Recommendation 8

HM Government Acknowledged

Over the previous decade, the creative industries workforce grew at almost five times the rate of the rest of the economy. Evidence shows that creative jobs are highly skilled, innovative and resistant to automation, and they are likely to continue to be in great demand in the future. The Government recognises that there are not only skills gaps and shortages in some parts of the creative industries as a result of this growth, but that the creative workforce - according to recent research co-funded by DCMS33- is under- represented by people from low socio-economic backgrounds. As part of the Creative Industries Sector Vision - due to be published in the coming months - DCMS and industry will set out our shared ambitions to tackle skills gaps and shortages, including removing barriers to entry and progression in the creative workforce. The Government’s Cultural Education Plan is due to be published later this year and will be clear in its ambition that all children and young people in England can access a high- quality and industry-connected cultural education. This provision will aim to strengthen talent pipelines into the cultural and creative sectors in the long term (this is covered in more detail in the response to the recommendation in paragraph 95, below). Similarly, the 32 https://www.gov.uk/government/publications/british-energy-security-strategy/british-energy-security- strategy 33 Carey, H., O’Brien, D., and Gable, O. (2021) Social Mobility in the Creative Economy: Rebuilding and levelling up? Multiple: Creative Industries Policy and Evidence Centre and Work Advance. Government’s recently relaunched Creative Careers Programme will provide specialist information, advice and guidance regarding creative careers to young people across the country. It will specifically target young people from underrepresented backgrounds across 53 priority areas, determined by data regarding proportions of Free School Meal pupils, cultural capital, ethnicity and disability. The Government and its cultural, heritage and wider Arms-Length Bodies are also working to ensure organisations in the cultural and creative sectors are doing their best to improve working conditions, as set out below. DCMS part-funded the Creative Industries Policy & Evidence Centre’s Independent Review into Job Quality and Working Practice in the Creative Industries - the first sectoral review of its kind - which is due to publish early this year and sets out recommendations across four priority areas34 for both industry and government to improve working practice across the UK. More broadly, Arms-Length Bodies are working closely with organisations in the sector to improve working conditions. For example, last year Arts Council England published an information sheet on Supporting Practitioners.3535 It sets out expectations for organisations working with freelance creative and cultural practitioners, as well as signposting to examples of good practice. While focused on freelance practitioners, the principles of fair and transparent treatment also apply to culture sector employees. Arts Council England expects all funded organisations to treat freelance practitioners fairly and transparently, and to ensure that the needs of freelancers are properly considered when recruiting, commissioning, and working with freelance practitioners. This includes ensuring that rates of pay are in line with, or better than, recognised codes of practice and guidelines set by the relevant lead bodies. Applicants to Arts Council England’s National Lottery Project Grants must explain how they have calculated fees for any artists and professionals involved in their project. Organisations should make sure that practitioners are properly welcomed and inducted into the organisation including making sure that the practitioner has access to any relevant policies (such as safeguarding) and that they know who to speak to if they have any issues or concerns. Arts Council England recognises that sometimes projects do not go to plan, or that existing relationships between freelancers and organisations can sometimes stop being positive. Where this is the case, organisations are expected to maintain fair and transparent treatment, and to ensure that both parties are protected; for example, if a contract is ended mid-way through, the freelancer should still be paid for the work to date. Good practice in working with practitioners goes beyond fair pay and fair treatment when working together. Arts Council England encourages organisations to consider how they can support their local freelance ecology in other ways, such as providing access to workspace, training or equipment, or offering support and advice. This is not a replacement for paid work but can form part of an organisation’s wider offer for freelancers. This also includes ensuring that the needs and voices of freelance practitioners are included in their thinking and delivery. 34 i) strengthening the baseline of protection for