7 Skill shortages Three broad skills shortage areas are described below; drivers of skills, current skills needs and future skills need. Drivers of Skills Due to government policy and social regeneration, a widening of the perception of public art has occurred. Public art is increasingly seen as a quality marker for the built environment, which also means that it does not fit comfortably within the traditional boundaries of the creative sector. The cross-disciplinary situational nature of public art does however lead to a myriad of sector drivers, with examples from public transport through to shopping precincts. 127 Further information is available in The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries. Current Skills There is anecdotal evidence that artists are lacking production skills and IT skills. With regards to internal skills gaps the key roles identified in the survey were artists, management, marketing and creative. For artists the specific skills lacking are artistic, craft, finance/accounting, IT and technical. In the creative role, business development, design, production and technical skills are lacking. Future Skills Future skills in the sector include: Professional skills (pricing, selling, negotiation, networking) Marketing skills (awareness of new markets and the creation of „cultural products‟) Entrepreneurial skills (taking „cultural products‟ to new markets) Digital / IT skills Freelancing skills (professional skills & contract, budget, use of accounting, cooperation skills) Fundraising skills (awareness and some specialisation) Education skills (entry level, facilitation and general practise) Management / Leadership Transition skills (expressed elsewhere as a proxy for experience) Education (specialisms, training for private sector, development and Occupational therapy) Fundraising (Awareness, specialisation and accounting for rising seniority) Digital / IT Professional skills (developing to relate to professional codes of practise and encapsulating freelance skills) Project management / Leadership (consensus approach to formation and management of project teams comprised of freelancers and part / full time staff) Transition skills Professional skills (now encapsulating previous professional skills and education skills) Fundraising (at all levels, from entry to senior) IT / Digital Transition skills Further information on skills shortages is available in The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries. 9.8 Information on opportunities for adults changing career direction To work as a practicing artist the most conventional entry route is through academia which would mean a BA in a related discipline such as Fine Art. As many artists support their practice with other work such as education, curatorship or arts admin then an MA or PHD is often the next step to this attaining type of employment. Outside of academia, to gain the relevant experience a period of voluntary work or an internship in gallery or studio space can enhance employment opportunities. There is a wide 128 range of organisations, networks and initiatives designed to signpost information and opportunities for skills development and experience in the visual arts. For more information visit Creative Choices Careers Clinic tool. 9.9 Information on points of entry or transfer into a sector from another area sector. To work as a practicing artist the most conventional entry route is through academia which would mean a BA in a related discipline such as Fine Art. As many artists support their practice with other work such as education, curatorship or arts admin then an MA or PHD is often the next step to this attaining type of employment. Outside of academia, to gain the relevant experience a period of voluntary work or an internship in gallery or studio space can enhance employment opportunities. Many careers in the visual arts are open to people with key transferable skills, particularly if gained within another creative industry, for example education, marketing and management. There is a wide range of organisations, networks and initiatives designed to signpost information and opportunities for skills development and experience in the visual arts. For more information visit Creative Choices Careers Clinic tool. 9.10 Job profiles Job profiles in the Visual arts industry can be found on Creative Choices Job Profile page. Job profiles listed are as follows: Animator Art Editor Art Exhibition Organisor Art Handler Art Valuer Artist Artistic Director Arts Administrator Attendant/Gallery Staff Cartoonist Development Arts - Staff Education Arts - Staff Illustrator Manager - Arts Centre Sculptor Technical Illustrator 9.11 Case studies A number of case studies are available, about working in the literature industry; these can be found on Creative Choices Visual Arts Case Studies page. 9.12 FAQs Q: I want to work in Visual Arts but I have no qualifications or experience. What should I do? 129 As a practicing artist the most conventional route is through academia which would mean a BA in a related discipline such as Fine Art. As many artists support their practice with other work such as education, curatorship or arts admin then an MA or PHD is often the next step to this type of work. To gain the relevant experience after leaving HE getting voluntary work or embarking on an internship within an organization such as a gallery or studio space is as a common route through to working within the sector. Within the visual arts sector there is also the option of “just getting on with it” and building your own networks, representation and practice this way. Q: Once I gain employment what are the opportunities for progression? Progression for someone working within visual arts is dependent on what they do. Practicing artists as sole traders often embark on a folio career and would often measure success in terms of such things as making a living from their practice, peer recognition, exhibiting or representation. Artists who work in an academic environment can “progress” to having fulltime jobs, be heads of departments and gaining research posts. 9.13 Sources of additional information, web-links etc Further information about the industry and links to industry organisations can be found on Creative Choices Visual Arts Links page For the latest news, events and career information for the craft industry visit the Creative Choices Craft News Pages 9.14 Creative and Cultural Industry Regional Information The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. For national and regional creative and cultural industries news visit Creative Choices Creative and Cultural Industries News pages 9.14.1 East Midlands Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages. The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 44380 people in the Creative & Cultural Skills workforce. This 7% of the UK workforce. 35% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 130 63% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 54% under 40 years. The region contributes £1.1B or 4% GVA, UK £25B. GVA per employee is £25,000 There are 3950 creative businesses in the region. 92% of creative businesses employ less than 50 people and 8% have a turnover of more than £1M. 9.14.2 East of England Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 63,700 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 37% are self employed, (41% UK Creative & Cultural Skills average), (UK total workforce average 12%). 66% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 46% under 40 years. The region contributes £1.8B or 7% GVA, UK £25B. GVA per employee is £27000 There are 6710 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1M. 9.14.3 London Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 164690 people in the Creative & Cultural Skills workforce in London, this represents 24% of the workforce. 51% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 131 84% of the sector workforce is white 56% under 40 years. The industries contribute £13.1B GVA of the Creative & Cultural UK wide £25B GVA per employee is £79700 There are 21600 businesses in London. 93% of the businesses employ less than 50 people and 7% have a turnover of more than £1M 9.14.4 North East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 19680 people in the Creative & Cultural Skills workforce. This 3% of the UK workforce. 38% are self employed, UK average 41%. 63% of the workforce is male, UK Creative & Cultural workforce average 60% (UK total workforce average 54%). 96% of the sector workforce is white and 53% under 40 years. The region contributes £491 million or 2% GVA, UK £25B. GVA per employee is £25000 There are 1330 creative businesses in the region. 90% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m 9.14.5 North West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 59580 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 34% are self employed majority in Arts and Music, UK Creative & Cultural workforce total 41% (UK total workforce average 12%). 62% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 95% of the sector workforce is white and 55% under 40 years. The region contributes £1.9B or 8% GVA, UK £25B. GVA per employee is £32 200 132 There are 5660 creative businesses in the region. 91% of creative businesses employ less than 50 people and 7% have a turnover of more than £1m. 9.14.6 South East Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 98170 people in the Creative & Cultural Skills workforce. This 14% of the UK workforce. SE and London together represent 44% of the UK workforce. 43% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%), 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 97% of the sector workforce is white and 47% under 40 years. The region contributes £3.8B or 15% GVA, UK £25B. GVA per employee is £39 200. There are 12 300 creative businesses in the region. 93% of creative businesses employ less than 50 people and 6% have a turnover of more than £1m. 9.14.7 South West Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 60690 people in the Creative & Cultural Skills workforce. This 9% of the UK workforce. 47% are self employed majority in Arts, Design and Music, UK Creative & Cultural workforce average 41% (UK total workforce average 12%). 59% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total UK workforce average 54%). 98% of the sector workforce is white and 46% under 40 years. The region contributes £1.5B or 6% GVA, UK £23.5B. GVA per employee is £25000 133 There are approximately 5000 creative businesses in the region 93% employ less than 50, 7% have a turnover of more than £1m. 9.14.8 West Mids Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 40300 people in the Creative & Cultural Skills workforce. This 6% of the UK workforce. 31% are self employed. This is the lowest regional figure, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 58% of the workforce is male, UK Creative & Cultural Skills average 60% (UK total workforce average 54%). 91% of the sector workforce is white, and 49% under 40 years. The region contributes £1.7B or 6% GVA, UK £25B. GVA per employee is £41 500 There are 5060 creative businesses in the region. 91% of creative businesses employ less than 150 people and 8% have a turnover of more than £1m. 9.14.9 Yorkshire and the Humber Key regional variations for sub-sector, employment and labour market trends and forecasts, and skill shortages The presentation of sub-sector regional information is problematic due to the sometimes small numbers of people being represented. Because of this, all regional information is presented for the creative and cultural industries as a whole. This includes information on advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts. All the information more regarding data on the craft industry can be found on Creative Choices Data Generator page. There are 45900 people in the Creative & Cultural Skills workforce. This 7% of the UK workforce. 40% are self employed, UK Creative & Cultural Skills average 41% (UK total workforce average 12%). 60% of the workforce is male, the same as the UK Creative & Cultural Skills average (UK total UK workforce average 54%). 97% of the sector workforce is white and 53% under 40 years. The region contributes £1.4B or 6% GVA, UK £25B. GVA per employee is £31200 There are just under 4000 creative businesses in the region. 90% of creative businesses employ less than 50 people and 8% have a turnover of more than £1m. 134 9.14.10 (Visual Arts) Northern Ireland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 37500 people working in the Visual Arts sub-sector 1% of the industry is located in N. Ireland. More than 99% of the sector is white. 22% of the sector is male. Visual Arts in Northern Ireland contributes £16M of GVA to the UK economy 9.14.11 (Visual Arts) Scotland Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 37500 people working in the Visual Arts sub-sector 7% of the industry is located in Scotland 85% of the sector is white. 3% of the sector is male. Visual Arts in Scotland contributes £47M of GVA to the UK economy 9.14.12 (Visual Arts) Wales Key regional variations for sub-sector, employment and labour market trends and forecasts, skill shortages and qualifications. The presentation of national data is at a sectoral level There are 37500 people working in the Visual Arts sector 7% of the industry is located in Wales 96% of the sector is white. 55% of the sector is male. Visual Arts in Scotland contributes £36M of GVA to the UK economy 9.14.13 (Visual Arts) England National data is presented below. There are 37500 people working in Visual Arts sector 85% of the industry is located in England 92% of the sector is white. 51% of the sector is male. Cultural Heritage in England contributes £1.8B of GVA to the UK economy 135