Issue 211 | 15 February 2010 | £4.25 www.artsprofessional.co.uk
Who are the amateurs and who are the professionals? Robin Simpson questions an artificial divide p10
Graduates face exploitation New reports criticise the expectation that creative graduates will work for free.
Student leaders from a group representing higher education arts courses across the UK have called for legislation to regulate the practice of using unpaid internships as a route into the creative professions. The Arts Group, which represents the interests of 50,000 arts students, has accused the creative industries of “outright exploitation”. In its highly critical report, ‘Emerging Workers’, the group highlights the “astonishingly low worth” attributed to creative graduates and points out that “disturbingly… National Minimum Wage (NMW) and employment rights… seem alien [in the creative sector]”. It calls for employers to be compelled to contribute to interns’ travel expenses, and insists that no fixed hours of work or specific responsibilities should be required for unpaid work experience. The group is also demanding that all graduates undertaking placements of more than a month should be paid at least the NMW. It was supported in the preparation of its report by Skillset, Arts Council England, Creative & Cultural Skills, and Central Saint Martins’ Innovation Centre. Speaking to AP, Kit Friend, Chair of the Arts Group, said that “the mass
exploitation of interns and unpaid workers in the creative industries… is beyond a joke. We cannot continue to defend these as an accessible route to employment, when the reality is that they place yet another barrier in the way of social mobility and ridicule many of the positive moves to widen access.” He accused business and Parliament of being “incapable of restricting or reasonably limiting unfair practice independently and persist[ing] in breaking even existing legislation”, and called for “new guidelines and action to curb their behaviour before it’s too late”.
the mass exploitation of interns is beyond a joke The Liberal Democrats have pledged to introduce a ‘Paid Internship’ which would pay a training allowance of £55 a week, at no cost to employers. This works out at less than £1.40 an hour – well below the NMW (up to £203 a week) or the National Apprentice Wage (£95 a week). It does not solve the problem of how interns could support themselves without financial assistance from parents or elsewhere. The Arts Group’s demands coincide with the publication of another report, ‘Creative Graduates, Creative Futures’, which examines the career patterns of UK graduates in art, design and media. Prepared by the Institute of
Employment Studies, the Council for Higher Education in Art and Design, the University of the Arts London and 25 other higher education institutions, and based on a survey of graduates from 2002 to 2004, the report reveals that creative graduates are facing fierce competition for fewer jobs. Forty percent undertake voluntary or unpaid work after graduating and a third experience a period of unemployment. The report also supports the assertions of The Arts Group, observing that “those from more advantaged backgrounds have more chance of gaining more relevant work experience (by working unpaid or undertaking internships) because their parents… support them”. It highlights the difficulty of finding work: “Jobs tended not to be advertised, and work was accessed via a combination of personal contacts, work experience, networking and speculative self-promotion.” When graduates do find jobs, they are often not paid enough to live on, and short-term contracts, temporary work and portfolio working are commonplace. Almost 80% of those who were employed at the time of the survey were only in part-time work, which is “very likely a reflection on… less stable working patterns as a result of fluctuations in supply and demand”. This suggests that the increase in creative courses is not matched by a willingness or ability to employ the resulting creative graduates, despite the creative industries growing faster than other sectors.
Safeguarding tradition Scottish public bodies and organisations could do more to integrate the traditional arts into their activities and events, according to a new report from the Traditional Arts Working Group. A wide range of Scotland’s traditional arts were represented on the working group, including song, dance, music, storytelling, poetry and drama. The report’s recommendations include: more courses, classes and other means of increasing popular appreciation of traditional arts; the creation of a national inventory of Intangible Cultural Heritage practices; more learning opportunities in and through the traditional arts for pre-qualified teachers; and that Creative Scotland should explore the feasibility of a Traditional Arts Apprentice scheme.
02 Jobs boost continues A further 291 culture jobs for young unemployed people have been created in London and Essex. This is part of the second tranche in the Government’s scheme to create 120,000 new jobs, including 5,000 in the culture sector. Culture Secretary Ben Bradshaw announced 223 jobs which are being co-ordinated by The New Deal of the Mind. These comprise 167 design, marketing, press and fundraising posts across 14 London boroughs, and 56 community craft workers, marketing assistants and arts programme workers at the disability-led company Theatre Resources in Ongar, Essex. In central London, the Culture Quarter Programme, led by the Royal Opera House with partners including English National Opera, the Institute of Contemporary Arts, the V&A Museum and the National Portrait Gallery, has created 68 jobs, including posts in conservation, administration and education. The new jobs must conform to minimum criteria set out by the Department for Work and Pensions. They must be for at least 25 hours per week, last at least six months and pay at least the National Minimum Wage.
ANLO struggles to meet targets A scheme to give free theatre tickets to young people aged 16–25 is lagging behind its own targets on the anniversary of its launch. ‘A Night Less Ordinary’ (ANLO), funded by £2.5m from the DCMS and managed by Arts Council England (ACE), aimed to give away 618,000 tickets from some 200 venues over two years. The target was reduced to 602,000 following the applications process. After nine months, just 177,345 tickets had been offered and of them only 121,742 – just short of 69% – had been taken up. An ACE spokesperson justified the results to AP, saying that “around 20% of the venues are on or over target at nine months and many more are very close to target”. ACE has refused to publish data on individual venues “for reasons of commercial confidentiality”. A second spokesperson explained that some organisations which have “not been performing well” or “haven’t been able to get [the scheme] off the ground” may be offered the option to withdraw from the scheme and repay the money. AP has contacted a number of participating theatres, and it appears that the picture is patchy. Some venues, such as the West Yorkshire Playhouse and the Lawrence Batley Theatre in Huddersfield, report positive results, including increased databases of young people who have become members of the scheme, while others have struggled. One regional theatre had to withdraw before the beginning of the scheme because its local authority withdrew its funding. Participating theatres may carry forward their targets into the second year of the scheme, and any tickets not taken up will be transferred to later shows. The ACE spokesperson said that it is “confident that the two-year target of 602,000 tickets will be reached”. She added, “The theatres agreed to numerical targets in good faith, but... we haven’t done anything like this as a sector before, and the numerical targets are not the only measure of success.” She emphasised that that the scheme is designed to explore the best ways to reach and retain new young audiences. A full evaluation report, by Sussex Arts Marketing and Audiences Yorkshire, will be published in the summer of 2011.
© PHOTO Grant DeJonge
NT Live! audiences Live broadcasts of the National Theatre’s production of ‘Phèdre’ to cinemas across the UK attracted lower income audiences than the usual National Theatre demographic, according to a new report from NESTA. ‘Beyond Live: digital innovation in the performing arts’, shows that a quarter of the 14,000 people who saw the NT Live! production in a cinema earned less than £20,000 a year, compared to only 16% of the theatre audience. Similarly, high earners were better represented amongst the theatre audience, with twice as many theatregoers as cinemagoers earning more than £50,000 a year. The report also found that 84% of cinema audience members surveyed ‘agreed’ or ‘strongly agreed’ that they felt “real excitement” because they knew the performance was live. More than half of both the cinema and theatre audiences ‘agreed’ or ‘strongly agreed’ that seeing the play in the company of an audience increased their enjoyment. The report argues that these figures go against a general perception that consumers want only ‘on demand’ entertainment, as audiences in both the theatre and the cinemas valued the shared experience of seeing something live and in company. However, a large majority of the cinema audience surveyed would not pay more than £15 for a cinema broadcast, despite almost a third being willing to pay up to £40 for a theatre ticket. ISSUE 211 15 FEBRUARY 2010
Brighton-based artist Grant DeJonge has been announced as the winner of artrepublic’s street art competition, for his work ‘Lost’. The contest was designed to raise awareness of the problems of homelessness, and to fund projects to help the homeless in both London and Brighton. The winning entry, chosen by established street artists Inkie, Eine, Static and Pure Evil, has been reproduced on a two-storey wall in Brighton, and will then be reproduced on a four-storey building in Covent Garden. The judges were unanimous in their choice, which the artist hopes “serves as a reminder of the homeless”. A limited edition print will be sold to raise money for StreetSmart, an organisation that encourages restaurants and other organisations to add a voluntary £1 supplement to meals etc., which is then split between charities for the homeless. To date, artrepublic, which has galleries in Soho and Brighton, has donated £1,500 to the charity. www.artrepublic.com
APC forced to close The Anne Peaker Centre for Arts and Criminal Justice (APC) will close at the end of this month after 20 years in operation, due to lack of funds. The Trustees considered “a number of alternative solutions to funding” but could find no viable way forward. Tim Robertson, Chief Executive of the prison arts charity the Koestler Trust, is also Chair of the Arts Alliance (AA), which brings together all the organisations working with arts in prisons under the auspices of APC. Speaking to AP, he said “I am sad to see a charity go that has done so much research, advocacy, co-ordination and professional training in our field,” but added that much of the advocacy and co-ordination work done by APC could be picked up by AA. He added “We are in negotiation with the Ministry of Justice to get the funding for the AA transferred to another charity, so that the work carries on.” APC’s international conference was due to go ahead on 12 February. www.artsprofessional.co.uk
Curve Sustained Leicester Theatre Trust, which runs the Curve Theatre, has been awarded more than £1m in the penultimate round of Arts Council England’s (ACE) ‘Sustain’ programme. Despite opening less than 18 months ago after receiving £14.7m from ACE, Curve is one of only three organisations to receive more than £1m from the fund. One of the others is the Institute of Contemporary Arts (ICA), which has been given a grant of £1.2m. The ICA has been widely reported to be under imminent threat of closure, and a spokesperson for ACE told AP that the ICA’s Sustain grant is in two parts: “The first £600k has addressed cashflow issues by replacing lost income… We have recently confirmed a second payment of £600k… on the basis that key conditions are met.” ACE is “taking measures to ensure that our investment is secure”. The Curve, which has seen its Chief Executive and Chair stand down in less than five months, has received Sustain funding despite not yet having received its entire Lottery grant – the remaining 2.6% (£0.4m) is expected to be paid in March.
BALTIC and NHS North East/Change4Life have launched a region-wide initiative to promote a healthy lifestyle by encouraging movement through art. The project, ‘Action Art!’, will include public events and a school competition with a prize fund of £10,000. firstname.lastname@example.org
‘Regional Spaces, National Stages: Performance beyond London 1945–2010’, a symposium at the University of Reading, is calling for papers on regional theatre. It aims to explore the relationships between subsidy, policy and practice. Abstracts of 250 words should be emailed by 31 May. www.reading.ac.uk/ftt/research/ ftt-givingvoice.aspx email@example.com
Fifty-five arts organisation have been accepted onto the AmbITion Scotland programme, which offers support for digital development and sustainable change to encourage and improve levels of public engagement. Members can access events, networking opportunities, a knowledge base about the use of digital technologies in the arts and creative industries, and advice.
Lib Dem manifesto
Commitment to the arm’s length principle, a new taxation scheme to release more money from the National Lottery and a higher level of political recognition for donors to the arts are among the policies put forward by the Liberal Democrat party in its manifesto, ‘The Power of Creativity’. The party pledges to “raise the status of the arts across national government” for their intrinsic and instrumental value, and their use in tourism and diplomacy. The paper declares that “it is a primary function of government to support the development of arts and culture”, but says that, if elected, a Lib Dem Government would “move away from restrictive and meaningless targets” and reduce box-ticking. One major proposal is to change the way the National Lottery is taxed, which the Lib Dems claim “could generate as much as £270m extra funding for good causes” and a further £120m for the Treasury over ten years. A review of Arts Council England’s funding practice would aim to “improve the distribution of funding and the reach of the arts in the regions and cities outside London” and grant “national status” for more regional organisations. The party would also establish a ‘Creative Enterprise Fund’ offering small grants or loans to creative industry start-ups.
The Camden Theatre Consortium and Camden Council’s Arts and Tourism service are to launch an online scheme to support the borough’s creative producers in a bid to increase local audiences. The scheme will enable people to offer skills, time or donations to potential theatre projects in the area in exchange for incentives such as tickets, special event invitations or credits in the programme.
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Sheffield’s Crucible Theatre will reopen this month following the completion of its two-year, £15.3m redevelopment. The refurbishment included a new thrust stage, and energy efficiency measures which have reduced the theatre’s carbon footprint by ten tonnes per annum.
A new report on creative learning published by Ofsted (the Office for Standards in Education) has praised the work of organisations including Creative Partnerships (CP) in developing creative approaches to learning and teaching. ‘Learning: creative approaches that raise standards’ evaluates and illustrates the work of 44 schools, including 18 which are working with CP. The report calls for the development of partnerships between higher education, business and schools, and for creative approaches to be included in curriculum planning and teachers’ professional development.
London’s West End had its most successful year ever in 2009, with box office receipts of more than £500m and audiences of more than 14 million for the first time. New figures from the Society of London Theatres show growth despite the recession, with revenue for 2009 up by 8% on the previous year, and audiences up by 6%. Play audiences were up 26% on last year, while musicals suffered a 2% decline.
The Council of Equity, the actors’ union, has signed off on two new pay deals. Agreements with the Independent Theatre Council and the Theatrical Management Association will raise weekly minimum wages to £400 by April 2011.
The Mill Theatre
The new £7.6m Theatre at the Mill has opened in Newtownabbey in Northern Ireland. The new theatre comprises a 400-seat auditorium, foyer cafe, offices, dressing rooms, green room and the latest technical equipment. www.theatreatthemill.com
Weapons of Mass Collaboration
A new opera company is to be formed in Northern Ireland by merging the resources of Castleward Opera and Opera Fringe. Based in County Down, Opera Company NI will create more training and development opportunities for local musicians and singers.
Crowdsourcing is about us problem-solving together using Web 2.0 solutions. We’d like to use this approach to create an article for our forthcoming feature on digital opportunities, edited by Marcus Romer of Pilot Theatre. Please follow the @artspro account and #artspro hashtag on Twitter from 10.00am on Monday 18th February to get involved.
04 Arts Council England, South West has appointed PHIL GIBBY as its Director. He is currently Director of Development and Communications at Welsh National Opera. ANTHONY BOWNE and DEREK AVISS, who have been Joint Principals of Trinity Laban Conservatoire for Music and Dance for the past five years, have redefined their roles: Browne will be sole Principal and Accounting Officer from September, while Aviss will be Executive Director. Current Deputy Director of Laban MIRELLA BARTRIP will become Director of Dance. Lighthouse has appointed artist and curator HONOR HARGER as its new Director from March.
The Lyric Theatre has a new Head of Marketing and Communications, JOY BOND. She previously worked for Belfast Zoo. The Royal Spa Centre has appointed ANTONY FLINT as its new General Manager. He was previously Director of External Affairs at the Belgrade Theatre, Coventry. JO LEWIS, who is from a commercial background, has also joined the organisation as Marketing Officer. SHEILA MCGREGOR has taken over from TIMANDRA GUSTAFSON as Chief Executive of Axis, an online resource for contemporary art. ANDREW BURTON will become Creative Programme Manager at the Writers’ Centre Norwich, on leaving his post as Head of Marketing at The New Wolsey Theatre.
Arts Inform has a new Director, CATHERINE SUTTON, following the death of FRANCES MORRELL in January. Sutton has been Acting Director since October, and previously worked for English National Opera where she was Head of ENO Baylis, the Learning and Participation Department. The Academy of Ancient Music has appointed MICHAEL GARVEY, currently General Manager of the Orchestra of the Age of Enlightenment, as Chief Executive.
Birmingham Hippodrome has made two appointments: TRACY MARSH is now Head of Development and SARAH ALLEN (left) is Creative Programme Manager. CHARLOTTE HANDEL, formerly Marketing manager at the Lyric Hammersmith, is to take up a new post at Theatre Royal Stratford East, as Head of Open Stage.
The Royal Northern College of Music has awarded GERGELY MADARAS the two-year position of Leverhulme Junior Fellow in Conducting. He is currently studying at the University of Music and Performing Arts in Vienna and will start his new post in September. Arts and Theatres Trust Fife has appointed TARAS YOUNG to the new post of Communications and Digital Media Officer. Following the closure for refurbishment of the Trust’s Lochgelly Centre, its staff have moved to other venues run by the Trust. EVAN HENDERSON, formerly Theatre Manager at Carnegie Hall, is now working on a strategic programming project for the Trust, and Lochgelly Centre Manager VERDI CLARK has taken his place. Creative Development Officer BABS MCCOOL will leave the organisation at the end of February to work with PACE, the Edinburgh based public art commissioning agency, and arts company Red Field. OOPS! In AP209 we stated that Arts Council England, North East had three new staff members. They are actually at Arts Council England, Yorkshire.
letters Conference calling FROM Peter Stark (CoRAA Administrator 1982–1984) Christopher Gordon (CoRAA Director 1985–1990) It was interesting to learn of the RSA’s hope to run an annual State of the Arts conference (AP210). It sounds remarkably like the sizeable annual arts (craft and film) conference that used to be run every summer by the Council of Regional Arts Associations (CoRAA), with broad participation from the sector (professional and amateur), local government, Scotland and Wales. It was deemed to be of sufficient importance for the Arts Minister of whichever government was in power to travel outside London to make a significant keynote speech at the opening session. Memories include having been on the platform beside Thatcher’s Minister, Richard Luce, in Newcastle City Hall in 1987 when he gave his famous “end of welfare statism in the arts” speech. The only year lacking government political presence was 1989 when we held our conference in France to coincide with the Bicentenary of the French Revolution, courtesy of a South East Arts twinning with the city of Dieppe (the Labour Shadow Minister, naturally, seized the opportunity and participated). When the Conservative government commissioned the Ministry’s retiring chief civil servant to report on streamlining and restructuring the public arts funding system (Wilding Report, September 1989), his ISSUE 211 15 FEBRUARY 2010
Recommendation 64 declared that the Arts Council of Great Britain should take on a number of functions then discharged by CoRAA – specifically citing the annual conference. Furthermore, Wilding wrote, “If CoRAA were not already doing this, it would be necessary to invent it.” The last CoRAA Conference, consequently, took place in Liverpool in June 1990. These conferences were the scene of robust – even passionate – and generally very well-informed debates between people who rarely got to spend long periods in each others’ company. Moreover, in the days before the merger of Arts Council England (ACE) with the Regional Arts Boards, they engaged people who were sufficiently independent of each other for deference to be rare and risible, and for any consensus to be hard won (and therefore hard to break and harder to resist). The days and nights were long but the evolution of national policy during that period can be charted through the subjects debated. For 20 fallow years, ACE has been too profoundly uncomfortable with even the thought of such an ‘uncontrolled’ event. The RSA, with its splendidly appropriate founding object ‘to encourage Arts, Manufactures and Commerce’, could perhaps continue in partnership with Alan Davey’s restructured ACE. If they were to devise an event of sufficient substance and duration to be able to examine contemporary arts policy in its wider social, economic and cultural context, then this is greatly to be encouraged. It would be even better if it could be as peripatetic and nonmetropolitan as its predecessor. www.artsprofessional.co.uk
Need to Know
Chris Holifield looks at how poetry and other artforms can seize the opportunities presented by the web.
Looking for advice? Ask AP and we’ll find the expert to help you out.
© PHOTO Adrian Pope
I’ve always prided myself on my friendly management style. My theory was always that if staff were happy and relaxed they would do a good job. If anything went on the slide then an informal chat usually did the trick. With the recession, a lot of staff are now snappy and anxious, and I have to face it that my ‘sympathetic’ approach is not working. How can I get a grip on morale and discipline without jeopardising staff relations?
Valerie Eliot congratulates TS Eliot prize winner Philip Gross
We are still coming down to earth after the excitement of the T S Eliot Prize for Poetry following six days of poetry on the Today programme and the fantastic sold-out short-list readings. The prize has shown that there is a big and engaged audience for poetry, but down in the engineroom we’re still grappling with the same problems: how to promote a ‘minor’ art form, even if it does occupy a big part of the skyline for literature; how to find new audiences and extend those we have; and how to support poets so that they can participate in the creative economy instead of being the beggars at the door. Fortunately, help is at hand. We are building two new websites, one to provide a niche bookselling site which will sell all the poetry titles in print and through its news, articles and events listings provide a focal point for poetry lovers; and the second to provide an online platform to extend the Poetry Book Society itself, and grow its band of committed poetry readers. The web has to be the answer for finding and developing new audiences. Arts organisations cannot afford to rely only on traditional ISSUE 211 15 FEBRUARY 2010
marketing techniques: they have to reach out to find these audiences on the web and develop them through email contact strategies. Social networking will play a key part in developing online communities, but we also need to embrace the commercial opportunity presented by retail rapidly switching to the web. The Internet also facilitates collaborative working. We need those networks of organisations with common interests and audiences which can be so easily developed online, to link up tiny arts organisations with few resources, such as the Poetry Book Society, and enable them to flourish.
When fault-finding and complaining set in, you are dealing with attention-seeking behaviour. People are testing the changing environment and buying time with you. Relationships at work have undergone a seismic shift over the past two years. Most of us thought we were in a psychological contract that ran two ways: we were loyal to the company and the company was loyal to us. That contract has changed, and it’s now a hiring market. It’s no wonder unease has broken out, with even good people testing the contract where they work. What’s the solution? Well it’s not difficult. The first thing to realise is that it doesn’t matter that the staff don’t love you, they only have to respect you. That comes from providing a clear sense of direction, which has a business rationale, and a meaningful purpose that the team can connect with. Secondly, it’s about providing pinpoint feedback. Your sympathetic response could change up a gear. When you see people doing the things that are needed for the team to be successful they need specific, timely, positive encouragement – ideally at the very moment they are carrying it out, certainly on the same day. Positive reinforcement is powerful and usually connects to achievement or personal recognition, but make sure it’s conditional on performance. Underperformance or whinging isn’t something you should reinforce. You need a solution focus, not a problem focus. Team members need to be told so. Bear in mind that the positive energetic souls who are working hard are carrying the dead wood. Keep feedback specific, and focus on the behaviour that causes disruption not generalisations. As the boss, you need to model the behaviour you expect from your team and set explicit expectations for team behaviour. Underperformers or organisational terrorists need to be stopped in their tracks and their energy and commitment challenged. Do remember that time with you is probably seen as a positive reinforcement.
This week’s question was answered by Howard Raynor, World Class Service Ltd. w www.worldclassservice.co..uk Chris Holifield is the Director of the Poetry Book Society, which promotes the reading and sales of poetry. E firstname.lastname@example.org w www.poetrybooks.co.uk
What’s rocking your boat? Send us your work-related problem and we’ll find an expert to offer you advice. email@example.com www.artsprofessional.co.uk
Vikki Heywood reveals the route she took to her current role.
Theatre Materials: What is theatre made of? Edited by Eleanor Margolies Publisher: The Centre for Excellence in Training for Theatre (Central School of Speech & Drama) ISBN 978-0-9539501-5-7
This stimulating and informative book is a collection of essays and a record of contributions, arising from the 2008 Theatre Materials/ Material Theatres conference at the Centre for Excellence in Training for Theatre, Central School of Speech and Drama. The conference gave theatre practitioners and academics opportunities to discuss and explore what the editor, in her introduction, calls “the stuff of theatre”. The book captures the atmosphere of exploration, discovery and questioning that a good conference provides. Opening energetically with essays contributed by the conference’s keynote speakers, American director Anne Bogart, and theatre academic Alan Read, the materiality of theatre is a given. Bogart’s reference to Friedman’s ‘The Lexus and the Olive Tree’ frames the exploration of a continuum between ancient culture and new technology, which is reflected in the book’s collection of words and images from artists, performers, scenographers, puppeteers, designers and architects. Alan Read reminds us that objects are not facts. They have “a fascinating social life”, and are not to be patronised. He invites us to a dialogue with these other entities “who do not interrupt discussions among humans but simply further enhance and open up processes already under way”. Our relationship with the material is further explored in the book through social and political contexts, including “the greening of the theatre”, and explorations of architecture and nontheatre spaces that are pushing theatre makers into new relationships with the material, connecting imagination, engineering and forms of activism. The choices made by the editor provide us with a wide range of ways of describing, exploring, identifying and questioning materiality and our relationship to ‘stuff’. The contributions are variable, and it is intriguing to look at the list of conference contributors and see what got left out. But, as a book that will attract practitioners, students, makers and academics, I would expect there to be different stand-out contributions for different readers. For me the highlights include Paul Rae on ‘Tree Duet’, (“You can’t just put a tree on stage and expect it to do what you want it to”), Rene Baker on ‘The puppet as teacher of acting’, Beth McDougall on ‘Unpacking the [costume] archive’, and Zoe Laughlin’s demonstration of smart materials. In all the contributions we are reminded of the world of space, place and time in which theatre exists, and the ecology of art forms in which it thrives. I was also fascinated by the ‘Bar of Ideas’. This was initially an installation, performance space and meeting place for the conference, including a library, a games room and a science lab. It was subsequently developed for the Paradise Garden Festival in Victoria Park, East London, which somehow sums up the continuation of learning, playing and experimentation which grew out of the conference and is represented in this book. I applaud the affordability of the book (£10), and hope that is soon being read, debated and used, and, in keeping with the theme, weighed, felt, tasted and digested.
EXECUTIVE DIRECTOR Royal Shakespeare Company (2003–present) This great, all-consuming job is to head up the strategy and delivery of the business side of the RSC, making sure that all the creative plans can be turned into reality. I am supported by a wonderful team of marketing, finance, fundraising, PR, HR and legal specialists. A lot of time is spent promoting the company and making sure our profile is right up there. The transformation of our theatres in Stratford-upon-Avon is a major focus for us. As we enter the final year of the project we’re planning the mammoth task of opening the new theatre building, involving as many people as possible in the future life of the Company. We’re also planning for our fiftieth anniversary in 2011 and our involvement in the Cultural Olympiad for 2012. I have no space in my diary for a ridiculously long time ahead! I’m really passionate about a new campaign we have created, ‘Think Theatre’, which promotes the theatre industry to school leavers in order to build a more culturally diverse workforce. The strength of the RSC identity can be helpful in creating initiatives such as these, which are needed for the future success of the creative industry. Amongst other directorships, I am a Board Member of The London 2012 Cultural Olympiad. JOINT CHIEF EXECUTIVE Royal Court Theatre (1994–2003) This was the biggest rollercoaster ride of my life, and a fantastic place to work. I produced more than 100 world premiere productions in London and on Broadway, and oversaw a £20m redevelopment project as we transformed our Sloane Square home. My Dad is a writer and I loved being able to work so closely alongside established and new voices just finding their way in the world. EXECUTIVE DIRECTOR Contact Theatre (1989–1993) As a theatre for young people we worked hard to find an identity that could attract the vast student population. During my time we were very hampered by a building that looked like a university department – a major turn-off to our target market! It is now utterly transformed and very much in tune with its audience. GENERAL MANAGER London Bubble (1986–1989) This was a formative management job which taught me how to be a manager and a leader, as well as how to keep a 500-seat tented theatre up in a gale. The longest and wettest days of my career. STAGE MANAGER (1977–1984) My first professional job – I trained at Central School of Speech and Drama – this was a real breaking ground role. It taught me everything about how theatre works and what creative people need to be able to flourish. It connected my brain with my soul, taught me to understand the power of teamwork and selfless collaboration, and gave me an ability to multi-task.
Sue Mayo is a theatre maker and Acting Convenor of the MA in Applied Theatre at Goldsmith’s College, University of London.
VIKKI HEYWOOD is Executive Director of the Royal Shakespeare Company.
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© PHOTO Mike Molloy
FEATURE: Arts building
Jack Fortescue examines the business case for housing developers and local authorities to invest in space for artists. The studios at Leven Road
Building partnerships With impending cuts to public funding, building new arts venues will be challenging as resources are focused away from cultural provision and towards more obvious strategies for job creation and economic growth. In this difficult climate, Acme Studios will open more than 100 purposebuilt artists’ studios over the next two years in addition to 71 new-build studios, which have recently been completed. The studios came about through partnerships with the public and private sector. Elements of these developments could be utilised by other arts organisations to create space for a range of arts practice. Acme Studios was started by artists in 1972 as a response to the lack of affordable housing and studio space for artists in London. It currently manages over 400 studios, work/living spaces, and residencies and awards for artists. The demand for artists’ studios is strong today with waiting lists far exceeding the available space. In order to meet demand, we have developed new ways of securing buildings. SPACE TO THINK Central to successful partnership projects is the understanding that being an artist is a profession. It is rare for an artist of any kind to make their living entirely from their art, but their practice is still their job. If being an artist is a job, then an artist’s studio is a workplace. Many artists live near their studio which makes them part of the local workforce. While support for the arts may vary, all local authorities share a desire to create and maintain local jobs. The challenge is to convince planning, regeneration and economic development departments that there is a large local workforce in need of facilities: in this case, artists needing affordable studios. A typical argument for building a theatre might be that there is a strong demand from the public – the end user. An argument for building studios could be a strong local demand from arts practitioners – for research, development and production. Part of the decision-making process by a ISSUE 211 15 FEBRUARY 2010
local authority in granting planning permission for new developments is to assess the impact on the local area. This planning gain mechanism, often enshrined in a section 106 agreement (see AP178), can be used to secure new health centres, playgrounds or arts venues. The Leven Road studios in Tower Hamlets are part of a section 106 agreement for an affordable housing development. The council recognised that studios would provide workspace for local people in a challenging area. The developer, Swan Housing, worked with Acme to create purpose-built, accessible units on the groundfloor of the development. The studios opened in 2009 and were all occupied from day one, with 60% of the tenants having previously worked or lived in the local area.
Central to successful partnership projects is the understanding that being an artist is a profession LOCAL NEEDS While local authorities understand the need for new homes, they also want to avoid job losses, and so often insist on non-residential space as part of new building schemes. This is known as re-provision. It can lead to blocks of flats with ground-floor units designed for shops or offices that are sitting empty and gathering graffiti. For the council there are no new jobs or boost to the local economy, and for the developer there is the ongoing cost of managing empty units. In Peckham, Barratt Homes were refused planning permission for a major development because it contained no commercial space. Rather than speculatively build retail/office space, Barratt spoke to Acme which offered to buy the commercial space and fill it with working artists. In order to ensure rent levels remained affordable, we purchased a 155-year lease on the studio block at a fixed price – for less than the construction cost. Building artists’ studios
instead of offices resulted in less profit for Barratt, but it offered a guaranteed pre-sale on all the commercial space and provided a great marketing opportunity. Castle House was renamed ‘The Galleria,’ and the chance to live alongside a community of artists meant all the residential units were quickly sold. When Telford Homes wanted to redevelop a factory into a mixed-use site, the inclusion of artists’ studios in the scheme was key to persuading the council to rethink its approach. Although the new development will contain less commercial space per square foot, the 49 artists’ studios and the additional commercial space will provide more jobs than before. Hackney Council now fully supports the scheme. Opening channels of dialogue with those responsible for planning, designing or building has worked for us. Arguments about the demand for space and the sound business sense behind creating space for artists could be replicated by arts organisations looking to create space for dancers, actors, writers or musicians. Lack of suitable arts space may be a problem for your organisation, but it could be a solution for a local authority or housing developer.
JACK FORTESCUE is the Communications Officer at Acme Studios. E firstname.lastname@example.org t 020 8981 6811 w www.acme.org.uk This week Jack found Julie Umerle’s paintings in ‘Cosmos or Chaos’ at Studio 1.1 both comforting and a little bit unsettling. He is looking forward to seeing Weimar-inspired cabaret in ‘Ein Abend Mit Ruby’ at the Soho Theatre.
08 CASE STUDY
Opening the gates Glasgow’s informal arts quarter is finally getting the recognition and support it deserves, writes Charles Bell.
Glasgow print studio
Until the 1970s, the Merchant City area of Glasgow was thriving, but as trade markets moved and the recession hit, this commercial heart began to decline. The commercial and industrial spaces in the area became vacant and began to be populated by arts organisations, artists’ studios, galleries and workshops
attracted by the flexible accommodation and low rents. An informal arts quarter emerged, but organisations remained vulnerable because there was no strategic plan for this area of the city. Glasgow City Council developed a strategy for ‘Housing the Visual Arts in the Merchant City’. This recognised the role that the independent
Mac is back Dorothy Wilson shows how a building of the 1960s has been brought into the twenty-first century. Midlands Arts Centre (mac) opened in 1962 and since then has introduced more than 10 million people to the arts. Mac believes in the value of lifelong learning and participation in the arts, and brings together artists, both aspiring and professional, to create new work across a wide range of artforms. In the 1990s we recognised that a significant investment was required to secure the centre’s future. Our consultations with patrons, neighbours, artists, community collaborators and our partnership
with sampad South Asian Arts, led to plans to create a truly intercultural, fully accessible arts centre that is in all senses diverse and inclusive. The building project, which has taken ten years to realise, took the group of buildings developed in the 1960s and re-imagined and re-engineered them as a centre with new spaces. It embraces and enhances existing, refurbished, spaces – and added 40% to their volume in the process. New elements include a purpose-
Subsidy Junkies? A day of practical survival strategies for arts fundraising How can the arts sector build and sustain income when faced with public spending cuts? Join the lively discussions and interactive workshops at this one day symposium. Friday 26 March 2010, Kings Place, London, N1 9AG For more information and to book call 020 7940 6436 or visit www.artsandbusiness.org.uk
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A&B_AP_Print Ad_ST3.indd 1
Mac and sampad building project – artist’s impression
designed gallery, which is a first for mac as our former gallery spaces were converted loos and a boardroom. The new gallery and additional exhibition spaces provide opportunities to maximise the commissioning of work visual artists, craft makers and performance artists. The theatre was completely stripped out and renewed, with new lighting and sound systems, and fully retractable seating to make the space more flexible. The new facilities and increased capacity make the space more attractive to producing and touring companies and create a more flexible space for our own productions and co-productions. We also have a brand new, double-height studio equipped for rehearsals, theatre, dance and performance. As part of the ethos of bringing existing parts of the building into the 21st century, all the visual arts, crafts and performing arts studios have been fully refurbished. We have added a new community education studio and a dedicated audio-visual media studio with
the capacity for live capture and transmission to and from any other space in the building via our wifi network. Accessibility has been a core value since mac first opened its doors, and physical accessibility was a real challenge. From the new flat access pedestrian bridge, passenger lift access throughout and a new central concourse connecting all parts of the building, we now have a building which is fully accessible to everyone. As we enter the fit-out phase, it is incredibly exciting to see what the building will offer audiences and artists, and the possibilities the new and re-imagined spaces have created in terms of our programming and artistic practice. We will welcome audiences back into the building from 1 May – we can’t wait!
Dorothy Wilson is Chief Executive of mac. W www.macarts.co.uk
09 arts sector had played in shaping a new identity for the area. It also accepted that further development was hampered by limited tenure in below-standard accommodation with poor public access. Two major projects were taken forward as a result – Trongate 103 and the Briggait. Trongate 103 is a B-listed Edwardian warehouse that, following its £9m refurbishment, now houses eight established creative arts organisations. It is a working building for artists, with classes and activities taking place alongside taster sessions, exhibitions, performances and tours. Activities include print-making, kinetic sculpture, film and new media, painting and photography. The public response in the opening weeks took everyone by surprise and the general
feedback has been that the building is friendly and welcoming whether you are there to buy art, browse, see a performance in Sharmanka’s Kinetic theatre or have a coffee in Café Cossachok (which is part of the Russian Cultural Centre). The tenant organisations have willingly adjusted to the demands of longer opening hours with limited numbers of staff, and to collaborative planning to ensure that visitors can enjoy a number of different experiences across the six floors of the building. The Development and Regeneration Department of Glasgow City Council is the landlord, and Culture and Sport Glasgow co-ordinates joint activity by the tenants and looks after the front-of house. The second project is the conversion of the Briggait into a new home for 100 artists and
cultural organisations. The Briggait is a former fish market which has been empty for the past 20 years. The Wasps Trust and the Wasps Artists’ Studios are developing the building, which will include a public space within the historic 1873 courtyard overlooking the River Clyde. The first phase is due for completion this year with a second phase of work to create workspaces for dance, circus and street arts in the early planning stages.
Charles Bell is Arts Manager at Culture and Sport Glasgow. e email@example.com w www.trongate103.com; www.thebriggait.org.uk
Dedicated to dance Given the high concentration of dance artists living and working in the capital, Brendan Keaney wonders why dance buildings remain substandard.
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breathe new life into such a complex building. The good news is that Arts Council England’s new consultation document acknowledges that there are many organisations working in dilapidated buildings, and that some artforms may need more attention. The dance section makes a plea for the development of a network of dance houses and choreographic workspaces. If, as widely expected, money is going to be tight, maybe this could be the time to make the case for new capital investment. Buildings do cost money, but, with the right business model, they can also generate income. Perhaps this is not the moment to sit tight and weather the storm...
Brendan Keaney is Director of Greenwich Dance Agency. w www.greenwichdance.org.uk © PHOTO chris nash
Established in 1993, Greenwich Dance Agency (gDA) occupies a substantial Grade II listed 1930s municipal building near Greenwich town centre. Two large halls serve as both dance studios and performance venues, while a number of smaller spaces provide offices and meeting rooms. GDA provides a meeting place for dance artists and the local community, with an eclectic programme of courses, classes, performances and events. GDA is committed to delivering an accessible programme and creating an inspiring environment for dance practitioners. Artists and companies supported by or regularly rehearsing at gDA include Jonathan Burrows, Candoco, Akram Khan, Random and Jasmin Vardimon. Being located in an Olympic host borough, gDA is also working alongside East London Dance, English National Ballet, Sadler’s Wells and Siobhan Davies Dance to deliver the Big Dance programme for the Capital. While gDA is considered an industry leader and is often cited as a model of good practice, the building is in a terrible state of disrepair. Ten years into the 21st century, and we are still without showers. On paper, the organisation has done everything right, including cultivating an excellent relationship with the local authority, which provides the building at peppercorn rent and offers substantial financial support. GDA
delivers a massive programme of community work and has a near-perfect track record of strict financial management. Why then is it still operating in such substandard conditions? A simple answer could be that dance did not do well out of the original Lottery bonanza. This is a massive oversimplification of what was a very complicated situation. A variety of circumstances conspired against gDA becoming one of the Capital Lottery winners. For example the ‘London factor’ meant that many of the smaller organisations operating in the capital had to navigate in the wake of the big London blockbuster projects. The critical question was how many building-based dance organisations were ready to take on the responsibilities of a large capital project when the big money was available. GDA was just born and, despite funding for a feasibility study, did not have the track record to justify the level of investment necessary to
GDA has to operate in substandard conditions
Breaking down the false divide It’s time to stop thinking in terms of being either amateur or professional. Robin Simpson argues for a new perspective. There is a story (which may be apocryphal, though I have heard it from several sources) that after the Arts Council of Great Britain was granted its Royal Charter in 1946, it was discovered that the document was slightly too big for the glass frame that had been bought to display it. In order to fit it into the frame, the bottom section, which referred to the Arts Council’s role in encouraging access and participation in the arts, was folded over and hidden from sight for 60 years. Whether or not this story is true, it is certainly the case that Arts Council priorities have had, for a long time, a deliberate focus on professional artists and arts institutions. This is perfectly understandable and justifiable: limited public funding available for the arts needs to be used as effectively as possible. In most cases, amateur arts groups are reasonably self-sufficient, raising enough money through the subscriptions paid by their members and ticket sales for their performances or exhibitions to break even. My concern is not that arts councils should suddenly
divert all their funding from professionals to amateurs but that an exclusive focus on supporting ‘professionals’ has led to a situation where the phrase ‘the arts’ now seems to be used only to mean those artists or arts organisations subsidised by the arts councils. AMATEUR ARMY Across the UK, approximately 57,000 amateur arts groups stage plays and operas, festivals and concerts, put on exhibitions and run classes and workshops every week. Amateur arts groups are rooted in almost every local community. For most people across the country the real value of the arts is in the emotional, intellectual and developmental qualities they bring to everyday lives. And for millions of individuals, this quality is significantly enriched by the experience of directly participating in artistic activity. Writing in Newsweek at the end of December 2009, Joshua Levine said, “The global recession hasn’t crippled the entertainment industry, as some feared, but it has hastened its embrace of the do-it-yourself
The Bond Company offers sympathetic, professionally managed accommodation in historic canal side buildings in Birmingham’s Eastside including: • Boardrooms and Meeting Rooms • Offices
• On site Café • 24 hour security • Parking
We particularly welcome enquiries from Arts Organisations and Creative Enterprises, discounts available for registered charities and first time users. For further information please contact: Hannah Preedy or Jackie Marwaha
The Bond Company 180 - 182 Fazeley Street • Digbeth • Birmingham B5 5SE Tel: 0121 766 7400 • Email: firstname.lastname@example.org Visit our website: www.thebondco.net
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movement. From neighbourhood theatre troupes to bookstore readings, amateur performers are taking their place onstage. It’s less a new development than a return to an old way of life.” While the economic crisis has certainly spurred people to start thinking more about the things that give life meaning, I think attitudes were shifting even before the recession: the false divide between professionals and amateurs was already breaking down. I am an amateur musician: I play the French horn in the Northampton Symphony Orchestra. When I look around at our rehearsals I see an interesting mix of people including a wide range of ages and occupations. We employ a professional conductor and leader, but a significant number of the members of the orchestra are professional musicians (including peripatetic music teachers) who make their living from music but who choose to play in our orchestra for no payment. There are a number of other people in the orchestra who are professionally trained musicians, but who decided to pursue careers as software engineers, doctors or accountants. There are also those who are not at employment age – children still at school and retired people. And then there are those, like me, who were not professionally trained and are not earning a living through their music but who, nevertheless, aspire to the highest possible musical standards. So who are the amateurs and who are the professionals? A COMPLICATED BUSINESS There are plenty of people who would describe themselves as professional artists who do not manage to earn a living from their artistic activity. And an amateur artist does not automatically become a professional when he or she sells their first painting. ‘The arts’ is a complex spectrum incorporating overlapping and constantly changing notions
of professional and amateur. The concept of a pyramid of participation requiring a mass of grassroots involvement to develop the pinnacle of elite achievement is common currency in sport but applies equally to the arts.
arts council priorities have had a deliberate focus on professional artists and arts institutions Royal Shakespeare Company artistic director Michael Boyd has called on theatre professionals to take amateur performance more seriously, and said, “There has historically been, I think, a tragic split between doing theatre as a community and a group of specialists – professionals – who do it for a living.” Arts Council England, North East Executive Director, Mark Robinson, wrote on his ‘Arts Counselling’ blog in January, “I tend to agree that the emphasis on paid arts production as the entirety of ‘the arts’ has meant something has been lost to the overall, and leads to some of the feelings of exclusion some people describe, and that a continuum is both more accurate and healthy culturally.” Isn’t it about time we stopped thinking of ‘the arts’ as something done by a few highly paid professionals and started recognising the amazing contribution of millions of participants across the UK?
Robin Simpson is Chief Executive of the Voluntary Arts Network. t 01525 288067 w www.voluntaryarts.org
You say goodbye, I say hello Jodi Myers considers how to keep former board and staff members up to date. Finding sufficient time to manage relationships with the chair and board can be challenging, but failure to commit adequate time tends to lead to dysfunction. In return for their time and energy, board members will be regularly briefed and well informed, and championing their organisation is usually part of their job descriptions. So they are in a position to act as ambassadors for that organisation. But what happens after they stand down? When developing communication strategies, how many arts organisations consider how they keep former board members – and former staff – up to date, alongside current stakeholders?
failure to engage with former board members can result in more than an awkward shrug KEEP DOORS OPEN Of course, when standing down from a governing body no-one expects to be privy to sensitive information, but if people have been effective directors during their time in office it is likely that they will have regularly found themselves in informal conversations with a variety of stakeholders, peers, supporters and commentators. After resigning they may continue to find themselves in similar situations, but when asked about, say, the rationale behind a particular aspect of their former organisation’s work, often all they can do is shrug. This risks damaging the company’s message and may also make individuals feel ‘discarded’, or resentful that they do not know what is going on. But failure to engage with former board members can result in more than an awkward shrug. If they do not feel valued, they might just encourage a potential sponsor or board member in the direction of another ISSUE 211 15 FEBRUARY 2010
organisation. Arts organisations would be well advised to try to keep one-time allies on side. Given that organisations probably invest considerable resources to get the right message to stakeholders and key influencers, it would be worthwhile to make sure that all those who are in a position to help are regularly given as much headline (not detailed) information as is appropriate. I am not suggesting that confidential papers should be made available to former directors. However, I am suggesting that nonsensitive information, such as press releases and annual reports, should automatically be sent to previous as well as current board members. IN THE LOOP Perhaps the chief executive or artistic director might occasionally circulate a short update to ex-board members, particularly about things that were planned during the time they were serving, but which have been delayed or altered. This is so they are aware of what has shifted and why it has changed, in case anyone asks – and also, frankly, because it is courteous, and in order to capitalise on their goodwill. It is not just a case of sending out the odd mailing; some organisations continue to invite former board members to openings or receptions, and I would urge those who do not to try to, at least from time to time. Apart from encouraging continuing benevolence, these occasions offer plenty of opportunity for informal updating. It goes without saying that communication is a two-way process, and by keeping the lines open, the organisation encourages its former board members to continue to facilitate introductions, pass on useful information and so on. The same approach can be taken to staff – although inviting all former employees to first nights
or exhibition openings is likely to be impractical. Depending on the size of the organisation, and the number of former employees, there are certainly opportunities that lend themselves to making people feel positive about their former employer. Again, failure to engage former staff, particularly senior executives, may leave them shrugging their shoulders at best and radiating negativity at worst. While exit interviews can be an important moment in the relationship between a company and its board members or employees, it makes sense for arts organisations to give a proportion of the attention paid to briefing
and induction processes to the aftercare of those who have been of valuable service. That way their ambassadorial activities can be extended indefinitely.
JODI MYERS is an arts consultant, mentor/coach and board member. e email@example.com w www.jodimyers.co.uk
Bringing excellence, diversity and integrity to leadership recruitment We recruit: • Chief Executives • Directors (including Artistic Directors) • General Managers • Heads of Departments • Senior Managers • Managers For: • Theatres, galleries, arts centres and other arts venues • Companies (all artforms) • Festivals • Local authorities • Arts councils • Regional agencies To find out more about our managed recruitment service please contact Pam Henderson on 01223 200200, email firstname.lastname@example.org or visit www.artsintelligence.co.uk.
RECRUITMENT ADVERTISING 01223 200200 MARKETING OFFICER
Dynamic and successful full service advertising agency seeks a brilliant individual to join our team to help createsales focused, innovative advertising and marketing solutions for the live entertainment industry. CLIENT ACCOUNT EXECUTIVE Develop your potential in a fast-paced creative environment. The role requires an ambitious, organized individual to support the account management team in the co-ordination of imaginative marketing campaigns. A great second step for a resourceful team player with arts/ entertainment marketing or PR experience. Please apply in writing by Friday 26th February. Contact: Carole Beckwith Address: aka, First Floor, 115 Shaftesbury Avenue, Cambridge Circus, London, WC2H 8AF Email: email@example.com
We are looking for a creative individual to develop effective and imaginative ways of promoting The Harley Foundation. Knowledge of digital technologies, web management, e-marketing and excellent copywriting and proofreading skills necessary. We expect the successful candidate to hold two years experience in marketing. This is a new position with the opportunity to develop new and exciting ways of driving our organisation forward in the years to come. Salary £20K - £23 Closing Date 4 March 2010 Interview Date from 15 March 2010
Don’t take any chances! Advertise today and find the right person for the job! For a quote email firstname.lastname@example.org or call Paul or Tricia on 01223 200200
Apply in writing stating your suitability for the post and why you are interested in joining us. Attach an up-to-date CV with your letter of application and send to: Susan Sherrit, Gallery Manager, Harley Foundation, Welbeck, Worksop, Notts S80 3W.
Cultural Industries Manager
RGA CONSULTING is expanding and we are looking for a new Cultural Industries Manager to be based in Edinburgh. We are a multi-sector consultancy with a long and expanding track record in the heritage, cultural and arts sectors throughout the UK. In this role you will be involved in all aspects of a project from proposal preparation to client liaison and report development. The Manager will also be involved in marketing activity in the cultural industries supporting this growth aspect of our business. For further information please visit our website: www.rgaconsulting.co.uk or contact email@example.com
As one of only five Royal Academies of Art in the UK, the Royal West of England Academy (RWA) is set to embark on an exciting period of development and change.
Creativity, Culture and Education (CCE) is a new national organisation which aims to transform the lives of children and families by harnessing the potential of creative learning and cultural opportunity to enhance their aspirations, achievements and skills.
Research and Impact Officer
London, £24,159 to £29,315 plus £3,500 London Weighting
Director of the RWA reporting to the Trust Board. Whilst the role of Director encompasses many aspects of leadership and management - from financial to facilities - the vision and expectation for the job is clear: put the RWA on the map and drive one of the UK’s most promising arts institutions forward. An effective communicator, used to achieving results through collaborative working, backed up by a track record of management experience within the museum and galleries sector, this exceptional candidate will also need to be driven, optimistic and hungry for success. Remuneration circa £50k For further details email Simon Baker, RWA Trustee: WS_Baker@btconnect.com or visit: www.rwa.org.uk.
We’re looking for someone who can provide high quality project research and evaluation support. You’ll be qualified to degree level, or equivalent, with excellent research skills and have a demonstrable understanding of current policy initiatives with an education and/or cultural focus. You’ll have at least 2 years’ experience of managing staff and you’ll also be able to demonstrate how you’ve developed close working relationships with a range of stakeholders.
London, £18,352 to £23,379 plus £3,500 London Weighting We need someone to provide proactive organisational and administrative support to the Learning Officer and wider team, supporting and leading on specific projects and events where appropriate. You’ll be experienced in organising meetings and events of differing scales as well as having the ability to plan content. You’ll have proven analytical and problem-solving skills and be able to work to a very high standard of accuracy and attention to detail. If either of these roles catches your eye please download an application pack from www.creativitycultureeducation.org Closing date: 5pm, Friday 12th March 2010 No agencies or advertisers please! We’re an equal opportunities employer so if you’d like the application pack in a different format, please email firstname.lastname@example.org or call us on 0191 229 2705 to discuss your requirements. Registered Charity number: 1125841
NMC RECORDINGS DEVELOPMENT MANAGER Leading classical contemporary music record label seeks experienced and committed individual for part-time, fixed term (three years) Development Manager post. Based in our London office you will work as part of a small dedicated team and be responsible for all aspects of fundraising. Salary £30k - £40k pro rata, according to experience. Download a copy of the full job description from www.nmcrec.co.uk. Closing date 26th February. Interviews 11th March. PRS for Music Foundation Applications Co-ordinator
The next issue will be published on Monday, 1 March Book your advertising by noon Tuesday, 23 February Call 01223 200200 ISSUE 211 15 FEBRUARY 2010
£20k - £25k full time based in central London The PRS for Music Foundation is the UK’s leading independent funder for new music. Do you have a passion for a broad range of new music and the ability to co-ordinate a complex grant-giving process? For full information and an application pack visit www.prsformusicfoundation.com Deadline: Monday 1 March. PRS for Music Foundation is committed to equal opportunities. Registered charity 1080837.
RECRUITMENT ADVERTISING 01223 200200 Bernie Grant Arts Centre The brain-child of the late, legendary MP, the Bernie Grant Arts Centre celebrates the outstanding contribution of Britain’s black and ethnic communities in the arts, music, dance and theatre. Featuring a purpose-built multi-arts centre, a 274 seat auditorium, studios, enterprise centre and multi-media spaces – it’s an impressive place, dedicated to performance. To become ‘the centre’ for developing diverse cultural creativity, we now need to appoint two key people.
Chief Executive | c.£50k Operations Manager | c.30k a multi-cultural arts centre, celebrating diversity
To find out more and apply visit www.berniegrantcentre.co.uk Closing date: Friday 5th March 2010.
aberdeencity.gov.uk/jobs Dance Development Officer £14,632 – £16,729, Citymoves, 18.5 hours per week (job-share). (Ref. AR047/10)
Kompany Malakhi is seeking to strengthen its national and international touring presence with these four posts. Marketing Manager Freelance contract - negotiable Deadline: 18 Feb 2010 Tour Booker/Producer Freelance contract - negotiable Deadline: 18 Feb 2010
Citymoves, the dance agency for North East Scotland, is looking for an experienced and pro-active individual to actively develop dance throughout Aberdeen. Citymoves is part of Aberdeen City Council and Foundation Funded by the Scottish Arts Council. www.citymoves.wordpress.com
Creative Producer Full time post - £30K initial 12 month contract Deadline: 3 March 2010
Closing date: 1 March 2010 (12 noon)
For further info, application process and packs visit www.kompanymalakhi.com/about/vacancies or email email@example.com quoting job title.
• Apply online or call 01224 522105 (24 hours) for an application pack quoting the relevant reference number. • Committed to equal opportunities. • Benefits include the opportunity to join the Local Government Pension Scheme.
Associate Artist 0.6 post - £21K pro rata initial 12 month contract Deadline: 5 March 2010
ARTISTIC DIRECTOR Salary £30,000 - £32,000
Dance House, recognised as a leading dance agency in Scotland, wishes to appoint a visionary Director to provide overall artistic development and strategic leadership to the company at an exciting stage of its development. Full information pack can be downloaded from www.dancehouse.org Closing Date: 5.00pm Monday 1 March 2010 Interviews in Glasgow mid-March
Arts and Heritage Service Salary: £34,542 to £35,418 Full-time, permanent, 36 hours per week Croydon’s Arts Service delivers an exciting annual programme of events and arts activities. We are looking for a highly creative Clocktower Arts Programmes Manager to lead on artistic direction, audience development and income generation for the Croydon Clocktower - an iconic arts complex in the centre of Croydon presenting a fusion of innovative, contemporary programming and groundbreaking arts participation work. For a job pack please visit http://jobs.croydon.gov.uk where you can register and apply online.
Clocktower Arts Programmes Manager
Closing date: 19 February 2010. Interviews: Monday 1 March 2010. Promoting equality and diversity.
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RECRUITMENT ADVERTISING 01223 200200 Choose something better. Choose Derbyshire. Arts Partnership Manager (Part Time)
Head of Business and Administration
Acme Studios is seeking to expand its board in order to:
Marketing Officer (p/t 0.6) The Mostyn is the foremost contemporary art gallery in Wales, showing leading Welsh and international artists in a programme of changing exhibitions. The Gallery reopens on 22 May 2010 after a £5.1m expansion. We are looking for people with creative and organizational skills to fill the three new posts above.
• ensure we remain in touch with the needs of artists • ensure we have access to professional expertise and experience to help us expand our services for artists • ensure we fully represent the artists we serve and the diverse communities within which we work • add fresh perspectives If you feel you could make a contribution to the work of the organisation, we would like to hear from you. For more information, please refer to www.acme.org.uk/ governance.php after 15 February 2010 or email firstname.lastname@example.org for a board recruitment pack.
For details email email@example.com Closing date: Tuesday 2 March.
Orchestras Live is the national development agency for professional orchestral music in England. Our vision is to enable the widest range of people to have inspirational experiences of high quality live orchestral music. CHAIRMAN OF THE BOARD OF TRUSTEES We are looking for an exceptional individual with the experience, integrity and skills necessary to act as a powerful ambassador for Orchestras Live, and to deliver strong leadership to the Board of Trustees in the governance of the organisation. A passion for orchestral music and its power to transform lives, alongside excellent communication skills and proven knowledge of the UK cultural sector at a senior level are all essential. Preliminary discussion with the Board of Trustees will take place in the Spring, with a view to assuming the Chairmanship in December 2010. This is a voluntary role.
ARTISTIC CONSULTANT Do you have the passion, experience and knowledge to programme our national series of Orchestras Live Concerts? A proven track record in orchestral programming, including practical knowledge of the full range of repertoire, and experience at a senior level of negotiation between professional orchestras and promoters are all essential. This is a paid, part-time freelance consultancy opportunity.
Application deadline: Friday 19 March 2010 For a confidential discussion about either of these opportunities, please contact Henry Little, Chief Executive on 020 7629 9601
DCC/10/5174 £27,052 - £30,011 per annum, pro rata until 31 March 2010. From 1 April 2010 Grade 11 £29,239 - £32,119 per annum, pro rata 32 hours per week Alfreton Library Required for the Derbyshire Arts Partnership, if you are a graduate with working experience of the Arts Sector and Local Authorities, including project management, fund raising and strategic planning we would like to hear from you. The nine local authorities in Derbyshire are working together to develop the arts in the creative economy. We are looking for a motivated and well-organised person to co-ordinate this partnership and manage the programmes of work it generates. In the first instance, this will involve managing projects to develop the artsderbyshire website, an Arts and Health Plan, a Creative Industries Strategy, a Dance Development Plan and raising funds for future work. The post is being hosted by Derbyshire County Council and will be part of the Arts Team within the Cultural and Community Services Department. The post is available either as a single 32-hour post or as a job-share, divided into: one 10-hour post, to concentrate on digital media, online platforms and the artsderbyshire website, and one 22-hour post to manage the main projects, currently arts and health, creative industries and dance development. Application packs for all vacancies are available online at www.derbyshire.gov.uk/jobs or from Call Derbyshire on 08 456 058 058 Closing date: 21 February 2010 We are an equal opportunities employer welcoming applications from everyone.
For further information and details of the application process, please email Nancy Buchanan, General Manager, at firstname.lastname@example.org Orchestras Live is committed to equal opportunities and diversity. Visit www.orchestraslive.org.uk
The Drum is the UK’s premier arts centre dedicated to the development, presentation and celebration of African, Asian and Caribbean arts and cultural activities for the benefit of all: We are seeking motivated and highly skilled individuals to expand our current staff team to support an ambitious and exciting programme of activities.
Marketing Manager, Up to £23,000 This role requires a highly talented individual to take responsibility for the effective marketing and promotion of our varied programme of activities. In addition, you will need to be enthusiastic about audience development, committed to achieving sales targets and have a genuine passion for the arts.
Arts Development Manager, £20,000 - £25,000 As Arts Development Manager you will be responsible for managing existing partnerships and producing a distinctive, high quality arts development programme. You will need experience of developing and delivering a range of arts activities which support artists and increase community/schools participation and attendance in the arts. You will have strong project management, partnership building, fundraising, knowledge and understanding of working with artists from diverse communities. For an information pack and application form please contact: Navida Galbraith Tel: 0121 333 2416; Email: email@example.com Web: www.the-drum.org.uk Closing date: 5.00pm on 19 February 2010 The Drum is an equal opportunities employer. It receives ongoing financial support from Arts Council England, West Midlands and Birmingham City Council. Charity No 1042218 CVs will not be accepted, only fully completed application forms. No agencies please
ISSUE 211 15 FEBRUARY 2010
For all Derbyshire County Council vacancies see www.derbyshire.gov.uk
Programme Manager CM (Formerly Community Music) Salary £24,000 - £28,000 (FT) CM is London’s leading Youth and Community Music organization specialising in the delivery of quality innovative music activities and training for young people and adults in Tower Hamlets, East London. We are seeking a motivated and highly skilled individual to expand our current staff team to support an ambitious and exciting programme of activities. As a member of the senior management team, the Programme Manager will have overall responsibility for the delivery of our diverse education and training programme, from youth music projects through to Degree level and professional training. The ideal candidate will have at least 2 years experience of project management within an education, training and/or voluntary setting, preferably within the Arts. Excellent communication and administration skills are essential and a knowledge of third sector funding and academic administration would be beneficial. This is a full time position and the successful candidate will be required to work one evening per week and every Saturday afternoon. To apply, please email firstname.lastname@example.org for an application pack. The closing date for applications is the 12th March 2010. Interviews will take place on the 22nd March.
RECRUITMENT ADVERTISING 01223 200200 Theatre/ Maintenance Technician The Arts Guild Theatre in Greenock, a community theatre and arts centre, is looking to recruit a skilled technician to provide technical assistance for all performances and events (professional and amateur) held in the arts centre, to provide assistance with preparations for lets and to carry out routine maintenance and minor repairs throughout the premises. For further details email bookings@artsguildtheatre. co.uk or write to Arts Guild Theatre, Campbell Street, Greenock PA16 8AP Tel 01475 723038.
Marketing Officer £22,000 pro rata 30hrs per week Scotland’s only professional music theatre company seeks a passionate and innovative individual to promote its work, including Cryptic Nights, in the UK and internationally. For an application pack please email: email@example.com Telephone: 0141 354 0544 Closing date: Monday 1st March, 17.00 Interviews: Monday 8th March Charity no. SC022476 Cryptic is an equal opportunities employer
Closing Date: 26th February 2010.
To advertise call Paul on 01223 200200
Essex Music Agency Director – 2 year fixed term contract
thecogency MARKETING MANAGER
The dynamic, award-winning arts development agency in Pennine Lancashire seeks a
Office Administrator Salary c.£20,000
The Cogency is a London-based arts & cultural marketing company working with a range of clients including: • artsdepot • Greenwich Dance Agency • Manchester International Festival • Orchestra Europa • Somerset House The Marketing Manager is involved in all areas of strategy, management and implementation of campaigns for our clients’ projects. Candidates should have a solid background in campaign marketing, and possess imagination, excellent communication skills, and enthusiasm for a range of artforms. The Office Administrator maintains the financial and administrative systems of the company, and gives general support to our small, friendly team. We are looking for someone with at least 18 months admin experience. Book-keeping experience is an advantage, but not essential, as training can be given. For job description and more information: firstname.lastname@example.org or call 020 7064 1000 Closing Date for both posts: Fri 19 February Interviews will take place on Mon 1 & Tue 2 March The Cogency, Unit 3, Ivory Wharf, 4 Elephant Lane, London SE16 4JD
West Yorkshire Playhouse is
Essex Music Agency is seeking to appoint a Director to manage the agency, which has been set up to work with the music industry and public and voluntary sectors to nurture talent, encourage innovation and enable the local music community to thrive. We are looking for a dynamic self-starter who is able to make things happen. If you are passionate about music, well organised with relevant experience we would like to hear from you. You will be working with Essex County Council Arts Development and Essex Music Services, Colchester Institute, Orchestras Live, Youth Music, music venues and other key county partners. Budgets will be available to support the development of new initiatives. To informally discuss the role, please contact Kelly Lean, Creative Learning and Participation Officer on 01245 244648 or email Kelly.email@example.com For a job application pack, please contact Andrew Ward, Arts Development Assistant on 01245 244664 or email Andrew.firstname.lastname@example.org Deadline for applications: Tuesday 9th March 2010, 9.00am. Interviews will be held on Friday 26th March in Colchester. www.essexmusicagency.co.uk
Scotland’s award-winning national dance company is currently seeking to recruit the following individuals who have a commitment, enthusiasm and passion that matches that of the Company
Associate Director (Education)
To lead the Company’s Education Department and deliver a comprehensive education programme that inspires the widest possible public to engage with Scottish Ballet.
To manage the Finance Team, ensuring timely and accurate delivery of all financial information.
For an application pack for either post, please visit: www.scottishballet.co.uk/vacancies.htm or contact Joanna Millard on 0141 331 2931. Completed applications should be emailed to email@example.com.
Scottish Ballet is a charity registered in Scotland no. SC008037
ISSUE 211 15 FEBRUARY 2010
MPA is committed to equal opportunities and is an Investor in People.
£18,000 for the equivalent of 12 days a month (freelance contract).
DEADLINE FOR APPLICATIONS: Thursday 25 February 2010 at 10am
To support the realisation of MPA’s strategic vision as it enters an exciting new stage of development. This is a new post and a challenging role but one that offers an exciting opportunity to the right individual. It is the opportunity to take a pivotal role in shaping the future of our organisation. Starting salary £24.5-29.5K. Application via recruitment pack only. Visit www.midpenninearts.org.uk for further information and all necessary documents. Closing date: 5pm Friday 5 March 2010
seeking five dynamic individuals to join the Board and help lead the
Arts Award Regional Development Co-ordinator, North West (Maternity cover) £25,825 pro rata Located: Liverpool, covering the North West region We are seeking an experienced arts education professional to lead the development of the Arts Award in the North West region. Arts Award is a national qualification which supports young people to develop as artists and arts leaders – www.artsaward.org.uk. You will raise the profile of Arts Award through strategic advocacy, partnership development and communications, working within a national delivery plan. You will have well-developed presentation skills and the ability to advocate at senior level with local authority services, cultural organisations, schools, youth programmes, further and higher education and the voluntary sector. Download the full job description and application form at www.curiousminds.org.uk or call 01282 435835 for more information.
Closing date: 5pm Thursday 18th February 2010 Interview date: Tuesday 23rd February 2010
Dancers’ Career Development (DCD) offers a holistic and comprehensive range of specialist and confidential career support and retraining services to professional dancers in the United Kingdom.
Currently recruiting for a full time Administrator. £20,000- 22,000 pa depending on experience.
Deadline: Wednesday 3rd March 2010, 3pm
Interested in developing creative and cultural opportunities in Lancashire?
Interested? Then please contact us for more information Deadline: 15 March 2010. e. firstname.lastname@example.org t. 01400 275133
over the next few years. Please visit www.wyp.org.uk/newboard Closing date 26 Feb 2010
(Maternity Cover) April-November 2010 Full details on our website: http://www.stratfordeast.com/ the_theatre/working_with_ us.shtml or call 020 8279 1134 Deadline for applications: 22/02/10
General Manager: They Eat Culture PT 0.6 £23K - £25K PR Deadline March 2nd Interviews March 9th TEC matches nationally recognised & emergent practitioners to communities, creating quality arts programming, events, and projectwork. Application Pack email@example.com www.theyeatculture.org Applications welcome from all sections of the community.
Rhubarb Theatre & BrickBeat Studios DRAMA & MUSIC FACILITATORS WANTED for a 12month project for young people with special needs. THE BUZZ CLUB will deliver evening & holiday workshops throughout Lincolnshire from March 2010.
organisation to further success
London-based live music events producer looking for a Development Coordinator with experience of sponsorship/ fundraising /client management Salary: £23,000 pa Visit www.serious.org.uk for full details & how to apply. Or contact firstname.lastname@example.org 0207 324 1880 Closing date: 5pm Monday 22 February 2010 Supported by Arts Council England
Business Development Director £28,000 - £32,000 pa Full-time permanent position Have you dreamed of a life by the sea in one of the UK’s most beautiful and culturally rich areas? Nationally renowned contemporary art gallery seeks a creative, business aware individual to drive the growth of the gallery, maximise income and develop an international profile. For further information please contact KathyHill@newlynartgallery.co.uk Tel: 01736 363715 Newlyn Art Gallery & The Exchange, Princes Street, Penzance, TR18 5PZ Applications to be received by 26th February.
You spoke, we listened
Catherine Rose, Editor
Gissa job? Employment is in the news once more, with the movement for paid internships (p1) not quite being balanced out by the Government’s recessionbusting attempts at creating minimum wage culture jobs (p2). It will be interesting, however, to see whether the young people employed on the Future for Jobs scheme come from the same social background as those who take up unpaid internships, or whether a broader church will be served by the programme. We at AP have tried to follow up a rumour that Her Majesty’s Revenue and Customs may be preparing guidelines for paid internships, but they haven’t managed to tell us anything. We can only hope they’re reading the Arts Group’s ‘Emerging Workers’ report (p1). The revelation that 40% of graduates entering the culture sector are doing unpaid work in order to get a foot in the door should be a matter of shame for the sector – and it should be a cause for alarm, since so many talented people could be shut out. As the burden of fees and debt increase on students in higher education, those from lower income backgrounds will be less and less able to become professionals in the cultural sector. On the positive side, it’s extremely impressive that Theatre Resource – which, although it is the largest disability arts organisations in England, is still no giant – has been able to create 56 jobs. It bears out what the New Deal of the Mind told us many months ago (AP195), that there is capacity in the culture sector to give meaningful and constructive
work to many. But a lot of arts workers, especially those who have seen their livelihoods threatened in some way over the past year, may be wondering what will happen when these short-term jobs come to an end. Can the economy keep this new workforce going?
Dreams made manifest Aren’t political manifestos lovely? The three main parties are all trying to open up a whole new world of hope, and yet sounding curiously similar to each other. The Lib Dems’ new paper, ‘The Power of Creativity’ (trans: ‘we are, like, totally down with the current jargon’), puts forward some interesting ideas, but – as usual – if we want to see any of them put into practice we will have to hope that Labour or the Tories will nick them. They are completely on-message with the ‘excellence agenda’, riding the pendulum of opinion as it swings away from the age of box-ticking. “We will move away from restrictive and meaningless targets,” they insist, “and instead focus on providing high quality cultural provision for everyone regardless of location, income, ethnicity or gender”. Some might wonder how they will achieve the second half of that aim without some kind of monitoring, evaluation or, er, target-setting. Perhaps what we really need is broad and meaningful targets, if such things are possible. We will watch with interest.
Our Sales Executive Tricia Bush always likes to talk to you about what you need from recruitment advertising, because it’s feedback from you that informs what we do next. “I’ve worked in big organisations, and so many of them are impersonal and target-driven. I like this role because I have the opportunity to develop relationships with clients and work with really interesting people,” she says. It is through conversations such as these that we have developed two new offers for 2010, which will make budgets stretch further, and give some peace of mind. • If you repeat your recruitment advertisement in the subsequent issue of ArtsProfessional you receive a discount of 50% on that second ad. • If, for whatever reason, you do not make an appointment, we will repeat your recruitment advertisement within three months, free of charge. Tricia’s personal account management service means that your ad works hard to pull in the right person for your role. She works with a team that can help you with everything from layout to ad sizing, copy editing to advice on salary levels. We can even give you a free design service. You can be sure that we’ll be doing our very best for your ad and your organisation.
This week Catherine bowed to the splendour of a 16-piece brass ensemble which she has had the privilege to conduct in a performance of Mussorgsky’s ‘Pictures at an Exhibition’. Lips of iron, nerves of steel, quicksilver fingers, golden sound.
Opinions expressed in ArtsProfessional, Ape-mail and ArtsJobFinder are not necessarily those of the publishers and no responsibility is accepted for advertising content. Any material submitted for publication may be edited for reasons of style, content or available space.
ISSUE 211 15 FEBRUARY 2010
Meanings will not be intentionally altered without permission from the author.
Chief Executive Pam Henderson
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