A number of issues face the performing arts sector. This we know. Funding is not going to grow, likely within the next decade. Arts spaces are struggling, and freelancers perhaps even more so.
The options to the sector feel limited, and yet I think that there may be one solution to some of the issues if we start to look at our ability to organise and structure.
The solution - can we close some of external infrastructure/costs that we pay for, and re-orientate money back into the sector?
One key area to close, for me, could be Spotlight.
During Covid I worked on a research project for an industry ‘Training Hub’ through the CF:SLR Cohort. The Cf:SLR Cohort brought together 50 freelancers and 50 arts companies . This Training Hub Research project became quite big with large meetings involving companies both in and out of the cohort like the National Theatre, STAMP Collective and Get into Theatre.
The Training Hub, I felt, became a title for something much more akin to an ask for Industry infrastructure. The requests for the hub covered topics like:
Drawing together all the materials that freelancers have created so that we can find them more easily,
Creating a universal job application to make applying for jobs easier and less time consuming.
Creating a better network for job posts that covers last minute requests too in order to taking the emphasis off of social media and improve mental health support for those seeking work
Creating a space where companies can communicate with each other to ask for support and to co-work to create new resources;
Creating a space for those who want to enter these industries, in particular for those who are disadvantaged in the industry to better understand how it works
Creating a space to support the work of producers and highlight past experience and case studies for them to follow
Creating support for workers of large companies who pointed to issues of loneliness and wider support outside of their own company.
And then of course, tax support, bullying support and discrimination legal pointers.
At one point, if I remember correctly those who worked in music pointed out that they would benefit from a directory too. In theatre, we have this in the Young Vic’s Creators Programme, and in of course Spotlight, in addition to a number of smaller lists for black theatre workers, disabled theatre workers, access workers and so on. So on the long list of industry requests for this process, I felt that a directory of artists was needed. Similar to spotlight, but better.
I’ve noticed the request time for infrastructure time and again; in Open Space Events, in meeting in one-on-one conversations. The Spider Network that I mentioned above, and can not remember who first named it, is the model that we currently use. This model relies on word-of-mouth and small acts of support and resistance. You might have seen it in emails from companies, acknowledging the performance of those around them, in addition to re-tweets and friends letting friends know of things going on. To get this knowledge you need to be in the industry, so it’s functions but it’s not the most functional approach that we can have. In Open Space Events, it becomes clear that the spider network can support us a bit, but often through short bursts of free work and good intentions.
When looking at the requests for infrastructure, I felt overall what was being asked for was a company that looked like this:
During the CF:SLR Cohort both Freelancers and Companies were interested in paying for a structure like this, so long as the costs kept were reasonable. The issue for Spotlight at the minute are that the costs are not reasonable, in addition to the fact that Spotlight is not providing much of the infrastructure that we really need.
I felt from speaking to artists that this structure wouldn’t fix everything, but it would go someway to developing a better space for us to be working in.
In order to build this project up more, there are a number of issues that need to be overcome, but very much could be overcome, by the right people.
Funding - the cost of a small database is £40,000 a year. The additional complexity of this database is possibly a bit larger though is complex to analyse due to the personalised nature of databases such as these. Ie. Costs depend largely on workers required to run the database. The Department for Culture Media and Support currently focus funding not on infrastructure but arts programming - highlighted by a number of industry specialists. Funding may need to be centred elsewhere.
Marketing
The addition of film into the structure is necessary and would bring benefits for the crossover between live performing arts and recording but is complex due to current film and tv supporting infrastructures.
The fear that this would become another industry cost alongside companies like Spotlight.
It is very clear to me that I do not possess the skills to take an idea over the finish line. My skills are much more centred in analysing what people are asking overall, but do not cover marketing, fundraising, producing or administration. The next steps for a project like this to be made is simply spreading the word and finding other arts workers who do.
Комментарии