Table of contents
DOI: https://doi.org/10.58248/HS115
Overview
Contributors to the horizon scan identified participation, diversity and inclusion in cultural and creative industries[1] as being relevant to Parliament over the next 5 years.
Stakeholders report issues relating to recruitment, retention, progression, and work-place culture.[2]
Challenges and Opportunities
The creative industries are an economic success story.[3] The government has emphasised their importance to the UK economy and industrial strategy.[4] The October 2024 Budget included:
- £3 million to expand the Creative Careers Programme in schools as a means of broadening and diversifying the talent pipeline to the creative industries
- £25 million for the North East Mayoral Combined Authority as funding for the Crown Works Film Studios site to support creative industries in the region
- £2.3 billion in 2025-2026 for the creative industries via programmes such as Create Growth[5]
However, many contributors to the horizon scan, and several research studies, have identified that the creative industries feature entrenched inequality and exclusion, and do not represent the diversity of the UK population.[6]
Across the creative industries sector there are widespread concerns relating to representation, retention and progression for women, people from ethnic minority backgrounds, disabled people, and individuals from socio-economically disadvantaged backgrounds.[7] Careers in the creative industries appear to be heavily impacted by people’s social, cultural and financial capital.[8]
The workforce is also generally younger than other sectors, raising concerns about institutional ageism, as well as highlighting issues around the nature and precarity of work and generally low pay.[9]
Inequalities relating to gender, ethnicity, disability, class background and skill-level are reported to exist in: pay and benefits; job security and flexibility; working conditions; well-being and health; worker representation; and professional development and progression.[10] Class, gender and disability may also interact with other factors to create “double disadvantage”.[11]
Some causes of this lack of diversity include:
- geographic patterns of employment (such as concentration of jobs and key institutions in London)[12]
- precarity, low pay, and lack of rights/benefits connected to project-based work, and a high rate of self-employment/freelance work[13]
- business practices, including relying on informal networks and hiring/promotion procedures and a preference for degree-level qualifications, unconscious bias, and ‘cultural matching’ whereby people from some backgrounds have the necessary networks and contacts, and/or appear “suitable” for certain roles[14]
- lack of early-years opportunities, including low access to the arts/cultural institutions, limited arts education, poor-quality careers advice, and a lack of role models[15]
- workplace culture, including harassment, bullying, “endemic” misogyny, and the valorisation of “macho ideals” (such as working fast/intensively) and “charismatic leadership” often linked to abusive behaviour, alongside entrenched power-differentials and poor protection from, or support for victims of, abuse.[16]
Despite recent efforts to improve diversity, little has changed across most metrics.[17] The government has:
- committed to ensuring diversity in relevant public appointments[18]
- committed to regional and place-based growth in the creative industries[19]
- enacted new protections from sexual harassment from October 2024, meaning that employers now have a duty to take reasonable steps to preventatively ensure employees are protected from sexual harassment by third parties (such as customers, audience-members, or self-employed contractors)[20]
Relatedly, provisions in the Conservative government’s Victims and Prisoners’ Act 2024 ensured that non-disclosure agreements could not be used to prevent people reporting crimes such as sexual harassment.[21]
The Creative Industries Independent Standards Authority (CIISA) was created in 2022 to “uphold and improve standards of behaviour”.[22] It aims to provide “initial services” in 2025.[23]
Opportunities for learning from best practice include:
- Creative clusters, which have been key to the sector’s success.[24] Though researchers note that they may be prone to issues with diversity, they can improve it, not all being located in London or the South East.[25] Some have prioritised inclusion and diversity, with useful lessons for future best-practice, though more study is needed of medium-and long-term impacts, especially given high attrition rates within creative industries.[26]
- Specialist programmes aimed at increasing recruitment of specific groups. However, these risk leaving people in entry-level jobs and/or to limited genre and areas of work, and may also be informal, risking re-entrenching inequalities.[27] There has also been little evaluation of their efficacy.[28] Even where there is evidencable success, long-term progression may be hampered by structural inequalities, efforts to tackle which are less well-developed.[29]
Proposed solutions to a lack of diversity in participation in the creative industries from academic researchers, sector organisations, and parliamentarians include:
- Employers: having greater knowledge about the law and discrimination; ensuring work is flexible and recruitment is competency-based; ending unpaid internships and other unpaid work; publishing annual data on workforce demographics, and pay-gap data; and promoting role models.[30]
- Government:
- Creating a Freelance Commissioner to improve data collection on freelance work, and work to give freelancers better access to parental leave and sick pay; introducing a Workforce Information Bill, increasing mandatory pay gap reporting across multiple protected characteristics; updating the Equality Act 2010 to give freelance workers the same protections as employees, and improve protections for people facing intersectional inequality; licensing artists’ managers; and linking arts funding to compliance with the Equalities Act 2010.[31]
- Improving data-collection across the sector, and increase funding for, and work on, robust, data-driven research on diversity and the impact of arts-related policies.[32]
- Refining reporting to include the cultural industries as a distinct occupational area, and give clear reporting of intersectionality.[33]
- Funding academic research into creative industries, such as the UKRI Creative Clusters programme.[34]
- Changing and improving the understanding of creative industries by “work coaches” administering Universal Credit, which is not designed to respond to and support the flexible, short-term, irregularly-paid nature of most work in the creative industries, including scrapping the “minimum floor income” for those in the creative industries applying for Universal Credit.[35]
- Improving support for creative industries and those working in them, especially through protection of intellectual property.[36]
- Educating men and boys about misogyny and consent.[37]
- Improving skills training, careers advice and access to arts and culture in education up to age 18, including ensuring all students are equipped with core skills necessary to work freelance.[38] In 2021, DfE reported there had been a decline in art and design teachers of 8% between 2010-2021,[39] with contributors suggesting an information campaign linked to input from role models from the creative industries is required to improve teacher awareness.
- Ending the “stop-start” nature of arts and culture funding.[40]
- Producing a government plan for creative diversity, published and renewed annually, with associated Key Performance Indicators.[41]
- Key uncertainties/unknowns
- A lack of robust data on the workforce in the creative industries, or a central hub for accessing such data as there is, making holding people accountable difficult, and hampering efforts to evaluate policies aimed at increasing diversity and inclusion.[42]
- It is not yet known how effective CIISA will be in preventing bullying and harassment (and associated attrition, as well as wider issues with diversity and inclusion) in the creative industries.
Key questions for Parliament
- What support might the government give to freelancers and workers on short-term, precarious contracts in the creative sector?[43]
- Will the government develop an arts and creative industries strategy?[44]
- What role might research into the sector play? How might academic research engage with a greater range of businesses in the creative sector?
- How can students be equipped to work in the creative industries, including digital skills, and skills they may need to navigate being freelancers?
- How can accurate, robust and useful data be collected on the workforce in the creative industries to properly assess issues around diversity and inclusion, and evaluate policies to improve them?
- How can employers’ knowledge about their responsibilities to workers and service providers be improved?
- What role might a Freelance Commissioner play in improving standards?
- What role might a government plan for creative diversity, with associated key performance indicators, improve standards in the sector?
References
[1] There is some difficulty in defining “creative industries” and “creative employment”. The Department for Culture, Media and Sport includes: Advertising and marketing; Architecture; Crafts; Design: product, graphic; Film, TV, video, radio and photography; IT, software and computer services; Publishing; Museums, galleries and libraries; Music, performing and visual arts.
Lyons and Connolly. 2024. Improving the Economic Statistics in the Creative Industries;
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Evennett. 2024. Contribution of the arts to society and the economy, House of Lords Library.
[2] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond growth: promoting inclusive development of creative clusters in the UK;
McAndrew, O’Brien, Taylor and Wang.2024. Audiences and Workforces in Arts, Culture and Heritage;
Conor, Gill and Taylor. 2015. Gender and Creative Labour, The Sociological Review 63/1;
Brook, O’Brien and Taylor. 2017. Panic! It’s an Arts Emergency – Social Class, Taste and Inequalities in the Creative Industries;
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Wreyford, O’Brien and Dent, Creative Majority: An APPG for Creative Diversity report on ‘What Works’ to support, encourage and improve diversity, equity and inclusion in the creative sector 2021;
Social Mobility Commission, Socio-Economic Diversity and Inclusion Toolkit: Creative Industries, 2021;
Carey, Giles, Wilks and Collins, Improving young people’s access and progression in work in Film, TV and Games, 2023;
Carey, O’Brien and Gable, Screened Out: Tackling class inequality in the UK Screen Industries, 2021;
Carey, Florrison, O’Brien and Lee, Getting in and getting on: Class, participation and job quality in the UK Creative Industries, 2020;
Carey, O’Brien and Gable, Social Mobility in the Creative Sector: Rebuilding and levelling up? 2021;
Patel and Naudin, Diversity and Cultural Leadership in the West Midlands, 2018;
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[3] DCMS .(2024). UK’s world-class film sector handed major jobs and growth boost by tax reliefs. GOV UK;
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House of Lords Communications and Digital Committee. At risk: our creative future. 2nd Report of Session 2022-23;
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Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK;
McAndrew, O’Brien, Taylor and Wang. 2024. Audiences and Workforces in Arts, Culture and Heritage. Doi 10.5281/zenodo.11150622;
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Evennett, Contribution of the arts to society and the economy, House of Lords Library, 2024.;
House of Lords Library (2022). Arts and creative industries: The case for a strategy .
[4] DCMS (2024). Culture Secretary declares culture, media and sport sectors crucial to national growth mission; Invest 2035: the UK’s modern industrial strategy. GOV UK;
Change: Labour Party Manifesto 2024, 86-7, 123.
[5] HM Government. Autumn Budget 2024: Fixing the Foundations to Deliver Change. (HC 295).
[6] Carey, Giles, O’Conner, Sissons and Godwin, Beyond growth: promoting inclusive development of creative clusters in the UK, 2024;
McAndrew, O’Brien, Taylor and Wang. 2024. Audiences and Workforces in Arts, Culture and Heritage. Doi 10.5281/zenodo.11150622;
Wreyford, O’Brien and Dent, Creative Majority: An APPG for Creative Diversity report on ‘What Works’ to support, encourage and improve diversity, equity and inclusion in the creative sector 2021;
Social Mobility Commission, Socio-Economic Diversity and Inclusion Toolkit: Creative Industries, 2021;
Carey, Giles, Wilks and Collins. 2023. Improving young people’s access and progression in work in Film, TV and Games;
Carey, O’Brien and Gable, Screened Out: Tackling class inequality in the UK Screen Industries, 2021;
Carey, Florrison, O’Brien and Lee, Getting in and getting on: Class, participation and job quality in the UK Creative Industries, 2020;
Carey, O’Brien and Gable, Social Mobility in the Creative Sector: Rebuilding and levelling up? 2021;
Patel and Naudin, Diversity and Cultural Leadership in the West Midlands, 2018.
[7] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK. Creative Industries Policy and Evidence Centre (Creative PEC). Doi 10.5281/zenodo.12795943;
McAndrew, O’Brien, Taylor and Wang. 2024. Audiences and Workforces in Arts, Culture and Heritage. Doi 10.5281/zenodo.11150622;
Social Mobility Commission, Socio-Economic Diversity and Inclusion Toolkit: Creative Industries, 2021;
The Sutton Trust and Social Mobility Commission. 2019. Elitist Britain;
Lyons and Connolly, Improving the Economic Statistics in the Creative Industries, 2024;
Carey, Florrison, O’Brien and Lee, Getting in and getting on: Class, participation and job quality in the UK Creative Industries, 2020;
Carey, O’Brien and Gable, Screened Out: Tackling class inequality in the UK Screen Industries, 2021;
Art Council England. 2022. Equality, Diversity, and Inclusion: A Data Report;
Wreyford, O’Brien and Dent, Creative Majority: An APPG for Creative Diversity report on ‘What Works’ to support, encourage and improve diversity, equity and inclusion in the creative sector 2021;
Carey, O’Brien and Gable, Social Mobility in the Creative Sector: Rebuilding and levelling up? 2021;
Carey, Giles, Wilks and Collins. 2023. Improving young people’s access and progression in work in Film, TV and Games;
POST (2024). Cultural and creative industries: resources, funding, support and future.
[8] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK;
Carey, Giles, Wilks and Collins. 2023. Improving young people’s access and progression in work in Film, TV and Games;
Carey, Florrison, O’Brien and Lee, Getting in and getting on: Class, participation and job quality in the UK Creative Industries, 2020.
[9] McAndrew, O’Brien, Taylor and Wang. 2024. Audiences and Workforces in Arts, Culture and Heritage. Doi 10.5281/zenodo.11150622;
Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK;
Social Mobility Commission, Socio-Economic Diversity and Inclusion Toolkit: Creative Industries, 2021;
Ashton. 2021. Pay and Conditions: the London West End vs NYC’s Broadway;
Carey, Giles, Wilks and Collins. 2023. Improving young people’s access and progression in work in Film, TV and Games;
Carey, O’Brien and Gable, Screened Out: Tackling class inequality in the UK Screen Industries, 2021.
[10] Carey, Giles, Wilks and Collins. 2023. Improving young people’s access and progression in work in Film, TV and Games;
Carey, O’Brien and Gable, Screened Out: Tackling class inequality in the UK Screen Industries, 2021.
[11] Carey, Florrison, O’Brien and Lee, Getting in and getting on: Class, participation and job quality in the UK Creative Industries, 2020;
Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK;
House of Commons Women and Equalities Committee. Misogyny in music. Second Report of Session 2023–24.
[12] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK;
Carey, O’Brien and Gable. 2021. Social Mobility in the Creative Sector: Rebuilding and levelling up?.
[13] Ashton. 2021. Pay and Conditions: the London West End vs NYC’s Broadway;
Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK;
Carey, O’Brien and Gable. 2021. Social Mobility in the Creative Sector: Rebuilding and levelling up?;
Social Mobility Commission. 2021. Socio-Economic Diversity and Inclusion Toolkit: Creative Industries;
Carey, Giles, Wilks and Collins. 2023. Improving young people’s access and progression in work in Film, TV and Games;
Carey, O’Brien and Gable. 2021. Screened Out: Tackling class inequality in the UK Screen Industries;
House of Lords Communications and Digital Committee. At risk: our creative future. 2nd Report of Session 2022-23;
House of Lords Library (2023). Freelancers in the arts and creative sectors.
[14] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK;
Carey, O’Brien and Gable. 2021. Social Mobility in the Creative Sector: Rebuilding and levelling up?;
Social Mobility Commission. 2021. Socio-Economic Diversity and Inclusion Toolkit: Creative Industries;
Carey, Giles, Wilks and Collins. 2023. Improving young people’s access and progression in work in Film, TV and Games;
Carey, O’Brien and Gable. 2021. Screened Out: Tackling class inequality in the UK Screen Industries;
Friedman and Laurison. 2020. The Class Ceiling: Why it pays to be privileged (Policy Press);
Jancovich. 2017. The Participation Myth. International Journal of Cultural Policy 23/1, 107-131.
[15] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK;
Carey, O’Brien and Gable. 2021. Social Mobility in the Creative Sector: Rebuilding and levelling up?;
Carey, Giles, Wilks and Collins. 2023. Improving young people’s access and progression in work in Film, TV and Games;
Carey, O’Brien and Gable. 2021. Screened Out: Tackling class inequality in the UK Screen Industries;
House of Lords Communications and Digital Committee. At risk: our creative future. 2nd Report of Session 2022-23;
McAndrew, O’Brien, Taylor and Wang. 2024. Audiences and Workforces in Arts, Culture and Heritage. Doi 10.5281/zenodo.11150622;
Carey, Florrison, O’Brien and Lee. 2020. Getting in and getting on: Class, participation and job quality in the UK Creative Industries;
Hansard, 2024: Arts, Volume 835: debated on Thursday 1 February 2024.
[16] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK;
Hardy. 2017. Macho, mobile and resilient? How workers with impairments are doubly disabled in project-based film and television work, Work, employment and society, 31(3);
Nisbett, Walmsley and McDowell. 2023. Bullying bosses, broken boards and a crises of accountability. Arts Professional;
Office for Equality and Opportunity. (2024). New protections from sexual harassment come into force;
House of Commons Women and Equalities Committee. Misogyny in music. Second Report of Session 2023–24.
[17] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK.
Carey, Florrison, O’Brien and Lee, Getting in and getting on: Class, participation and job quality in the UK Creative Industries, 2020.
Patel and Naudin, Diversity and Cultural Leadership in the West Midlands, 2018.
McAndrew, O’Brien, Taylor and Wang. 2024. Audiences and Workforces in Arts, Culture and Heritage. Doi 10.5281/zenodo.11150622;
Jancovich. 2017. The Participation Myth. International Journal of Cultural Policy 23/1, 107-131.
Garnham. 2005. From cultural to creative industries. International Journal of Cultural Policy. 11, 15-29;
New protections from sexual harassment come into force; House of Commons Women and Equalities Committee. Misogyny in music. Second Report of Session 2023–24.
[18] DCMS (2024). Culture Secretary declares culture, media and sport sectors crucial to national growth mission. GOV UK
[19] DBT. (2024). Invest 2035: the UK’s modern industrial strategy. GOV UK.
[20] Equalities and Human Rights Commission. (2020). Sexual harassment and harassment at work: technical guidance.
[21] Ministry of Justice (2024). Crackdown on ‘gagging orders’ to protect victims’ ability to access support.
Women and Equalities Committee. Misogyny in music. Second Report of Session 2023–24.
[22] The Creative Industries Independent Standards Authority. (2024). Our purpose and vision.
[23] The Creative Industries Independent Standards Authority. (2022). Creative UK and UK Time’s Up in consultation with creative industries for an Independent Standards Authority to strengthen efforts to tackle bullying and harassment and drive greater accountability across the sector.
[24] Juan Mateos-Garcia and Hasan Bakhshi, The Geography of Creativity in the UK (2016);
House of Lords Communications and Digital Committee. At risk: our creative future. 2nd Report of Session 2022-23;
Lyons and Connolly, Improving the Economic Statistics in the Creative Industries, 2024
[25] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK.
[26] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK.
[27] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK;
Wreyford, O’Brien and Dent, Creative Majority: An APPG for Creative Diversity report on ‘What Works’ to support, encourage and improve diversity, equity and inclusion in the creative sector 2021;
[28] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK;
Social Mobility Commission, Socio-Economic Diversity and Inclusion Toolkit: Creative Industries, 2021
[29] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK.
[30] Ann Leahy and Delia Ferri. 2024. Barriers to cultural participation by people with disabilities in Europe: a study across 28 countries. Disability and Society, 29/10: 2465-2487;
Wreyford, O’Brien and Dent, Creative Majority: An APPG for Creative Diversity report on ‘What Works’ to support, encourage and improve diversity, equity and inclusion in the creative sector 2021;
McAndrew, O’Brien, Taylor and Wang. 2024. Audiences and Workforces in Arts, Culture and Heritage. Doi 10.5281/zenodo.11150622;
Patel and Naudin, Diversity and Cultural Leadership in the West Midlands, 2018.
[31] McAndrew, O’Brien, Taylor and Wang. 2024. Audiences and Workforces in Arts, Culture and Heritage. Doi 10.5281/zenodo.11150622;
Women and Equalities Committee. Misogyny in music. Second Report of Session 2023–24.
Wreyford, O’Brien and Dent, Creative Majority: An APPG for Creative Diversity report on ‘What Works’ to support, encourage and improve diversity, equity and inclusion in the creative sector 2021;
House of Lords Library (2023). Freelancers in the arts and creative sectors.
[32] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK.
[33] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK.
[34] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK.
House of Lords Communications and Digital Committee. At risk: our creative future. 2nd Report of Session 2022-23
Geoffrey Crossick & Patrycja Kaszynska. (2021). Understanding the value of arts & culture The AHRC Cultural Value Project
Social Mobility Commission, Socio-Economic Diversity and Inclusion Toolkit: Creative Industries, 2021
Patel and Naudin, Diversity and Cultural Leadership in the West Midlands, 2018.
[35] Ashton. 2023. Not here to help”: Equity members’ experiences of Universal Credit and the Minimum Income Floor.
[36] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK.
House of Lords Communications and Digital Committee. At risk: our creative future. 2nd Report of Session 2022-23
[37] Women and Equalities Committee. Misogyny in music. Second Report of Session 2023–24.
[38] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK.
House of Lords Communications and Digital Committee. At risk: our creative future. 2nd Report of Session 2022-23
[39] Ofsted (2023). Research review series: art and design
[40] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK.
House of Lords Communications and Digital Committee. At risk: our creative future. 2nd Report of Session 2022-23
[41] Wreyford, O’Brien and Dent, Creative Majority: An APPG for Creative Diversity report on ‘What Works’ to support, encourage and improve diversity, equity and inclusion in the creative sector 2021;
[42] Carey, Giles, O’Conner, Sissons and Godwin. 2024. Beyond Growth: promoting inclusive development of creative clusters in the UK.
McAndrew, O’Brien, Taylor and Wang. 2024. Audiences and Workforces in Arts, Culture and Heritage. Doi 10.5281/zenodo.11150622;
Wreyford, O’Brien and Dent, Creative Majority: An APPG for Creative Diversity report on ‘What Works’ to support, encourage and improve diversity, equity and inclusion in the creative sector 2021;
[43] House of Lords Library (2023). Freelancers in the arts and creative sectors
[44] House of Lords Library (2022). Arts and creative industries: The case for a strategy .
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