creative blueprint england

Creative BlueprintEnglandThe Sector Skills Agreement for the creative and cultural industriesJune 2008

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London OfficeLafone HouseThe LeathermarketWeston StreetLondon SE1 3HN

T (020) 7015 1800E [email protected]

Scotland and Northern Ireland Office28 Castle StreetEdinburghEH2 3HT


Wales OfficeCreative Business Wales33-35 West Bute StreetCardiff BayCF10 5LH


For further copies of Creative Blueprint documents covering all Nations, regions and creative and cultural industries visit www.creative-choices.co.uk/blueprint

www.ccskills.org.uk

Published by Creative & Cultural SkillsLafone HouseThe LeathermarketWeston StreetLondon SE1 3HN

Chairman:Tony Hall, CBE Chief Executive:Tom Bewick

Trustees:Tess AlpsJane Glaister, OBERic GreenRosy GreenleesJudith Isherwood, David KershawRoisin McDonoughEric NicoliChristine PayneDame Fiona Reynolds, DBEJohn StalkerDaniel TaylorAlison Wenham

Published in June 2008.

Creative and Cultural Industries Ltd is registered in England as a Charity No. 1105974 and as a limited company by guarantee No. 5122855 at Lafone House, The Leathermarket, Weston Street, London SE1 3HN.

Design by elmwood

Contents

Foreword

1 Executive Summary 051.1 Industry context 081.2 Education and training context 091.3 Meeting the challenges 091.4 Delivery and impact 09

2 Introduction 112.1 The case for change 142.2 Action 172.3 Priorities and progress 20

3 England, Stages 1-3 Summary 213.1 Industry background 243.2 Skills issues background 253.2.1 Current skills 253.2.2 Future skills 263.2.3 International comparisons 263.3 Education and training 273.3.1 Current investment in education and training 283.3.2 What are employers looking for? 28

4 Policy Context 294.1 Skills policy 324.2 Economic and regional policy 354.3 Creative and cultural policy 36

5 Working with Industry, Government and Education 375.1 Consultation 40

6 The Future 43

7 Creative Blueprint Programme 477.1.1 Business support 517.1.2 Creativity and culture in schools 517.2 Creative Apprenticeships 557.2.1 Why are Creative Apprenticeships needed? 557.2.2 Skills needs and issues being met by the programme 557.2.3 Future development 567.2.4 Programme 567.3 National Skills Academy 597.3.1 Why is a National Skills Academy needed? 597.3.2 Skills needs and issues being met by the programme 607.3.3 Future development 607.3.4 Programme 61

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7.4 Creative Choices˚ 637.4.1 Why is Creative Choices˚ needed? 637.4.2 Skills needs and issues being met by the programme 637.4.3 Future development 637.4.4 Programme 657.5 Cultural Leadership Programme 697.5.1 Why is a Creative and Cultural Leadership programme needed? 697.5.2 Skills needs and issues being met by the programme 697.5.3 Future development 697.5.4 Programme 697.6 UK Design Skills Alliance 727.6.1 Why is the UK Design Skills Alliance needed? 727.6.2 Skills needs and issues being met by the programme 727.6.3 Future development 727.6.4 Programme 727.7 Continuing Professional Development 777.7.1 Why is Continuing Professional Development needed? 777.7.2 Skills needs and issues being met by the programme 787.7.3 Future development 787.7.4 Programme 787.8 Qualification Reform 827.8.1 Why is Qualification Reform needed? 827.8.2 Skills needs and issues being met by the programme 827.8.3 Future development 827.8.4 Programme 827.9 Diversity 867.9.1 Why is a Diversity programme needed? 867.9.2 Skills needs and issues being met by the programme 867.9.3 Future development 867.9.4 Programme 867.10 Research Agenda 887.10.1 Why is a Research Agenda needed? 887.10.2 Skills needs and issues being met by the programme 887.10.3 Future development 887.10.4 Programme 89

Tables 911 Key milestones 912 Stakeholder involvement mapped against skills solutions 92

8 References 95

Creative Blueprint England 2008

Foreword

To ensure that the UK’s creative and cultural Industries are match fit in the skills race is the only reason I agreed to set up our sector skills council four years ago. And I believe that with you all, we are making a lot of progress. Tackling this issue must start in schools. I am personally thrilled about the government’s commitment to the ‘cultural offer’ – up to five hours a week – for all young people. Creativity is taken far more seriously in the national curriculum these days than it used to be. And I’m delighted that Ministers have responded so well to my Dance Review – making an additional £5.5 million available to identify the next Darcy Bussell or Wayne MacGregor. An appreciation of the creative industries and what they can offer – the inspiration they can offer – must begin in the classroom. But that should also include the business of the creative and cultural industries – and that’s what I fear may be overlooked.

The research we are publishing – The Creative Blueprint for England – shows that our creative industries are for the most part small scale – they’re not the big conglomerates and brands that the more traditional industries tend to represent. Of course there are some highly successful, world leading British creative companies with real scale. But our research shows that 85 per cent of our organisations employ fewer than 5 people; over 20 per cent operate as freelancers. And that’s because people who work in our sectors constantly have to generate new ideas, re-invent themselves and find different creative problems to solve; their spirit as well as their business sense tends to organisational forms that mean they can respond quickly and still remain in control. Of course this can present a difficulty at a governmental level where the need sometimes is to ensure uniformity, hit targets and tick boxes, which can be in itself an anathema to many creative individuals and firms. This needs careful handling. It also means that when you come to solutions – what can you do to help these small enterprises grow—the answers have to be very flexible, and have to respond to the cry I hear time and time again from small creative businesses: where can I find the time and money to spend on developing skills even though I know I need to.

To make progress involves a radical simplification of the skills landscape. We need to empower Sector Skills Councils with both the resources and the authority to get the job done.

We have to give the skills race clear direction, clear leadership and the resources to get the job done. I think we’re doing a lot, and everyone I meet in Government and a variety of agencies is committed to making a difference. But I think we’re all going to have to work more quickly, deftly and more ambitiously than we have up to now.*

Tony Hall CBE

Chairman, Creative & Cultural Skills

CEO, Royal Opera House

* ‘Turning Talent into Skills & Jobs’ – Speech by Tony Hall Capital of Culture. 22nd April 2008.

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01Executive Summary

Section 01 Executive Summary

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Creative & Cultural Skills is the Sector Skills Council for the advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts industries. The Creative Blueprint: the Sector Skills Agreement for the Creative and Cultural Industries in England, presents for the first time a strategic programme of action that aims to transform and enhance the education, training and development of the workforce.

The ‘creative blueprint’ is the result of research, analysis and consultation with employers, government, education, unions and creative and cultural stakeholders. The agreed programme of action will have an impact on the current and future skills needs that are essential for successful and sustainable businesses and organisations, and the creative and cultural industries’ contribution to a prosperous England.

‘. . . the force of British creativity is renowned throughout the world. People across the globe are inspired by the sheer diversity of our creative talent. They recognise Britain as a hub of creative endeavour, innovation and excellence, and they are drawn to the strength of our creative economy.’

The Rt Hon Gordon Brown MP, Prime Minister in the Foreword to ’Creative Britain 2008’


ExecutiveSummary

Section 01 Executive Summary

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1.1 Industry contextThe creative and cultural industries have experienced rapid growth in the UK over the last ten years. This has focused Government’s attention on the industries in terms of their economic, social and cultural role. This is confirmed by the publication of Creative Britain: New Talents for the New Economy (2008) and Innovation Nation (2008).

In the English regions the creative and cultural industries are increasingly an important part of economic development and are also seen to contribute to quality of life and the environment. This wide range of roles is based on what the creative and cultural industries achieve:

‘All originate ideas of expressive value which they commercialise. “Ideas of expressive value” can range from the humblest pleasing song or appealing advert to the latest interpretation of Shakespeare or new design for a car. They create new insights, delights and experiences; they add to our knowledge, stimulate our emotions and enrich our lives.’(The Work Foundation 2007, p. 19)

In England there are 480,000 people in the creative and cultural workforce, representing 88% of the UK’s creative workforce. London has 31% of this UK creative workforce. There are 56,000 businesses and organisations contributing £21 billion GVA to the UK economy. The Arts and Design are the two largest industries in England. By 2014 the workforce is expected to increase by 49,000, with 30% through new jobs. Two thirds of the growth will be in higher skilled jobs; currently 46% of the workforce is educated to Level 4 or above.

The creative and cultural industries include high numbers of micro-businesses, and those who are self-employed or freelance, and relatively few large businesses and organisations. Volunteers are a key part of the cultural industries’ workforce.

Three themes are common to these diverse industries; the central importance of creativity for business success; the ability to communicate; and a focus on clients, customers, audiences and participants.


ExecutiveSummary

1.2 Education and training context England has 93% of the UK’s Further and Higher Education provision of 180,000 courses, 43% of which are full-time, and there are over half a million students. In terms of recruitment 12% of businesses have had difficulties recruiting in the last year and 25% had skills gaps. However, only 35% of employers had arranged training. Cost is a factor; the majority of businesses do not have a training budget and if they do, most spend less than £1,000 per year. The Leitch Review (2006) and the subsequent Government implementation plan (2007) identified the urgent and essential need to increase skills, both for a successful 21st century economy and if the UK is to maintain its position as a leading global economy.

As a result of the Creative Blueprint research and consultation, five challenges have been identified:

• Therearesignificantgapsinwork-basedtechnicalandspecialistskillsprovision.

• Increasingandfurther-developinghigherskillsintheworkforceisessentialfor continued and future industry success, with a need for a greater focus on business and enterprise.

• Thereisahighvolumeofeducationandtrainingprovisionthatindividualsand employers are unclear exactly what qualifications are valued by employers for entry into industry, career development and progression.

• Thereisaneedtodiversifytheworkforceforbusinesssuccess.• Employerinvestmentandcommitmenttotraininganddevelopmentmustbe

increased in industries dominated by micro businesses and self employed/freelancers.

1.3 Meeting the challenges Industry, education and stakeholders have identified and agreed nine programmes to meet the challenges: • CreativeApprenticeships• NationalSkillsAcademy• CreativeChoices˚• CulturalLeadershipProgramme• UKDesignSkillsAlliance• ContinuingProfessionalDevelopment• QualificationReform• Diversity• ResearchAgenda

These connect with current Government and regional creative, economic and skills policies. World Class Skills (2007), the Government’s response to Leitch, defines the role of Sector Skills Councils as:

‘raising employer ambition and investment in skills at all levels; articulating the future skills needs of their sector; and ensuring that the supply of skills and qualifications is driven by employers.’ (2007, p. 11)

1.4 Delivery and impact The programmes are detailed in section 7 along with partners for delivery. The Creative & Cultural Skills Board of leading employers is committed to the plan and will support its delivery. Each industry has an advisory group who have been involved in the development of the programme and industry workforce plans. Progress and impact will be reported annually to industry, government and stakeholders.

In conclusion, the Creative Blueprint is a unique opportunity for employers, government and education to work together to create change and success for individuals, the creative and cultural industries, and England.

Photography by Victoria Cookson

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Icon, HLF

Photography by


02Introduction

Section 02 Introduction

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The Creative Blueprint: the Sector Skills Agreement for the Creative and Cultural Industries in England is the strategic programme of action for the advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts industries. It presents for the first time an action plan agreed by industry, government, education, unions and creative and cultural stakeholders. The plan aims to transform and enhance the education, training and development of the workforce, whose skills are essential for successful businesses and the creative and cultural industries’ contribution to a prosperous England.


Introduction

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2.1 The case for changeAchieving change comes from a Sector Skills Agreement that is underpinned by research and consultation, working closely with employers and in partnership with government, stakeholders and education. Research identified current and future skills needs in the industries, current education provision, key challenges and issues that are barriers to future industry success. Consultation and work with industry identified how these can be overcome. This work has been carried out in five stages at a UK-wide and England-specific level.

This report has four main sections:

• Theevidencebase• Workingwithindustry,governmentandeducation• Thevision• Actionneeded

The proposed actions will influence the supply of relevant learning provision to the industries; make education provision more responsive to industry needs; widen and increase education and training opportunities; and raise employers’ commitment to skills, to increase productivity and address skills shortages and gaps.

Research identified five key challenges: • Therearesignificantgapsinwork-basedtechnicalandspecialistskills

provision. • Increasingandfurtherdevelopinghigherskillsintheworkforceisessential

for continued and future industry success, with a need for a greater focus on business and enterprise.

• Thereisahighvolumeofeducationandtrainingprovisionthatindividualsand employers are unclear exactly what qualifications are valued by employers for entry into industry, career development and progression.

• Thereisaneedtodiversifytheworkforceforbusinesssuccess.• Employerinvestmentandcommitmenttotraininganddevelopment

must be increased in industries dominated by micro businesses and self employed/freelancers.

From the challenges, employers and industry identified nine key skills and workforce issues requiring action for future industry growth and success.


Introduction

Entry to industry For people coming into the industries there is a lack of knowledge about the skills needed to succeed in the creative and cultural industries. Career pathways are unclear or do not exist. Unpaid work experience and volunteering is often required to gain a foot in the door; this excludes people who cannot support themselves. Job recruitment in some industries is based on who you know, rather than what you know.

Management and leadership Creative talent and drive are not in short supply, but management and leadership skills are needed to harness creativity for continued and future business success. They are particularly important for meeting the challenges of globalisation, technology change and the growth of project working.

Business skills and enterprise Sustainable, growing industries need business skills such as planning, finance and marketing along with access to advice and support. The industries also tend to focus on short term horizons and can be reactive to change rather than proactive, for example in looking at new business models. Linked to this is a need to ‘professionalise’, particularly expressed by Design, but also in Crafts. Creative & Cultural Skills recognises that some of this agenda is being taken forward by partners such as the Regional Development Agencies, Business Link, the Institute of Practitioners in Advertising, the Design Council, Arts Council England, and Further and Higher Education.

Continuing Professional Development In industries dominated by small businesses and those who are self-employed or freelance, time and costs are barriers to training and development. Only 35% of England’s employers organised training in 2006 and most training budgets are less than £1,000 per year. The industries are graduate-rich, but the rate of change in technology and business requires creative and business skills to be continually developing.

Diversity In England 95% of the creative and cultural Skills workforce is white and 54% is male. Unsocial hours, low pay, lack of progression and, in some industries, the need to volunteer, both discourage entry and lead to people leaving the industries.

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Qualification Reform Although the industries are graduate-rich, employers say that entrants lack the right skills and experience. Work-based learning is valued, but there is a lack of suitable qualifications. The high volume of education and training provision presents an unclear picture of what is of value to individuals and employers for entry and career progression.

Information, Advice and Guidance A key message from all industries is the lack of high quality, industry-endorsed information. This includes the skills needed to enter the industries and develop careers, and an understanding of the range of occupations and career progression. For employers and practitioners there is a need for information on training, development, and business advice and support.

Creativity and culture in schools As part of the wider creative and cultural agenda all industries express concerns about the way in which the curriculum addresses development of creative skills and cultural understanding in schools. Creativity and culture in schools, the quality of teaching, curriculum design and advice are all valued and seen as having a key impact on the quality of development of young people’s skills, in relation both to their further education, and to industry demands. Creative & Cultural Skills recognises that this agenda is being taken forward by partners such as Creative Partnerships, the Museums, Libraries and Archives Council, the Design Council and the National Trust.

Industry intelligence and research The availability of accurate, up-to-date and relevant skills and workforce 0data across the industries has been a problem. The information needs to be comparable across industries and recognise individual industry nuances. For example, Crafts are not visible in government statistics, although information is available through the work of Arts Council England and the Crafts Council.

Many of these issues require long-term change and are not all met by single solutions.

Photography byVictoria Cookson


Introduction

2.2 Action To meet the challenges and issues, nine programmes have been identified by industry and stakeholders. These are summarised below, with further details in section 7.

Creative Apprenticeships In England there are no employer-led apprenticeship programmes for the creative and cultural industries. The Apprenticeships will provide, for the first time, high quality, paid, work-based qualifications at Level 2 and Level 3 in technical and specialist skills areas where employers have identified current and future need. The Apprenticeships will also widen entry to the workforce and address workforce diversity. The Learning and Skills Council (LSC), Arts Council England, Museums, Libraries and Archives Council, and employers such as EMI, the National Trust, Sage Gateshead, the Lyric Theatre Hammersmith and the Tate Liverpool are partners for delivery. This high-priority, long-term programme will also assess the demand for higher level Apprenticeships.

National Skills Academy for Creative & Cultural Skills The new National Skills Academy will not only address entry to industry in technical and specialist skills gaps, but will also provide high-quality, industry-led continuing professional development. The Academy will deliver training and development through an England-wide network of employer and education partnerships and a centre of excellence at Thurrock. A UK-wide network is in discussion with the proposed Technical Theatre Skills Academy (Scotland) and Centre of Excellence in Wales. The National Centre for Performing Arts, Beijing, will be the first international partner. Partners include the LSC, the Royal Opera House, PLASA, Arts Council England, East of England Development Agency, Broadcasting, Entertainment, Cinematography and Theatre Union (BECTU), Equity and the Musicians’ Union.

Creative Choices˚ Creative Choices˚ is a web-based, industry-endorsed source of information and intelligence, providing user-focused career and development information, quality-assured information on training and education, and online learning and industry intelligence. It will be the first consumer-led online service to fully exploit the potential of social media for training and skills relevant to individuals and creative businesses. Creative Choices˚ is a high-priority, long-term programme. Partners include the Cultural Leadership Programme, Unions, Warwick University and the Open University.

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Cultural Leadership Programme The Cultural Leadership Programme is addressing the need for leadership and management development, tailored to the industry and including business and entrepreneur development. The Programme includes a range of delivery styles, taking account of industry-preferred methods and support for example networks, mentors and action learning. Participants in the leadership programme will be linked to Creative Choices˚ for ongoing network support. The Cultural Leadership Programme is a unique delivery partnership of three sector-led bodies – Creative & Cultural Skills, Arts Council England and Museums, Libraries and Archives Council.

UK Design Skills Alliance The Design industry needs to improve its industry and education links for training and development to meet the challenges of a global market. The industry has also recognised that it must invest more in skills and continuing professional development. The Alliance will bring together industry, education and government to achieve this. Creative & Cultural Skills and the Design Council are working in partnership to set up the Alliance, whose initial development has been led by an industry panel that includes Elmwood, Nissan, The Team, Design Business Association, D&AD, British Design Innovation, the Council for Higher Education in Art and Design, the Design & Technology Association, the Design Museum and the Victoria & Albert Museum. The Alliance programme is published in the Design Blueprint (2008).

Continuing Professional Development There is a need for sustainable, continuing professional development provision that meets both creative and business skills needs and develops Further and Higher Education partnerships. The needs include embedding continuing development in businesses, access to specialist provision, accreditation of informal or industry learning, and creative solutions that recognise the role and value placed by industry on informal learning and networks. Potential partners are Arts Council England, Museums, Libraries and Archives Council, Crafts Council, Museums Association, Institute of Practitioners in Advertising, Theatrical Management Association, Independent Theatre Council, Association of British Orchestras, Skillscene and the Unions.

Photography by Icon, HLF


Introduction

Qualification Reform The Sector Qualification Strategy and National Occupational Standards are central to addressing qualification reform in the creative and cultural industries, including the issues of volume of qualifications, clarity of qualification type, progression, and industry involvement in qualification development. This also includes the development of Diplomas. As a high priority programme the role of the Creative & Cultural Skills Awarding Body Forum is crucial, along with positive relationships with the Qualifications and Curriculum Authority (QCA), LSC and other partners.

Diversity An online resource, hosted by Creative Choices ,̊ will promote the business case and the value of a diverse workforce. Partners include the Museums, Libraries and Archive Council, the Institute of Practitioners in Advertising, and Unions.

Research Agenda The current research enables the first ever analysis of workforces, identification of current and future skills needs, and the mapping of education provision in the industries represented by Creative & Cultural Skills. The Research Agenda will sustain and develop this work across the UK and internationally. It will also assess innovation in the creative and cultural industries, as well as the impact of skills development on productivity, business and service improvement. This is a long term programme with potential partners including all the creative and cultural Non-Departmental Public Bodies, Regional Observatories, trade and professional associations, Unions, LSC, Further and Higher Education.

The programmes will be delivered with employers, including those on the industry advisory groups, and a range of government, creative and cultural agencies, unions and education partners. Creative & Cultural Skills also works with a number of other Sector Skills Councils, with whom there is a shared agenda, in particular Skillset and Skillfast.

All the programmes have a set of impact measures that will be reported annually to industry, government and stakeholders.

Each industry panel or group across the advertising, crafts, cultural heritage, design, literature, music, performing arts and visual arts industries has contributed to the action plan as it has developed industry-specific plans. The first of these, the Design Blueprint, is now published.

Work with unions including BECTU, Equity, GMB, Musicians’ Union, PCS, Prospect, Unite, Unison, the Writers’ Guild of Great Britain and unionlearn has established a jointly-agreed action plan based on the Creative Blueprint.

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2.3 Priorities and progress Short term (2008/2009)The first Creative Apprentices start in September 2008, with a target of 400 apprentices in the first year. Employer and education partnerships will support the apprenticeship rollout and development. The National Skills Academy programme will begin with the setting up of regional employer partnerships to deliver Apprenticeships and CPD.

Creative Choices˚ will have achieved 10,000 users in its first year. With the launch of the UK Design Skills Alliance, industry will have contributed £200,000 to support the development of the Alliance programme including the Designers’ Knowledge Base professional practice framework. Work will have begun to implement the Sector Qualification Strategy action plan and the Creative and Media Diploma will have started. Industry diversity profiles will be published and, as part of the Research Agenda, Labour Market Intelligence will have been updated.

Medium term (2009/2011)Over 1,000 apprentices will have achieved a Creative Apprenticeship and industry will have agreed further pathways for development. The National Skills Academy will have opened and there will be a programme of work with the Technical Theatre Skills Academy (Scotland) and Centre of Excellence in Wales. An international programme will be under way with the National Centre for Performing Arts in Beijing and the NSA will be actively contributing to the preparations for the 2012 Olympic and Paralympic Games.

Creative Choices˚ will have 25,000 users who are registering ‘high satisfaction’ ratings with its services. The UK Design Alliance will have a programme of visiting Design Professionals in education, and strong industry education links will support the development of multidisciplinary skills on courses. Sustainable leadership programmes, meeting industry needs and accessible to micro-businesses and practitioners will be available.

Long term (2011/2013)The first Apprentices will be in jobs or planning their own businesses. The programme will be well-established, available to all ages and will have widened the diversity of the workforce. Across England there will be employer and education partnerships delivering Apprenticeships, Continuing Professional Development and leadership development. The pool of creative and cultural leaders will have substantially increased and be more diverse, providing a strong support network across England.

Creative Choices˚ will be the lead source of information on creative and cultural skills and training, recognised by industry and education for the quality of information and services. There will be links to careers and business information services across the UK and every school will have engaged with Creative Choices .̊

Sustainable CPD programmes, meeting industry needs and accessible to micro-businesses and practitioners, will be available. The UK Design Skills Alliance will have demonstrated the impact of skills and training development in the growth and sustainability of the Design industry. As a result of the Sector Qualification Strategy there will be a smaller and clearer framework of industry-approved qualifications.

(Table 1 page 64 summarises the key milestones across the programme.)


England, Stages 1–3 Summary

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Section 03 England Stages 1–3 Summary

The purpose of a Sector Skills Agreement is to understand the current and future skills needs and workforce issues facing employers, the range of education and training provision available and what short, medium and long-term action on skills, education and training is needed to develop sustainable businesses and growth in productivity. This action has to be agreed between industry, government and education. To achieve this it has been essential to work with employers, industry bodies, creative and cultural agencies, government, unions and education.

The process has five stages, some of which have run concurrently. These are:

• Assessmentofcurrentandfutureindustryskillsneeds.

• Assessmentofcurrentlearningprovisionavailableto industry.

• Analysisofgapsandweaknessesincurrentworkforce development activity, leading to agreed objectives.

• Assessmentofthescopeandlevelofcollaborativeaction and commitment of resources by employers.

• Developmentofanactionplanwithkeydeliverypartners.

The reports detailing the research, consultation, and analysis are available at: www.ccskills.org.uk


England Stages 1–3 Summary

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3.1 Industry backgroundThe creative and cultural industries have experienced rapid growth in the UK over the last ten years, which has focused attention on the industries, in terms of policy development and action, and on the role of creativity and innovation in business and the economy. In England, the publication of Creative Britain (2008) sets out to maximise the contribution of talent and creativity to the nation.

As the creative and cultural industries span a wide range of businesses, defining them is not straightforward.

‘So what do you do? If creativity plays a big role in your life, it’s probably not an easy question to answer. If you work in the creative industries, it’s probably even harder. Re-working concepts, information, ideas and knowledge for a living often doesn’t lend itself to a job title that adequately explains what you do. If you work in the creative industries, the chances are you work for yourself, for a small organisation or for a small team in a big organisation. You’re probably working in a close network of collaborators and associates. You probably find yourself working on several different things at the same time, and many of those activities are one-offs not to be repeated.’ (Tims and Wright 13: 2007).

However, three themes are common to these diverse industries: the central importance of creativity, communication, and a focus on clients, customers, audiences and participants. Collaboration is important through networks and partnerships, as a means of developing and delivering business. In this lies one of the means to achieve sustainable, increased employer commitment and investment in skills and workforce development.

The England workforce of 480,000 people represents 88% of the UK’s creative and cultural workforce. There are just over 56,000 businesses contributing £21 billion GVA to the UK economy. London represents 35% of employment in the industries in England. By 2014 the workforce is expected to increase by 49,000, 30% through new jobs. Two thirds of the growth will be in higher skilled jobs. In common with the rest of the UK, diversity is a workforce and business issue both in terms of ethnicity and gender. For the cultural industries in particular, volunteers are a key part of the workforce and low pay is an issue.

Key industry features are the high numbers of micro-businesses, and people who are self-employed or freelance, and the small number of large businesses and organisations.

The industries have both global and local markets. Those operating globally include advertising, design and music. At a local level they are seen to contribute to economic and community regeneration. This aspect of government policy has led to debates on the balance between intrinsic and instrumental cultural value. It is important to recognise that the industries’ view of value and success is not only economic, but also social, cultural and aesthetic.


EnglandSummary

3.2 Skills issues backgroundThe following summarises the drivers, current and future skills needs, education and training provisions and employers’ approach to education and training. Many of the issues are reflected in the solutions, for example, in the actions proposed for Continuing Professional Development.

The key drivers for skills development are:

• Globalisation:theglobalvillage,competitionfromChinaandIndiaand the growth of the ‘knowledge’ economy.

• Changingdemographics:anageingpopulationandanincreasingly diverse society.

• Technologicalchange:mediaconvergence,rapidrateofchangeandtheability for anyone to generate creative content, for example music, and distribute it via the internet.

• Environmentalchange:climatechangehasanimpactonconsumerchoiceand businesses are increasingly environmentally aware.

• Governmentpolicy:rangingfromemploymentlegislationandHealthandSafety to economic and social policy and the regeneration agenda.

• Achangingjobmarket:flexibleworkingandportfoliocareers,increased use of freelancers and the role of volunteers in the workforce.

The 2012 Olympic and Paralympic Games presents both opportunities and challenges through the Cultural Olympiad, Cultural Programme and its legacy. Creative & Cultural Skills is engaging with 2012 through the National Skills Academy and Creative Apprenticeships.

The impact of these drivers varies by industry, but is reflected in the industry-specific detail of current and future skills needs, for example, globalisation in advertising and design, environmental issues in design, and government policy in cultural heritage and the arts.

3.2.1 Current skills In England, 12% of businesses have had recruitment difficulties in the last year. This is roughly equal to the UK average. The recruitment difficulties in England are driven by a lack of suitable experience and relevant skills.

Recruitment is most difficult when hiring for creative roles (43% of employers stated difficulties compared to 45% across the UK). In terms of the existing workforce, a quarter of employers perceive some form of skills gaps across current employees. Internal skills gaps in England tend to be in management (18%), creative roles (17%) and ICT (12%).

Photography byBen King

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3.2.2 Future skillsAcross the industries the following skills are important for continued and future success:

Management – training needs to be tailored to the working style of the individual. Leadership – seen as crucial for vision, foresight, and strategy formulation in the industries. Information and digital technology – IT training in the industries needs to be flexible and enable future business development.Business skills/professionalism – ensuring the creative and cultural industries have relevant training in areas such as finance, administration, understanding new markets, industry values and standards.Negotiation, selling, marketing and PR – crucial for partnership development, understanding markets, selling products and services, creating and developing a business identity or brand.

3.2.3 International comparisonsWith the worldwide reach of the UK creative and cultural industries, comparisons with international counterparts demonstrate what drives growth and productivity and the development of global competition. Identifying common definitions is difficult and this is an area that requires further work. However, the conclusion from the summaries below is that the industries cannot afford to stand still if they are to sustain and develop a leading place in the global creative and cultural economy.

Advertising: In the USA, there is at least a 4% greater increase in employment in areas such as marketing, promotions, public relations, and sales management in ’media and communications‘ occupations as well as for ’advertising sales agents‘. This coincides with the patterns found in the UK advertising industry.Craft: Craft Australia’s 2006 National Craft Mapping Project indicated the need for services providing business information and small business management skills training. In the USA, there are expected to be 23,000 new jobs in Craft from 2004-2014.Cultural Heritage: The trends in terms of focus and objectives in the industries in the UK are reflected across the world. Canada and Australia are similar to the UK with regard to the influence of government and a reform agenda.Design: There is a strong competitive threat posed by emerging economies, specifically India and China, which are increasingly a challenge to the high-technology, high-skilled industries. For the UK to compete effectively, it must constantly stretch its reach and be able to ‘do complex things better.’ Music: In the US, musicians, singers, and related workers held about 249,000 jobs in 2004. Around 40% worked part time; almost half were self-employed. Many found jobs in cities in which entertainment and recording activities are concentrated, such as New York, Los Angeles, Las Vegas, Chicago, and Nashville.The Arts: In the US, the growth in specific arts occupations will be greatest in literature. Specifically, by 2014 there will be a demand for another 25,000 writers and 19,000 editors compared to today. Growth will also continue in the performing arts for entertainers and performers.


EnglandSummary

3.3 Education and training England accounts for 92% of the UK Further and Higher Education provision of 180,000 courses. Across the UK, 43% of these courses are full-time. The LSC funds 1,200 qualifications. There are over half a million students on a creative or cultural-related course in England, which is more than the number of people working in the sector. Volume and oversupply in the job market are issues, particularly the information, advice and guidance students receive about employment in the industries. There is also a lack of clarity for employers and students about which courses lead to employment or recruitment.

Restricting access to creative and cultural courses is not suggested. Doing so would be to ignore the many reasons individuals begin a creative or cultural course, and the fact that their future careers could be in a creative job, but not in one of the industries represented by Creative & Cultural Skills. NESTA (2008) have suggested that there are up to 645,000 people working in creative jobs outside the creative and cultural industries. The key issue here is course content and the role of employers and practitioners in developing that content, plus the transferability of skills developed on courses. In contrast, there are some specialist areas of industry where course provision is at risk because of small numbers of students, and these also need to be supported.

In 2005/6, 66% of creative and cultural organisations did not arrange for training. If there was a need for training, the main reasons for not doing it were lack of time and money. In contrast, across the UK, employers and practitioners spend on average 15 days training per year.

Employers and practitioners tend to use external training (via a college, university or private provider) in order to fill skills gaps. On the other hand, it appears that the choice to use informal or internal training reflects a lack of appropriate external resources. A key impact on the type of training undertaken is the size of the business. In general, larger businesses tend to employ a greater selection of training methods.

Some key figures for education and training in England: • AcrosstheUK,38%ofcoursesdonotleadtoaqualification.• AcrosstheUK45%ofpeopleinthecreativeandculturalindustrieshave

a degree.• Thereare413FoundationdegreesinEngland• InEngland,onceatLevel4,thenumberofVocationallyRelatedQualifications

in creative subjects drops significantly.• OfallstudentsstudyingcreativeandculturalcoursesinEnglandinFurther

Education, 39% are doing so in Greater London and the South East.• InEnglandtherehasbeena6%increaseinstudentsinHigherEducation.

This varies by region – for example, it is 14% in the East of England. • CorefundingforcreativeandculturalcoursesinEnglandatFurther

Education level increased by 9% between 2003/04 and 2004/05. In 2004/05 Greater London, the South East and the North West received 46% of the total funding.

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3.3.1 Current investment in education and training Although the majority of employers and practitioners across the UK fully fund any training undertaken within their business, the extent to which practitioners seek funding and the time and money afforded to training varies significantly amongst the four home nations. In England:

• 70%oftrainingundertakenwasfully-fundedbypractitioners.• Only15%ofpractitionersareawareofanyfundingavailablefortraining

or workforce development, slightly lower than a UK average of 17% of practitioners aware of funding.

• 88%ofpractitionersdonothaveatrainingbudgetand7%haveoneoflessthan £1,000 a year.

• 86%oftrainingisundertakenin‘office’hoursinEngland.

3.3.2 What are employers looking for?Employers have clear views on what learners should achieve (outcome) and how this should be reached (process)

Outcome quality criteria• Coursesmustdeliverskillsthattheindividualemployeecanuse.• Employees’progressshouldbemonitoredovertime,andskillsthat

accumulate over time, such as presentation skills, should improve.• Thereshouldbeimprovementinworkplaceperformanceand/orincreased

potential for success in their career.• Employeesshoulddevelop‘creativespark’andpositiveworkattitudes.• Coursesshouldinvolveaqualificationaslongasitisrelevant.• Coursesshouldwidentheparticipant’sperspective.• Participantsshouldenjoythetrainingandrateitpositively.• Theindividualmustbeabletousethetrainingasabaselinefromwhichto

develop his/her own skills.

Process quality criteria• Thecourseshouldbeinteractivewithahighleveloftraineeparticipation.• Traineesshouldhaveaccesstoappropriateworkingspaceandfacilities.• Coursetutorsshouldbehighlycompetentandveryexperiencedintheir

discipline.• Thecourseshouldbedeliveredinshortstages.• Learningobjectivesshouldbeclearfromtheoutset.• Thecourseshouldincludebestpracticeexamplesfromoutsidethesector.• Thereshouldbeconsistentmonitoringofcurriculumrelevance.• Thecourseshouldbeindustry-focusedandthereforerelevant• Thecourseshouldbebalancedbetweenbeingtransferableandbeing

role-specific – targeting job roles directly where possible.• Thecourseshouldbeculturallydiverseandappropriate.• Thecourseshouldbetailoredtotheneedsofthetargetgroup,itsbenefit

and purpose made clear, and the type of delivery reasoned.• Trainingshouldincorporatedifferentperspectives,andmakeuse

of real world situations to help participants see the bigger picture.

These criteria provide an important foundation for developing, delivering and assessing the impact of the programme for action.



Policy Context

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Section 04 Policy Context

For the creative and cultural industries there are three main policy strands that have an impact on the programme of action. These are in skills, economic, and creative and cultural policy.

Skills policy development across the UK in recent years has focused on increasing individuals’ levels of qualifications and improving the institutional links between education and the workplace. This is to meet economic objectives on global competitiveness and productivity, and social objectives on mobility and well-being. The focus has been on assisting individuals to enter education and training, plus stimulating industry commitment and investment in training and development.


PolicyContext

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4.1 Skills policyThe Leitch Review (2006) sets out the vision and goals for skills to 2020:

‘In the 21st century, our natural resource is our people – and their potential is both untapped and vast. Skills are the key to unlocking that potential. The prize for our country will be enormous – higher productivity, the creation of wealth and social justice.’

The Government’s response acknowledges the Leitch ambition and is focused on upskilling, with targets including raising qualification levels, increasing the numbers of apprenticeships, increasing Higher Education Vocational provision, and increasing employer investment in skills and development. The role of Sector Skills Councils is also defined as:

‘raising employer ambition and investment in skills at all levels; articulating the future skills needs of their sector; and ensuring that the supply of skills and qualifications is driven by employers.’(World Class Skills: implementing the Leitch Review of Skills in England 2007, p. 11)

The UK Commission for Employment & Skills will oversee the performance of Sector Skills Councils, including re-licensing.

Meeting the Leitch challenge is a fundamental part of the Creative Blueprint through Creative Apprenticeships (7.2), National Skills Academy (7.3), UK Design Skills Alliance (7.6), Continuing Professional Development (7.7), Qualification Reform (7.8) and Research Agenda (7.10). For the Creative & Cultural Skills workforce the Leitch target of 40% at Level 4 or above by 2020 has been met, with 46% of the workforce currently at Level 4 or above. However, the Creative Blueprint research identifies issues with the employability skills of graduates entering the industries and growing Level 4 skills through, for example, part time foundation degrees.


Policy Context

The industries are below the national average for a first Level 2 qualification with a gap of 14% to meet the target for Level 2 qualification by 2020. This includes staff not necessarily in creative and cultural occupations, but in occupations crucial to successful businesses in the industry. Programmes such as Creative Apprenticeships and the National Skills Academy have a key role to play, as they will create provision to address qualification gaps at Level 2 and 3 for vocational technical skills.

The importance of Apprenticeships is reinforced through the joint strategy by the Department for Innovation, Universities and Skills, and the Department for Children, Schools, and Families, for increasing apprenticeships (World- Class Apprenticeships 2008.) and setting up the National Apprenticeships Service. This includes a pilot wage subsidy for small businesses, increasing the Apprenticeships’ age range, more Advanced Apprenticeships and including the Apprenticeships in strategic projects. Creative and cultural skills industries have already expressed demand for these, including letting self-employed/freelancers take on a Creative Apprentice. Through the National Skills Academy discussions are under way with the London Organising Committee for the Olympic Games (LOCOG) to link Apprenticeships to the 2012 Olympic and Paralympic Games.

From 2010, the National Apprenticeship Advisory Service will form part of the Skills Funding Agency (Raising Expectations: enabling the system to deliver, 2008). This will also include the National Employer Service, the Adult Advancement and Careers Service and management of ‘Train to Gain’.

The Creative Apprenticeship also provides a valuable industry-led qualification that meets the requirement to retain young people in education or training until the age of 18, as outlined in the Education and Skills Bill 2007–2008.

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The Sector Qualification Strategy is central to the Qualification Reform programme (7.8). The outcomes from the strategy will inform Creative & Cultural Skills’ response to the LSC’s statement of priorities through establishing priority lists of qualifications. Creative & Cultural Skills will also work with the LSC in establishing the New Standard (Training Quality Standard) which will inform and be guided by the National Skills Academy.

Creative & Cultural Skills has been a partner in the development of Diplomas as outlined in the 14–19 Education and Skills White Paper (2005) with the Creative and Media Diploma, and will be the lead for the Humanities Diploma.

The Higher Skills agenda is particularly important to creative and cultural skills industries. Continually developing skills are essential for business success. Programmes such as Creative Choices˚ (7.4), Creative and Cultural Leadership (7.5), UK Design Skills Alliance (7.6) and Continuing Professional Development (7.7) address these issues and link to priorities as outlined in the HEFCE Grant Letter (2008). This includes better employer/education contact to increase employer participation and investment in training, but also creating a more responsive and relevant higher skills provision.


Policy Context

4.2 Economic and regional policyThe economic role of the industries is identified through their being high-value-added and through their contribution to the innovation agenda. The Sainsbury Report (2007) and Innovation Nation (2008) refer to the importance of the creative industries. The UK Design Skills Alliance and the Creative Business Leadership programme focus on skills development for innovation and business success, not only in the UK but globally. Other key programmes that Innovation Nation identifies are Apprenticeships, National Skills Academies and Sector Skills Councils’ research role in identifying skills gaps that inhibit innovation. The Continuing Professional Development programme has identified that CPD needs to address both creativity and business skills, for freelancers and micro-businesses in particular.

At regional level the ‘Review of Sub-national Economic Development and Regeneration’ (2007, p. 3) highlighted the importance of high-value, knowledge-based industries, including the creative industries, and the importance of enterprise, innovation and skills in regeneration. The National Skills Academy has a strong regeneration focus in the development of the Thurrock centre and its success depends on the development of regional partnerships and networks.

The Regional Economic Strategies focus on two aspects of the creative and cultural industries. These are the creative industries’ economic role (Design, Advertising, Music and in some regions Performing Arts and Crafts), and the cultural industries’ role in tourism, regional profile, regeneration and quality of life (Arts, Craft, Museums, Galleries and Built Heritage). Creative Apprenticeships, the National Skills Academy and Continuing Professional Development will have a strong regional presence, as will the UK Design Skills Alliance.

Development of the cultural industries and some parts of the creative industries involves a number of cultural agencies, who work nationally and regionally. These include Arts Council England, Museums, Libraries and Archives Councils, English Heritage, and Regional Cultural Consortia. The Design Council also works regionally with programmes such as ‘Design of the Times’. The Creative Britain (2008) strategy has recommended that the North West and South West pilot regional creative economy frameworks. Creative & Cultural Skills will engage with these programmes through the Sector Skills Productivity Alliance in the North West and the South West Creative Economy partnership. The East Midlands has also developed a regional creative economy partnership, of which Creative & Cultural Skills is part.

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4.3 Creative and cultural policyThe Cox Review (2005) of creativity in business underpins the development of the UK Design Skills Alliance. However, the most significant policy is Creative Britain: New Talents for the New Economy (2008), jointly published by the Department for Culture, Media and Sport, the Department for Innovation, Universities and Skills and the Department for Business Enterprise & Regulatory Reform. The strategy is focused on developing talent through two key proposals: more opportunity for young people to develop creative talents at schools, and more structured pathways into creative careers.

The Creative Blueprint as a whole supports all eight ‘Creative Britain’ strategy strands:

• givingallchildrenacreativeeducation.• turningtalentintojobs.• supportingresearchandinnovation.• helpingcreativebusinessesgrowandaccessfinance.• fosteringandprotectingintellectualproperty.• supportingcreativeclusters.• promotingBritainastheworld’screativehub.• keepingthestrategyuptodate.

The Creative Blueprint programme is referred to, in particular, in two strategy strands: turning talent into jobs and helping creative businesses grow and access finance. Turning talent into jobs. • CreativeChoices˚iscommittedtocreatingtalent-pathwayschemesto

support and inspire young people from all backgrounds to pursue careers in the creative sectors. This also includes using resources such as Diagonal Thinking™, developed by the Institute of Practitioners in Advertising, and 14–19 Diplomas, to support developing a more diverse workforce.

• TheNationalSkillsAcademyandtheUKDesignSkillsAlliancearepart of the commitment to encourage employers and skills providers to set up ground-breaking, innovative places of learning.

• ThetargetssetforCreativeApprenticeshipswillhelpthecommitment to establish Apprenticeships across the creative industries for up to 5,000 people a year by 2013.

Helping creative businesses grow and access finance. • Aspartofthis,theCulturalLeadershipProgrammewillexpanditswork

with commercial and business partners, training arts and culture leaders to maximise returns on creative work.


Working with Industry, Government and Education

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Section 05 Working with Industry, Government and Education

The consultation across Stages 1–5 is detailed overleaf. The Creative & Cultural Skills Board and industry advisory panels have been central to agreeing the issues, developing the programme for action, and now in taking it forward to delivery.


Working with Industry, Government and Education

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Section 05 Working with Industry, Government and Education

5.1 ConsultationDuring stages 1–3, 1,479 employers were surveyed, interviewed and took part in focus groups and 68 interviews were held with education providers and students. Nine regional presentations and workshops, focusing on prioritising skills issues and identifying action, involved 626 employers, stakeholders and educationalists.

For the National Skills Academy business plan, consultation to build on the issues identified at stage 1 and 2 included 200 individual interviews, 313 responses to an online questionnaire and 2 focus groups.

The Design industry and Design Council funded additional consultation as part of stages 1 and 2. This included an online survey with 901 responses from industry, education and schools, and 259 participants taking part in workshops, focus groups and interviews across industry and education.


Working with IndustryGovernment and Education

For stages 4 and 5, the industry advisory panels, involving 209 participants, meetings with employers, education, government, stakeholders led to the development of the action plan and identified delivery partners. These include: • DepartmentforCulture,MediaandSport.• DepartmentforInnovation,UniversitiesandSkills.• DepartmentforBusiness,Enterprise&RegulatoryReform.• ArtsCouncilEngland.• CraftsCouncil.• DesignCouncil.• EnglishHeritage.• TheMuseums,LibrariesandArchivesCouncil.• CreativePartnerships.• LearningandSkillsCouncil.• HigherEducationFundingCouncilEngland.• QualificationsandCurriculumAuthority.• FederationofAwardingBodies.• JointCouncilforQualifications.• UniversitiesUK.• AssociationofColleges,CreativeIndustriesSkillsGroup.• CouncilforHigherEducationinArt&Design.• LifelongLearningNetworks.• HigherEducationAcademy.• RegionalDevelopmentAgencies.• TradeandProfessionalAssociationsincludingInstituteofPractitionersin

Advertising, Engage, Visual Arts and Galleries Association, Artists’ Network, Museums Association, National Association for Literature Development, Institute of Field Archaeologists, Theatrical Management Association, Association of British Orchestras, National Music Council, Skillscene, D&AD, Design Business Association, Design & Technology Association, National Society for Education in Art & Design, Institute of Conservation, PLASA, NABS, Jewellery and Allied Industries Training Council, The Goldsmiths Company.

Working with unionlearn, Creative & Cultural Skills has established a Union Forum, which includes BECTU, Equity, General Municipal Boilermakers (GMB), Musicians Union, PCS, Prospect, Unite, Unison and the Writers’ Guild of Great Britain. There is a jointly-agreed action plan based on the Creative Blueprint.

An Awarding Body forum of 25 members brings together the general and specialist awarding bodies relevant to the creative and cultural industries.

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The Future06

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Section 06 The Future

The Government recognises the role and contribution of the creative and cultural industries to a thriving economy, community well-being in an increasingly diverse society, and quality of life. Skills and workforce development are also seen to play a vital role in industry success and growth. The Creative Blueprint provides an industry-led strategic framework and programme to shape and deliver wider economic, education and skills, and cultural policy. Creative & Cultural Skills’ vision has come from industry and is underpinned by the Creative Blueprint research:

‘To turn talent into productive skills and jobs’.


The Future

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Section 06 The Future

What will success in England look like? In ten years’ time the first Creative Apprentices will be in their mid-to-late twenties. After their Apprenticeship, some will have continued in education and all will be working in, or running, creative and cultural businesses. Many will act as mentors for the well-established Apprenticeship programme and be seen as emerging industry leaders. The quality of their industry-based education and training will enable them to work across the UK and internationally.

The National Skills Academy along with the academies in Scotland and Wales, will have established the UK as the world leader in technical, training and development in theatre and live music.

Through employer and education partnerships the current workforce will regularly update their creative, business and leadership skills and contribute to developing and teaching creative courses. Networks and mentors will support learning and development. Creative Choices˚ will enable worldwide connections and be the industry leader recognised for the quality of information and services provided.

Partnerships and networks for training will also support innovation and business development. The number of successful creative and cultural businesses will have grown, have more diverse workforces and no longer be seen as a risk for investment.

How will success be measured? The following are the headline success measures for the Creative Blueprint.

In addition each programme will have specific measures. • TheestablishmentandgrowthoftheCreativeApprenticeshipprogramme.• ThenumberofpeopleusingCreativeChoices˚andtherangeofservices

provided.• Thereformofqualificationssothatatalllevelstheyarerelevantand

responsive to industry and employers.• EmployerandindividualparticipationinkeyCreative&CulturalSkills

programmes contributes to increasing the ethnic and social diversity of the creative and cultural workforce.

• ThevolumeofemployercommitmentandinvestmentinkeyCreative&Cultural Skills programmes.

Each year Creative & Cultural Skills will review and report to industry, government and stakeholders progress on delivering the Creative Blueprint. The programme for action forms the basis of the annual business plan and strategic plan. The Creative Blueprint as a whole will be reviewed for 2011.


Creative Blueprint Programme

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Section 07 Creative Blueprint Programme

There are nine programmes of action:

• CreativeApprenticeships• NationalSkillsAcademyfor

Creative & Cultural Skills• CreativeChoices˚• CulturalLeadershipProgramme• UKDesignSkillsAlliance• ContinuingProfessionalDevelopment• QualificationReform• Diversity• ResearchAgenda


Creative Blueprint Programme

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The programme of action for England has been developed from a UK-wide programme that meets industry needs and suggests specific action based on consultation with employers, stakeholders and the unions in England.

Each industry panel or group across advertising, craft, cultural heritage, design, literature, music, performing arts and visual arts industries has contributed to the action plan as they develop industry-specific plans. The first of these, the Design Blueprint, is published. This is the result of two years’ work by the Design industry and substantial investment by industry and the Design Council.

Creative and cultural industries do not define their workforce and skills needs in relation to national boundaries; they value the ability to work UK-wide. Geographical differences are those between urban and rural working, while national differences relate to creative and cultural identity.

Networks, partnerships and collaboration are important to the industries in developing and sustaining businesses and organisations. Supporting their development is essential for increasing employer commitment and investment in skills and for the ability of the programme to achieve sustainable, long-term change. The UK Design Skills Alliance (7.6) is one example and the Craft industries will also explore the feasibility of an alliance.

There are nine programmes of action:• CreativeApprenticeships• NationalSkillsAcademyforCreative&CulturalSkills• CreativeChoices˚• CulturalLeadershipProgramme• UKDesignSkillsAlliance• ContinuingProfessionalDevelopment• QualificationReform• Diversity• ResearchAgenda

It will take some 2-5 years to measure the impact and success of most of the programmes. Some, such as Creative Apprenticeships, will also require industry to re-think their approach to recruitment and staff costs.

Specific plans for each English region will be developed, based on the regional priorities and the nine key programmes. The plans will link to the emerging creative economy programmes in each region, and build on and develop the partnerships that Creative & Cultural Skills has established. The success of programmes such as Creative Apprenticeships and the National Skills Academy is dependent on effective regional roll-out.

In the development of the Creative Blueprint, employers identified two areas requiring action where Creative & Cultural Skills’ approach will be to support key partners in delivery. These are Business Support and Creativity and Culture in schools.


Creative BlueprintProgramme

7.1.1 Business support In England there are 56,000 creative and cultural companies, generating £21 billion GVA. All creative and cultural businesses (particularly at start up and second stage growth) and practitioners should be able to access relevant business development advice and support. This may be a combination of both specialised and generic support. The current pattern of multiple sources and types of provision is confusing for industry.

Current work on the Business Simplification programme, and alignment of Business Link and Train to Gain in the regions should clarify the services available. This, along with the Creative Britain (2008) proposals for regional beacons for business support in the South West, South East, North West, North East and West Midlands, should further improve industries’ access to services. The Crafts Council is undertaking a comparative study of support schemes for practitioners as this is a key issue for the industry. Visual Arts has no industry body to take forward the business development. Creative Choices˚ (7.4) can give information and signpost support and is working with Business Link to achieve this. In addition, as part of Creative Apprenticeships (7.2) and the National Skills Academy (7.3), employers will be encouraged to sign the Skills Pledge.

Other industry priorities are tax incentives and changing the view that the industries are high risk for corporate investment.

7.1.2 Creativity and culture in schools Creative & Cultural Skills recognises that much of the creativity and culture in schools agenda is being taken forward by partners such as Arts Council England, the Museums, Libraries and Archives Council, Design Council, Crafts Council, English Heritage, the wider sector and Creative Partnerships, as well as forming part of the recently announced ‘Find your talent’ scheme (Creative Britain 2008). Together this new scheme and Creative Partnerships will be investing £135 million in creative practice. This is a direct response to The Roberts’ Report, Nurturing Creativity in Young People (2006). For many in the cultural sector, working with schools is a core part of their business. Almost all Arts Council England’s 1,000 regularly funded arts organisations have education programmes, as do most museums throughout the country. Similarly organisations such as the National Trust make a significant contribution to creative and cultural education. The National Lottery distributors and broadcasters also support and promote educational initiatives. In music, work developed through the ‘Music Manifesto’ and ‘Sing up’ has developed projects from Youth Music to promote young people’s music-making, community musicians, animateurs and teachers.

The Design Council is leading on schools-based work as part of the UK Design Skills Alliance (7.6)

Photography by Yorkshire Forward

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Creative & Cultural Skills’ main contribution is in qualifications, for example the Diplomas, and in careers advice, information and guidance through Creative Choices .̊ At regional level Creative Partnerships is working with Arts Council England South East on teacher development for the Diplomas.

There are also existing recognition award schemes such as Arts Council England’s ‘Artsmark’ for schools and ‘Arts Award’, which validates creative activity by individual young people. The Visual Arts industry is particularly interested in the potential of Creative Portfolios for young people looking to enter the industry.

The quality of provision and young people’s learning experience is closely linked to the skills and competencies of the staff/practitioners delivering learning. Work on Continuing Professional Development, National Occupational Standards and Leadership and Management will have an impact on this.



Only 15% of creative pract itioners are aware of any funding available for training or workforce development. 88% of creative practitione rs do not have a training budget and 7% have one of less than £1,000 per year.


Section No. Section Title

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Only 15% of creative pract itioners are aware of any funding available for training or workforce development. 88% of creative practitione rs do not have a training budget and 7% have one of less than £1,000 per year.




7.2 Creative Apprenticeships

7.2.1 Why are Creative Apprenticeships needed? There are no employer-led apprenticeship programmes for the creative and cultural industries. The Apprenticeships will provide, for the first time, high quality, paid, work- based qualifications at Level 2 and Level 3 in technical and specialist skills areas where employers have identified current and future needs. For example, technicians will have to be trained with the right skills to stage the 2012 Olympic and Paralympic Games and to meet the growth in live music, events and festivals.

The Apprenticeships will also widen entry to the workforce by providing a vocational pathway that will be attractive to talented people as an alternative to academic entry routes. In recruitment, employers will be actively encouraged to recruit from a non-traditional entry pool and to re-shape staffing structures at entry level. In particular Cultural Heritage has identified apprenticeships as an entry route to diversify their workforce.

Creative Apprenticeships also provide part of the core curriculum offer for the National Skills Academy (7.3)

This is a long term programme designed to put the culture of apprenticeship firmly across all the industries. It is also supported by the Creative & Cultural Skills Union Forum. As part of a UK-wide programme, Creative Apprentices will be able to move across the Nations with a qualification recognised and valued by employers everywhere.

7.2.2 Skills needs and issues being met by the programmeA Creative Apprenticeship addresses the following current and future skills needs: creative; technical; digital technology; business/professional and selling and marketing and the following industry issues: entry to industry and diversity.

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7.2.3 Future developmentThe Creative Apprenticeship is designed to allow specialist pathways to be added to meet industry needs. Beyond the current programme the industry is interested in digital advertising, conservation, set and stage production and craft entrepreneurship. In Visual Arts there is strong interest in ‘clusters’ of businesses sharing an apprentice. Self-employed practitioners and galleries as micro businesses will be able to develop and sustain an Apprenticeship culture. This model would also transfer to industries such as Craft.

Consultation with employers and practitioners will identify where there are skills gaps that can be addressed by Apprenticeships.

New Apprenticeship pathways will be developed and accredited by September 2010. This will be done through extensive employer consultation and includes developing the necessary National Occupational Standards and qualifications. Creative & Cultural Skills will also be working with the LSC to look at the viability of developing an Apprenticeship framework for freelancers focusing largely on entrepreneurial skills and enterprise.

Work will also continue with Higher Education to look at the need for Graduate Apprenticeships, possibly integrating a higher level Creative Apprenticeship into relevant foundation degrees.

The 2012 Olympic and Paralympic Games will also provide increased employer involvement and national projects into which Apprentices can be recruited to fill vacancies.

7.2.4 Programme The Creative Apprenticeship will initially offer Apprenticeships in:• LiveEventsandPromotion• MusicBusiness• TechnicalTheatre• CostumeandWardrobe• CulturalVenueOperations• CommunityArts

The programme will roll out in England from September 2008. The framework has been approved by the Apprenticeship Approvals Group and Creative & Cultural Skills has been working with the regional LSCs to identify appropriate training providers/colleges to deliver the Creative Apprenticeship. Some colleges will also be involved in the National Skills Academy. There will be training providers/colleges in:• NorthEast:Newcastle• Yorkshire&Humber:York• EastofEngland:StAlbansandNorwich• London:Central,NorthEastandSouthWest• SouthEast:Chichester,BrightonandHastings• SouthWest:Plymouth• WestMidlands:Birmingham• NorthWest:LiverpoolandManchester

Twenty more colleges have expressed interest in working with us and their LSC to secure approval for delivery. In each area the employers and colleges will form a partnership to deliver the Creative Apprenticeship. For example, the partnership in Liverpool includes Tate Liverpool, National Museums Liverpool, Royal Liverpool Philharmonic, Bluecoat, Liverpool Biennial, FACT, the Everyman Theatre, Liverpool Community College and the LSC.

Photography by One North East



Work with employers is under way across the regions to secure commitment to taking an apprentice. Over 100 employers have shown interest in the programme, including the Lyric Theatre Hammersmith, Sage Gateshead, Royal Shakespeare Company, Birmingham Hippodrome, EMI, Royal Opera House, English National Opera, National Portrait Gallery, London Transport Museum and the National Trust. Employers will also be encouraged to sign the Skills Pledge.

The Paul Hamlyn Foundation has funded partnership and programme development in Liverpool and the Museums, Libraries and Archives Council are supporting an Apprentice in each English region.

Targets The target for 2008/2009 is 400 apprentices across England and then 1,000 each year UK-wide. By 2009/2010 there will be 960 apprentices across England.

Success will be measured by Apprentice retention and achievement against national targets for apprenticeship provision. This will be agreed with regional LSCs and the college/training provider. The programme’s success in widening the diversity of the workforce will be assessed against the demographic profile of the recruited Apprentices. On completion there will be an assessment of employer satisfaction with an annual evaluation of employer feedback and the apprentice’s progress. Evidence of long term impact will include employers committing to making the programme sustainable and the career progress of the Apprentices.

Partners and investmentPartners Investment and role National and Regional LSC Part funding of Apprenticeship framework

development and funding of qualifications across the regions.

DfES Funded curriculum and framework development

QCA Technical support; supporters of the Apprenticeship solution

DCMS Programme part of Creative Britain strategy

Employers Employing and paying Apprentices, providing in-house training.

Further Education Deliver training

Unions Support for the programme

Paul Hamlyn Foundation Funding for the Liverpool partnership

Museums, Libraries Employer wage incentive and Archives Council

Museums Association Consultation on development and promotional support

Arts Council England Promotional support

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Results• Delivering400apprenticesinYearOneand1,000UK-wideeachyear

thereafter.• Meetingskillsgapsinidentifiedindustriesthroughanemployer-approved

qualification.• Establishinganindustry-approved,vocationalentryroutethatsupports

diversifying the workforce.

Costings • RegionalLSCscontributetoFurtherEducationtrainingfees• Averagefunding£4,000foralevel2Apprenticeship

£6,000 for a level 3 Apprenticeship• Employermeetscostofsalary,determinedbysectorandroleanddependent

on market value. Minimum salary is £80 per week.• LSCtocontributetothefundingofadultApprenticeships.Individualsare

fee-assessed.

Timescale • EmployerpartnershipssetuptotakeApprentices:January2008–May2008• Confirmationofcollegeprovision:May2008• Delivery:September2008onwards• Furtherpathways:availablefrom2010

Review• Courseevaluationbyparticipantsatcloseofdelivery• Programmeevaluationbyemployer/educationpartnerships• LongtermimpactevaluationbyCreative&CulturalSkills.

Photography by Victoria Barnett



7.3 National Skills Academy

7.3.1 Why is a National Skills Academy needed?The National Skills Academy for Creative & Cultural Skills will address the urgent skills shortage of technical and production staff. A predicted shortage of 30,000 trained technicians has arisen through the current workforce not being replaced, plus growth in the industry, for example, in music festivals, and cultural programmes for the 2012 Olympic and Paralympic Games.

Employers are frustrated by the apparent over-supply of publicly-funded courses and qualifications, alongside the under-supply of capable staff for backstage and off-stage jobs in the theatre and live music industries. Students continue to be attracted to courses which do not lead to jobs and employers rarely engage with publicly-funded training. The employment of freelancers is increasing and both employers and freelancers need a nationwide, quality assured and accredited Continuing Professional Development framework.

The initial development of the Academy has recruited employers and HE and FE providers across England. Other key partners include the LSC, Arts Council England, East of England Development Agency, Thurrock Thames Gateway Development Corporation, SOLT/TMA, PLASA and the key industry unions including BECTU and Equity.

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The Academy will facilitate entry to the industry in technical and specialist skills – for example, set construction and wardrobe – and will provide high quality industry-led Continuing Professional Development. Creative Apprenticeships will be a key part of the curriculum offer.

The Academy is part of a major regeneration initiative at Thurrock where it is part of a cultural campus which includes the Royal Opera House’s new production facilities and a centre for small creative businesses.

The National Skills Academy will link to the proposed Technical Theatre Skills Academy (Scotland) and Centre of Excellence in Wales. The ambition is to network the Academies across the UK to share and develop good practice and innovation and to enhance UK-wide training provision. International links have been established with the National Centre for Performing Arts in Beijing and further links will be explored in order to make the UK a centre of global excellence.

7.3.2 Skills needs and issues being met by the programmeThe Academy will address the following current and future skills needs: creative; technical; management; digital technology; business/professional; negotiation, and the following industry issues: entry to industry; Continuing Professional Development; diversity; and information, advice and guidance.

7.3.3 Future developmentThe NSA will work through employer-led groups in all the nine English Regions.

National Skills Academy trained technical staff will be available to provide paid-for training to groups including educators, adult leisure learners, schools, general interest groups and overseas technical staff.

The 2012 Olympic and Paralympic Games will need senior technical staff, technicians and performers, with some 100,000 temporary staging contracts being generated. There are also volunteer and community needs which could be met by the Academy through accredited training courses. Discussions with LOCOG are clarifying the Academy’s role in meeting the needs.



7.3.4 ProgrammeThe National Skills Academy has five discrete but interdependent elements, which together deliver world class training and skills for the industries. These are:

• Asmalladministrativehub,whichsupportsthedeliveryoftheAcademyacross England.

• Deliveryorganisedthroughemployer/educationpartnerships.Thefirstfivepartnerships cover the North (North West, Yorkshire & Humber, North East); the Midlands (West Midlands and East Midlands); the East (East of England); London and South East; and the South West. Employers will be encouraged to sign the Skills Pledge and education providers will engage with the New Standard (Training Quality Standard).

• Anationalflagshipbuilding,providingstateofthearttechnicalspaceforuseby industry, for showcase events with young people, technical staff and the local community in the Thames Gateway.

• Anonlinenetworkedcommunityofemployers,employees,freelancersandcolleges, built and supported through Creative Choices˚ (7.4), enabling the National Skills Academy to provide nationwide learning support.

• Apurpose-builtresidentialcentrewith40bedroomsforpeopleattendingtraining courses, seminars and conferences at the Academy.

The training and development programme includes:

• CreativeApprenticeships• Workplacements• Accreditedlearningandon-the-jobaccreditationofpriorlearning• UpskillingtoLevels2and3• TraininganddevelopmenttomeetHealthandSafetyandlegislation

requirements• Trainingoftrainersandassessors• Industryendorsedinformation,adviceandguidance• E-learningandsupport• Masterclasses• Seminars/conferences

Photography by Ben King

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Partners and investment Partners Investment and roleLSC £1.8 million of development funding

over 3 years

PLASA In-kind support: supply of hired-in technical equipment to the value of £1m over five years

Arts Council England £350,000 over three years for developing NSA activity / products across the regions

Thurrock Thames Gateway In-kind support: £2 million land valueDevelopment Corporation

East of England £50,000 towards the cost of master Development Agency planning

East of England Development £2.7 million jointly for NSA Agency & Thurrock Thames infrastructure developmentGateway Development Corporation

Subscriptions contributions will be required from employers and training providers

Results• Nationalcentreofexcellenceandnationwideemployer/

education partnerships.• Shortageoftechnicalstaffmetandamorediverseworkforcedeveloped.• Industryrelevantandresponsivequalifications.• Recognisedworldwideasacentreofexcellence.

CostingsNSA ‘Hub’ building in Thurrock: Building costs currently estimated at

£12 million. Application to LSC Capital in preparation.

Review• Numberoflearners,qualificationsachieved,trainingdays,

and progression to work and/or further education• Addedvaluetoemployersandeducationpartners• Stakeholderandpartnerviews,includinglocalcommunities• Impactofmarketingandpress• Sustainableandgrowingbusinessthroughsuccessful

and accountable financial management and governance.



7.4 Creative Choices˚

7.4.1 Why is Creative Choices˚ needed?The creative and cultural industries are well supplied with people who want to work in the industries. However, all the industries have identified the need for high-quality information, advice and guidance at all ages from school leavers to established practitioners and industry leaders. This includes clarity on the skills needed to enter and develop careers, career pathways and information on the value and effectiveness of education and training.

This is a long-term programme which should be recognised and valued by employers and practitioners as the best source of information for working in the industry. Through development it will also provide the online resources to support all the programmes in the Creative Blueprint.

Individuals will be able to make informed and relevant choices and decisions about their careers, and have wide access to high-quality information, which can also support increasing workforce diversity.

7.4.2 Skills needs and issues being met by the programmesCreative Choices˚ will address the following current and future skills needs: creative; technical; management; leadership; digital technology; business/professional; negotiation, selling and marketing and the following industry issues: entry to industry; management and leadership; business and enterprise; continuing professional development; diversity; information, advice and guidance; creativity and culture in schools; industry intelligence and research.

7.4.3 Future developmentAll Creative Blueprint programmes will seek to use and develop the resources of Creative Choices ,̊ for example Creative Apprenticeships (7.2), National Skills Academy (7.3), the Designer’s Professional Practice Framework (7.6) and Research Agenda (7.10).

Industry specific work includes, for example, Visual Arts’ need for career mapping, linked to skills and occupation in the industry.

Creative Choices˚ will also seek to work with the new Adult Advancement and Careers Service.

Photography by Victoria Cookson

Photography by

Sim Canetty-Clark

Backstage at ROH

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7.4.4 ProgrammeCreative Choices˚ is supported by industry and provides information and intelligence for the user on careers and development, as well as quality assured information on training and education, online learning and industry intelligence. It is the first consumer-led online service to exploit the potential of social media for training and skills relevant to individuals and creative businesses. The site will link to other industry-recognised online resources and will develop content where individuals and employers have identified needs and gaps.

The site will appeal to a wide range of users and content will be personalised depending on the requirements of individual visitors.

The start-up partnership is with the Cultural Leadership Programme, delivered by Arts Council England, Creative & Cultural Skills and the Museums, Libraries and Archives Council.

The Creative & Cultural Skills Union Forum has identified this as a key resource for unionlearn representatives. The Unions will carry out a mapping of unionlearn representatives so that Creative Choices˚ can be promoted to them. unionlearn also provides training needs analysis resources to which Creative Choices˚ can link.

The careers services in Scotland, Wales and Northern Ireland are also key partners.

The site offers the following resources:

Career PathwaysCreative Choices˚ is a career planning tool that breaks which the concept that ticking boxes can tell you what job you should do or which course you should take. Instead, the service allows individuals to connect with others and explore their skills, discovering the range of opportunities, jobs, career routes and qualifications available within the sector.

Careers Map The careers map shows users the jobs available in the creative industries and the competencies they require. This will be linked very closely to the latest job profiles, supported by National Occupational Standards.

A range of inspiring case studies and interlinked stories about these jobs will provide clearer career journeys, routes to entry and ideas for personal development. These are aimed at all those working in and seeking to enter the creative industries.

Creative Apprenticeships Creative Choices˚ will act as a gateway to the Creative Apprenticeships programme, letting users register interest as an Apprentice or an Apprenticeship provider.

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ResourcesCreative Choices˚ provides free access to the best available information and resources for creative industry leaders and practitioners.

Adviser, Business and Career ToolkitsA range of guides provides both useful background and market-relevant information about our sectors. These are tailored to careers advisers or those providing information, advice or guidance to learners. ‘How-to’ guides, templates and checklists help users to gain business skills or help individuals to develop their careers. Creative Choices˚ is working with Business Link and the University of Warwick on developing these resources.

E-learningUsers can access a range of learning content and tools to help them develop their own individual career decisions or business growth. The content will be split into two areas:

• Quickipedia:Detailedlearninginbite-sizechunkscoveringsectorinformationand just-in-time knowledge. It covers key requirements such as e-learning for financial management, marketing, PR, etc. The initial phase of the project will focus on management and leadership skills and link to external resources for additional reading.

• Moreenhancede-learningallowsuserstoregisterforandaccesscontentprovided by various third parties. Future enhancements will include online application and registration for paid-for courses. The initial focus on leadership means that Creative Choices˚ will offer 120 management and leadership modules, plus associated quizzes, offered by the Open University’s Business School.

Find and compare courseA searchable database of courses is available in partnership with learndirect scotland. On-going developments will eventually offer the chance to find and compare available courses relevant to creative and cultural professionals or those entering the sector. This consumer-led resource will include comments, links to consumer information guides drawn from multiple sources, and an industry benchmark for courses and essential course information, all delivered as a mix of data and iconography for easy understanding.

Find fundingThis will allow users to search a database of funding opportunities, and view application details.



Industry intelligenceUp-to-date industry intelligence is at the heart of Creative Choices .̊ Through our research we know that potential users want in-depth intelligence that is direct and focused on industry news, events, labour market analysis, leadership best practice, guidance and resources for creative business.

Analytical and objective articles focus on a range of industry issues, and include one-off views and opinions from editors and commissioned experts relevant to the creative and cultural industries. Campaigning issues will highlight best practice, forthcoming campaigns for education and training provision, and equality of opportunity. Special reports will include related data, features, comments, quotes and analysis from a range of industry experts, and key publications for each sector will be featured.

Excalibur the Data Generator The research and data supporting the Creative Blueprint will be available through a dynamic report builder that will allow users to interpret the latest sector skills data in a quick, easy and useful format.

Future research will be published via Creative Choices˚ which will also act as a means to collect data and information.

People and networksNetworking tools allow communities of professionals to take part in online talks, events and knowledge-sharing with peers and experts from each sector, and beyond; individuals will be able to find job placements, mentors, collaborations, amusement and inspiration from within their industry and across the sectors.

A directory lists registered users/chosen specialists on offer to help with particular subjects, and discussion boards will allow users to ask questions, provide answers and engage in discussion. These features will help to complement and bind existing content.

Networks and events will be supported by Creative Choices˚ and information disseminated through features mentioned such as blogs and discussion boards. For example, Creative Choices˚ currently hosts the Vortex network.

VortexA small (12–15 people), exclusive, invitation-only discussion for those involved in the fast-moving digital industries – music, advertising, publishing, TV, film, performing arts. It is a unique opportunity for the various branches of the digital industry to get together for 1½ hours every six weeks in an informal environment.

Vortex will promote the UK digital industries by brokering meetings between people who otherwise might not have interacted. Cutting edge ideas can be shared and discussed without attribution, which will provide a stream of information for Creative Choices .̊

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Users of Creative Choices˚ • Entrantstoindustry-allages• Leaders• Emergingleaders• Practitionersandemployers• Careersadvisers• Students• Teachers• FurtherandHigherEducationcareersadvisersandlecturers• Parents

Partners and investmentPartners Investment and roleCultural Leadership Programme £2.5m for start up and additional funding

to 2011

SSDA IAG project £20,000

University of Warwick National careers advisers’ resources

BBC ‘How-To’ guides for the Music industry

Business Link Step-by-step guides/templates for SME creative businesses

First Steps to Success Templates and toolkits for businesslearndirect Scotland funding and course informationt-three specialist eAssessment resources for Creative

leaders and senior managers

Union Forum Mapping of unionlearn representatives

Results• CreativeChoices˚targetof25,000usersinfirsttwoyears.• ProfessionalDevelopmentPlanningforstudentsandthoseworkingin

industry.• Relevantcareersadvicebeingplacedintothehandsofstudents,careers

advisers and parents through the website, and direct contact with careers advisers and others.

• Relevantindustryexperiencesforteachers,lecturersandstudentstoassistin improving careers advice and industry knowledge.

Costings• CulturalLeadershipInvestmentinCreativeChoices˚website£3mto2011.

Timescale• CreativeChoices˚launchedinApril2008.

Review• CreativeChoices˚usernumbers,numberofcommentsposted(comments

section and discussion boards), rate of take-up of e-learning courses, number of reports downloaded using the Data Generator function.

• Investorandfundingpartnerssatisfaction.• Stakeholderandpartnersatisfaction.



7.5 Cultural Leadership Programme

7.5.1 Why is a Cultural Leadership programme needed?All industries have identified the need for leadership and management development, including business and entrepreneur development. Programmes are needed to address middle management and the need for more Black, Asian and ethnic minority leaders, women and disabled leaders. Employers want to have access both to tailored industry-specific development and to generic leadership and management development. Programmes should include a range of industry-preferred delivery methods and support, for example networks, mentors and action learning.

The key initiative is the Cultural Leadership Programme, launched in 2006 with £12m funding from the Department for Culture, Media and Sport. The programme is run by a delivery partnership of Arts Council England, Creative & Cultural Skills and the Museums, Libraries and Archives Council. Creative Choices˚ (7.4), delivered by Creative & Cultural Skills, is part of the programme providing online access to leadership and management tools, career development, training courses, information and networks.

7.5.2 Skills needs and issues being met by the programmeThe Cultural Leadership Programme addresses the following current and future skills needs: management; leadership; online learning; business/professional; and entrepreneurship; and the following industry issues: management and leadership; business and enterprise; continuing professional development.

7.5.3 Future developmentThis will follow the evaluation and impact of the initial Cultural Leadership Programme, and aims to keep pace with industry needs as they change. While the central focus is on England, partnerships and provision in Scotland, Wales and Northern Ireland have helped to strengthen the reach and impact. A focus on international competencies and links will be further encouraged.

7.5.4 Programme The current Cultural Leadership Programme has six strands:

Work-based opportunities: support networks, placements, coaching and mentoring and other approaches to learning in the workplace. This includes placement opportunities; access to coaching, mentoring and facilitation; and leadership networks.

Photography by Icon, HLF

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Creative Choices˚ (7.4): providing online learning and career development resources in three areas:

• CreativeChoices ,̊withapersonalcareermanagementsystemincluding self-assessment, access to advice and guidance from industry experts and peer networks. Also quality-assured information on training and education offers available.

• CreativeKnowledge,asaninformationhubontheindustryanditsworkforce, with informative and provocative thinking on the leadership debate.

• CreativeSkills,withaccesstoonlinelearningfacilities,enablingleaders and potential leaders to develop their key skills remotely.

Intensive leadership development: formal learning opportunities to gain key knowledge and skills for leadership. This includes the Clore short course of intensive leadership development; Leadership Development Days for mid-career leaders and Impact Unleashed, a programme bringing together participants from cultural and corporate industries and run in partnership with Arts & Business.

Powerbrokers: black and minority ethnic development priorities to drive forward the change needed to diversify the leadership of the cultural and creative industries. This includes Leadership Development Days designed to meet the needs of BME and disabled leaders, practitioners and micro-businesses.

Governance development: to establish and promote best practice for governing bodies within cultural organisations, embedding an understanding of the need for leadership in governance. This includes the Governing Now programme and a commissioned series of reports such as Adopting Good Governance.

Developing entrepreneurs as leaders: defining leadership learning needs and creating appropriate opportunities. This includes mentoring at the Institute of Contemporary Arts; a course for cultural entrepreneurs at the School for Social Entrepreneurs, networking opportunities and international placement opportunities offered by the Creative Innovation Unit, South Bank Centre.

In development:Creative Business Leadership programmeThis will help senior executives in the commercial creative and cultural industries by, for example, developing new business models for growth and sustainability in a global market, and leading and managing people to create products and services in this market. Ashridge Business School is developing a programme in partnership with the Institute of Practitioners in Advertising, the Design Council and employers and practitioners in advertising, music and design. The programme will be designed to be financially sustainable. A pilot with 18 participants will run from late 2008.



Partners and investmentPartners Investment and role Department for Culture, £12m 2006–2008 and Media and Sport £10m 2008–2011

Arts Council England Delivery partnershipCreative & Cultural SkillsMuseums, Libraries and Archives Council

Clore Duffield Foundation Deliver Fellowship and short course for cultural leaders

Higher Education Deliver aspects of the Clore courses

Arts & Business Partner in Impact Unleashed

Employers Placement opportunities and work-based learning opportunities

Results• Enhancedrangeofleadershipactivitiesavailabletotheindustries• Deliveryofnewleadershipprogrammesandpartnerships• Supportingthedevelopmentofonlinelearningandextendingaccess

through Creative Choices˚• Creatingvaluableinterventionstoadvancediversityinleadership• CreatingandestablishingaCulturalLeadershipProgrammebrandbased

on quality, diversity and accessibility.

Costings• DCMS£22m2006–2011

Timescale• Underwaywithprogrammesrunningto2011.

Review• ExternalevaluationoffirsttwoyearsoftheCulturalLeadershipProgramme.

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7.6 UK Design Skills Alliance

7.6.1 Why is the UK Design Skills Alliance needed?The Design industry is recognised as a world leader, but this position is under pressure as other nations are developing their own industries. Design also has an impact on wider business innovation, productivity and success and needs to be able to grow this aspect. The UK Design Skills Advisory Panel, established by Creative & Cultural Skills and the Design Council, produced High Level Skills for Higher Value (2007), which identified the need for changes in education and training to meet a fast-changing business world. The report also found that industry could not be complacent and needed to ‘up the game’ on training, development and standards to meet these challenges and an increasingly demanding client base.

The Design Blueprint (2008) is the industry workforce plan to address these issues. The programmes in the plan will build links between industry and education from schools to universities, aims to influence policy, curriculum development and delivery, and professional practice. The outcome is for higher UK design business value in the global market.

7.6.2 Skills needs and issues being met by the programmeThe UK Design Skills Alliance will focus on addressing the following current and future skills needs: management; leadership; digital technology; business/professional; negotiation, operating globally; sustainable design and marketing and the following industry issues: entry to industry; management and leadership; continuing professional development; qualification reform; information, advice and guidance; creativity and culture in school and industry intelligence and research.

7.6.3 Future developmentThe Design Blueprint outlines a three-year programme, and development beyond that will be based on evaluating the impact of the Alliance and its programmes.

7.6.4 ProgrammeUK Design Skills AllianceThe Alliance will be a partnership of leading design industry and education bodies, launching in 2008 with a transformational programme of activities to support the development of a highly-skilled and increasingly prosperous UK design sector. It will deliver and achieve a high profile with government, education and industry for the improvement of professional standards in design education and practice.

The creation of a commonly agreed professional practice framework will drive the supply and demand for professional skills development in the UK design sector. Strategic analysis and future thinking will form the basis for specialist network activity and work plans, which will set out to influence design practice, design buying and curriculum development. The programme partnership will also oversee the implementation of the financial and operational infrastructure required to transform design skills supply and demand in the UK.



The founding partners include Creative & Cultural Skills, the Design Council and the Design Skills Advisory Panel. The Alliance and its programme of activities have been developed and championed by an industry steering group which also comprises chief executives and senior representatives from leading UK design firms as well as design-led multinational businesses.

The UK Design Skills Alliance will include significant representation from schools and higher education institutions, including formal representation by the Council for Higher Education in Art & Design (representing art and design universities), the D&T Association (representing design and technology teachers) and lead industry bodies such as the Design Business Association and D&AD.

Designers’ Knowledge Base – professional practice framework and campaignAs a framework for design excellence, the Knowledge Base will define skills, knowledge and competencies through peer-reviewed case studies, share good practice and provide information and advice on careers, education and training provision and diagnostic tools for development. It will use revised National Occupational Standards as a base and aim to influence the subject benchmark. There will be close links to Creative Choices˚ (7.4). The launch of Knowledge Base will be led by a campaign to promote the importance and demand for professional development for business success in an increasingly competitive UK and global market.

Strategic analysis and future thinkingAccurate and up-to-date information and analysis on the state of the design industry, skills needs and future trends is essential to informing and developing the Alliance and its programmes. The programme will include building relationships with universities, national and international design industry bodies, the research councils and public bodies. Skills research will build on both Creative & Cultural Skills and the Design Council’s work to produce an internationally-benchmarked design skills map. Articles and policy papers on design skills will form the basis for industry and education events, and media relations activity. Research-based seminars and events will focus on areas such as global reach, competitiveness and sustainability.

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Programme of Professional Practice CPDThis will include a directory of the best professional practice CPD courses and activities, providing local and regional information, industry recommendations and industry feedback on CPD activity. Research will help the development of CPD by training providers, and the Alliance will seek funding to develop pilots and use the professional practice campaign to stimulate demand. The initial focus will be on design skills for sustainability and leadership skills. The latter will build on the Cultural Leadership Programme-funded leadership network and mentoring. The Creative Business Leadership programme (7.5) is a further opportunity. Industry diagnostic and development tools are also needed, and this work will link to Creative Choices˚ (7.4); the potential to work with existing providers such as design bodies and Business Link will be explored.

UK-wide Design professionals’ networkA network of leading practitioners and design managers connected to education would support industry-relevant curricular development and delivery. Many colleges and universities bring in professionals, but the scale and scope of activity across the UK is unclear. There is no central network or register of designers who are willing to work with design education and have the necessary skills and understanding of how their involvement might best be focused and managed. Initially the UK Design Alliance, together with key further and higher education partners, will commission research to identify current practice and the most effective way for the network to be developed and delivered.

Multi-disciplinary networkMulti-disciplinary programmes should be developed at Higher Education level matching the types of project team and multi-disciplinary working that are increasingly the norm in the industry. There are currently too few programmes based on collaborative partnerships that could provide multi-disciplinary learning and foster closer working relationships with industry. This work will build on a current informal network developed by the Design Council with support from HEFCE. Structures are needed to support and increase the existing network, facilitate debate, ensure information is more widely available and capture knowledge and best practice.

Careers advice and guidanceThis will be developed and provided through Creative Choices˚ (7.4)

Initial discussions across the range of Further and Higher Education programmes is under way with the Higher Education Academy – the Art, Design and Media subject centre, the Council for Higher Education in Art & Design, Centre for Excellence in Teaching and Learning (CETLs) and Higher Education Funding Council for England (HEFCE).



Designers working with schoolsTo nurture creative skills in students, a co-ordinated programme is needed to integrate designers into existing schemes bringing designers and schools together. This includes working with Creative Partnerships to increase the role of design, designers and design thinking content in their programmes. Similarly, there will be work with the Science, Technology, Engineering and Mathematics Network (STEMNET) to increase the role of design in its programmes. A Design Mark will be developed to recognise the delivery of high-quality design education in primary and secondary schools. This work will be showcased online and there will be an annual awards ceremony. Design Mark will also be linked to the continuous professional development for teachers, where there is a need for more knowledge and information about the design industry and integrating design practice into teaching. The Designers’ Knowledge Base provides an essential resource for all of these areas of work.

The Design Council is leading the development of this strand of the Alliance programme. Partners and InvestmentPartners Investment and roleDesign Council and ‘start up’ funding for the UK Design SkillsCreative & Cultural Skills Alliance and collaborative work to develop

industry fundraising and programmes.

Design industry investment target of £200,000

HEFCE support for developing the Higher Education programmes

CHEAD support for developing and delivering the Higher Education programmes

Higher Education Academy support for developing the Higher Education programmes

Department for Innovation, discussions on support for the Alliance Universities & Skills (DIUS)

DCMS discussions on support for the Alliance

Department for Business, under discussion Enterprise & Regulatory Reform (DBERR)

RDAs under discussion

Department for Children, discussions on support for the Alliance Schools and Families (DCSF) schools programme Creative Partnerships discussions on support for the Alliance

schools programme

Professional associations design and delivery of funded programmes

Further and Higher Education design and delivery of funded programmes

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Results• UKDesignSkillsAllianceofindustry,educationandprofessionalbodies

able to influence government, industry and education at national and regional level.

• Knowledgebaseandframeworkforprofessionalexcellence.• Industrycommitment,participationanddemandforCPDandeducation

for industry.• Networksenablecloserandmoreeffectiveindustryandeducationworking

for relevant and responsive curricula and training.• Effectiveindustryandschoolsworkingtodeliverhigh-qualitydesign

education.• IncreasedunderstandingofthevalueoftheUKDesignindustrytothe

economy and society.

Costings• UKDesignSkillsAlliance–outlinecostsof£5.2mfortheAllianceand

programmes have been identified. Creative & Cultural Skills and the Design Council are working to refine these and develop a fundraising strategy. This includes plans to unlock industry investment.

Timescale• UKDesignSkillsAlliance:launch2008.• Designer’sKnowledgeBaseandCampaign:launch2008.• FutureThinkingandStrategicAnalysis:firstpublication2009.• Multi-disciplinarynetwork:launch2009.• DesignMark:launch2009andfirstawards2010.• VisitingDesignprofessionalsnetwork:roll-outofnationalnetwork2010.

Review• TheUKDesignSkillsAlliancewillreviewtheroll-outoftheDesignBlueprint

and report annually to industry, government, education and key stakeholders on the impact of the programmes.

Photography by Phillip Meech



7.7 Continuing Professional Development

7.7.1 Why is Continuing Professional Development (CPD) needed?Sustainable CPD provision meeting creative and business skills needs and developing Further and Higher Education partnerships is required in all industries. This includes embedding continuing development in businesses, access to specialist provision, accreditation of informal or industry learning and creative solutions that recognise the role and value placed by industry on informal learning and networks. CPD is essential to the continual ‘re-skilling’ of the creative and cultural workforce, to keep pace with change, be innovative and meet the government’s ambitions for the industries in the wider economy.

The Cultural Heritage industries particularly need to retain and develop specialist skills, for example, in museum collections. This does not require high volume of provision, but access to high-quality specialist provision. New technology is also an area where specialist knowledge is needed, for example, where digitisation affects the music and literature industries.

Continuing Professional Development is also an issue for the voluntary sector and for cultural industries with a substantial volunteer workforce.

The Creative Blueprint research shows that there is a wide range of provision from trade and professional bodies, industry private providers, employers themselves, partnerships, and Further and Higher Education. Funding streams include industry investment, creative and cultural national agencies, regional, cultural and economic development agencies, the LSC, European funding, Lottery funding and HEFCE initiatives in Higher Skills and Lifelong Learning networks.

Yet a key theme from all the Creative Blueprint regional workshops was the need for CPD. Key issues are access to information about what is available, the quality and relevance of provision and short-term project funding. There is good practice and some industries have access to high quality and structured provision, for example the Institute of Practitioners in Advertising programmes and the Diploma of the Museums Association. Some employers, usually larger businesses, also have well developed in-house programmes, for example the National Trust and National Museums.

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7.7.2 Skills needs and issues being met by the programmeThe CPD programmes will address the following current and future skills needs: creative; technical; management; leadership; digital technology; business/professional; negotiation, selling and marketing and the following industry issues: management and leadership; business and enterprise; diversity; information, advice and guidance; industry intelligence and research.

7.7.3 Future developmentFuture developments will follow from a detailed examination of the range and scale of provision.

7.7.4 ProgrammeContinuous Professional DevelopmentInitial investigation is required to identify where and how Creative & Cultural Skills can make a difference and create change in the provision of CPD. The target audience is practitioners and micro-businesses, who form the majority of the workforce. The ambition is to ensure they have easy access to information and a supply of relevant, responsive and affordable creative and business CPD.

Trade and professional associations and creative and cultural agencies are key to delivering sustainable CPD. Discussions with the Unions have identified programmes, including those run by Equity for performers, which are valued by members and could be made more widely available. Cultural Heritage has identified the lack of a UK-wide secondment scheme and Visual Arts and Literature express a need for mentoring and networking schemes. A number of the Creative Blueprint programmes include CPD, for example the National Skills Academy (7.3) and the UK Design Skills Alliance (7.6).

Current work includes a partnership with MOVE, the East of England Lifelong Learning Network, which is funding work to engage employers in CPD. Joint work is also under way with One North East and Universities North East on the higher skills agenda. Creative & Cultural Skills is a member of the NW Higher Level Skills Pathfinder creative industries development group and works with Skillset on the South West pathfinder.

Creative Choices˚ is central to developing and providing information and resources.

Initial discussions to develop work have involved the following organisations:• InstituteforPractitionersinAdvertising• Engage• VisualArtsandGalleriesAssociation• A–N(Artists’Network)• Equity• MuseumsAssociation• NationalAssociationforLiteratureDevelopment• TheatricalManagementAssociation• IndependentTheatreCouncil• AssociationofBritishOrchestras• NationalMusicCouncil• Musicians’Union• Skillscene• JewelleryandAlliedIndustriesTrainingCouncil

Photography by SOLT TMA



Only 35% of employers in England in the Creative & Cultural Skills in dustries had arranged training in the last year.

Section No. Section Title

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Only 35% of employers in England in the Creative & Cultural Skills in dustries had arranged training in the last year.


Skills PassportsThese are of particular interest to self-employed/freelance practitioners. Initial research has identified a wide range of models and formats. BECTU has undertaken work on passports and The Creative & Cultural Skills Union Forum has expressed interest in linking them to training needs analysis resources provided by unionlearn. Further work will be undertaken to explore the possible solutions of a skills passport linked to Creative Choices .̊ Partners and investmentPartners Investment and roleArts Council England, Information on CPD initiativesMuseums, Libraries and work in partnership with Creative & and Archives Council Cultural Skills to identify effective actionCrafts Council, English Heritage

Trade and professional Providers of CPD associations

Unions Training needs analysis and CPD resource

MOVE LLN Funding for employer engagement and CPD

One North East Higher skills joint work

Further and Higher Education Providers of CPD

HEFCE Funding role

Higher Skills Pathfinders Funding role

Employers/practitioners Investment, demand and participation

Results• Employersandpractitionerstohaveaccesstoinformationandsupplyof

relevant, responsive and affordable CPD.

Costings• Tobedetermined

Timescale• Investigating,determiningactionandidentifyingfunding2008–2009

Review• Buildintoactionplan


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7.8 Qualification Reform

7.8.1 Why is Qualification Reform needed?Individuals and employers are confused by the high volume of education and training provision when it comes to finding the qualifications they value in applicants to industry or during career development and progression. All the industries prefer work-based learning and want industry-focused qualifications to combine creative and business knowledge and skills. Half of future industry growth will require higher skills, and the current workforce will need to continually ‘re-skill’ to sustain and develop successful businesses.

In contrast, the Craft industry is concerned about the decline in education and training provision, linked to small volume and the cost of equipment and space. Some heritage craft skills may be lost within a generation due to an ageing workforce and the lack of specialised training opportunities. Only 13 of over 400 Foundation degrees are in Craft.

Sustainable industry and education partnerships are needed to effect long term change, building on existing good practice and making it more widespread. Programmes such Creative Apprenticeships (7.2), the National Skills Academy and the UK Design Skills Alliance (7.6) will provide this on the ground, but need to be supported by a policy-influencing strategy and programme for change to affect all qualification levels. In addition, a programme for change needs to be supported by up-to-date National Occupation Standards that provide industry-relevant levels of competence at all levels.

7.8.2 Skills needs and issues being met by the programmesQualification reform will address the following current and future skills needs: creative; technical; management; leadership; digital technology; business/professional; negotiation, selling and marketing and the following industry issues: entry to industry; management and leadership; business and enterprise; continuing professional development; and information, advice and guidance.

7.8.3 Future developmentBoth the Sector Qualification Strategy and National Occupational Standards plan will outline priority projects and development over the next three years.

7.8.4 ProgrammeSector Qualification StrategyThe Creative & Cultural Skills strategy will help qualification reform in the creative and cultural industries, including addressing the volume of qualifications, clarity of qualification type, progression, and industry involvement in qualification development. The strategy is in development and is due for completion with an action plan by January 2009. Graded Examinations and Foundation Degrees are Identified as priorities in the first year, along with the involvement of employers in qualification specifications.

To provide employers and individuals with information about qualifications and courses, Creative Choices˚ (7.4) can find and compare available courses relevant to creative and cultural professionals, or those entering the sector. As a consumer-led resource, it will include comments, links to consumer information guides drawn from multiple sources and an industry benchmark for courses and essential course details.

An Awarding Body Forum has been established to work with Creative & Cultural Skills on qualification issues.


National Occupational StandardsStandards are in place for the Creative Apprenticeship pathways (7.2) and for Design, Cultural Heritage and Archaeology but these require review, especially for Cultural Heritage, which sees them as essential for supporting career progression.

This means that substantial areas of the industries are not covered by standards; for example, Visual Arts see developing these as a priority to support careers. Standards are also essential for qualification reform, further apprenticeship development, continuing professional development and for programmes such as the National Skills Academy (7.3) and the UK Design Skills Alliance (7.6).

Partners and Investment Partners Investment and roleUK Commission for Employment NOS funding and Skills

Awarding Body Forum Held regularly to inform and consult on developments, issues and direction of travel.

Employers Consultation on reform and standards development

Skillscene Consultation on reform and standards development

Trade and professional Consultation on reform and standards Associations development

Results• ASectorQualificationStrategyandactionplanthatachievesrelevantand

responsive industry qualifications.• ANationalOccupationalStandardsplanthatidentifiesprioritiestomeet

industry, Creative Apprenticeship and qualification reform needs.

Costings• Metbyproject-specificgrants

Timescale• CompletionofSQS:June2008• ImplementSQS:2008–2010• ImplementNOSplan:April2008–2010startingwithreviewofDesign

and Cultural Heritage standards

Review• NOSwillbeassessedafteroneyear,involvingareviewand

incremental change.


‘Stitched Bowls’ by Lucy Adamson. Photo: Mel Smith

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Young Apprenticeships Young Apprenticeships have been running for four years, and Creative & Cultural Skills manage the partnerships alongside the regional LSCs. The first group has shown a 97% achievement, with retention at 98%. The employers in the creative industries are keen to find new ways for young people to gain experience of working in the industry and the Young Apprenticeship programme helps them to achieve this. The Young Apprenticeship is different to other work-related programmes as it involves learners achieving a Level 2 in Art and Design or Performing Arts and 50 days of relevant work experience with an employer. Across the four years the programme has been running, 916 learners have undertaken a Young Apprenticeship.

The programme has been a positive and popular qualification with the industries. Work with the Creative and Media Diploma is currently exploring the feasibility of incorporating the Young Apprenticeship. Creative & Cultural Skills will examine the success of this work and support appropriate developments as they become clear.

Partners and investment Partners Investment and roleAwarding Bodies Qualification design and implementation

Providers LSC Programme delivery and management Funding and support

Results• Appliedlearningthroughwork-basedprogrammes• Progressionthroughawork-basedprogramme

Costings• MetbyexistingLSCfunding

Timescale• Ongoing

Review• AsthisworkalignswiththedevelopmentanduseoftheCreativeandMedia

Diploma it will be reviewed constantly.



14-19 Diplomas The Creative and Media Diploma will provide a broad, applied learning programme delivered in the context of the creative and media sectors when it starts being taught in September 2008. The Diploma will be inspirational and aspirational, appealing to the most able, as much as to those not engaged with existing school and college-based qualifications.

The Crafts industry views the Diploma as an important means to raise the profile of Crafts in the curriculum and as a career option.

The Creative and Media Diploma should be acknowledged and valued by both employers and Higher Education, who will recognise its credibility and its parity to the traditional GCSE and A-Level. The Diploma will incorporate creative approaches to applied and work-related learning, industry-devised learning outcomes and innovative models of assessment, creating a world class qualification that is relevant, robust, and a real alternative.

Creative & Cultural Skills will lead the development of the Humanities diploma.

Partners and Investment Partners Investment and roleAwarding Bodies Qualification design and implementation

Providers Programme delivery and management

LSC Funding and support

QCA Qualification regulation and development lead

Results• SuccessfuldeploymentinSeptember2008• NumbersofstudentsachievingtheDiploma

Costings• MetbyQCAandSSDAdevelopmentcosts

Timescale• StartsSeptember2008

Review• TheprogrammewillbesubjecttoformalreviewbytheDiploma

Development Partnership and QCA regulation teams.

Photography by Steve Hickey

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7.9 Diversity

7.9.1 Why is a Diversity programme needed?Addressing diversity is a key challenge highlighted by the Creative Blueprint research. This includes issues of ethnicity, gender, disability and social and economic inclusion. The business case needs to be ‘sold’ to industry. As competition for the best people increases, ignoring the issue means the industries, although well supplied with entrants, are recruiting from an increasingly narrow pool of talent. Unstructured entry routes, lack of clear progression paths, the need to volunteer to get a job, and low pay, all combine to make the industries less attractive, for example, to talented young Black and Asian people.

Cultural awareness and understanding is crucial for creative industries competing globally for business. In the cultural industries, a workforce which reflects the demography of communities is important for audience development and participation and for attracting and retaining the best staff from the widest pool of talent.

The Creative & Cultural Skills Union Forum will support the development of initiatives, in particular sharing good practice models.

7.9.2 Skills needs and issues being met by the programmesAction on Diversity will address the following current and future skills needs: creative; technical; management; leadership; digital technology; business/professional; negotiation, selling and marketing and the following industry issues: entry to industry; management and leadership; business and enterprise; continuing professional development; and information, advice and guidance.

7.9.3 Future developmentThe Diversity and Equalities agenda must be reflected in the aims and outcomes of all programme development and delivery, as is the case with Creative Apprenticeships (7.2), the National Skills Academy (7.3), Creative Choices˚ (7.4) and the Cultural Leadership Programme (7.5).

Following the evaluation of the pilot, Diversity Profile resources will be developed to cover all industries and address Nation-specific issues.

7.9.4 ProgrammeDiversity Profile and campaign An online resource and campaign is being developed to promote the business case and value of a diverse workforce. Pilot work will focus on the Advertising and Museums industries, for whom it is a key issue. Working in partnership with the Museums, Libraries and Archives Council and the Institute of Practitioners in Advertising, quantitative information on industry staffing profiles, and case studies to promote best practice, will be made available on Creative Choices .̊ This will enable employers to benchmark their businesses and improve business practice. The launch will be through a campaign to highlight the issues and the need for change.

The profile will be regularly updated and expanded to include all the industries.



Partners and investmentPartners Investment and roleMuseums, Libraries Investment in research and development and Archives Council

Institute of Practitioners Providing research in Advertising

Results• Onlineresourcesandcampaigntosupportincreasingworkforcediversity

Costings• Pilotonlineresourcedevelopmentandcampaign£20,000• Fullroll-outcostingstobedetermined

Timescale• PilotLaunch:summer2008

Review• PilottobeevaluatedbyCreative&CulturalSkills,Museums,Librariesand

Archives Council and Institute of Practitioners in Advertising.

Diagonal Thinking™The Institute of Practitioners in Advertising has researched and developed a tool to support recruitment that combines assessing candidates’ ability to think in both linear/inductive and lateral/creative ways. One aim of the project is to improve recruitment from a wider range of communities and backgrounds, where talented people who want to work in advertising may not have followed the traditional academic routes. An online resource will be launched in 2008

This work could extend to other creative industries.

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7.10 Research Agenda

7.10.1 Why is a Research Agenda needed?The Creative Blueprint research has, for the first time, produced cross-industry information on workforce demography, current and future skills needs, industry drivers and education provision in the industries represented by Creative & Cultural Skills. The Research Agenda is central to sustaining and developing the baseline industry data, evaluating the demand for skills, assessing the impact of programmes and for influencing policy. A UK-wide agenda is in development and the requirements of each Nation will be reflected.

Partners receiving and using the research;• DCMS• DIUS• DesignCouncil• ArtsCouncilEngland• Museums,LibrariesandArchivesCouncil• CraftsCouncil• EnglishHeritage• RegionalDevelopmentAgencies• RegionalObservatories• RegionalCulturalObservatories• TradeandProfessionalAssociations• Unions• Employers• CareersAdvisers• FurtherandHigherEducation• Industrypressandmedia

7.10.2 Skills needs and issues being met by the programmeThe Research Agenda will address the following current and future skills needs: creative; technical; management; leadership; digital technology; business/professional; negotiation, selling and marketing and the following industry issues: entry to industry; management and leadership; business and enterprise; continuing professional development; qualification reform; diversity and information, advice and guidance.

7.10.3 Future developmentThe Research Agenda will include future issues as part of the delivery of industry intelligence.



7.10.4 ProgrammeBaseline dataThis project will update the 2006–2007 baseline survey, using the same methods. Specifically the research will aim to update:• Economicimpact,labourandskillsenvironmentofthesector,withanalysis

of workforce trends and horizon scanning• Baselinedataaboutthesizeandnatureofthesector

Craft Sector Labour Market Intelligence (LMI)The Craft industry needs to establish LMI across the UK. Current industry classifications do not sufficiently define the industry or make it visible, which sets it at a disadvantage when government-sourced data is used to identify policy priorities. The current English information is based on ‘Making it in the 21st century’ by the Crafts Council. This has been added to the data gathered from the other three nations to create a UK picture informed by industry. The proposed research project will include key nations, agencies and organisations representing Crafts.

Workforce SurveyThe Workforce Survey is intended as an inaugural bi-annual project that updates and compares the development of the industry against criteria such as training investment and participation, qualification levels of the industry, skills gaps and skills shortages. Work with the Unions will aim to incorporate data on training needs that is collected by Union Learn Representatives.

Business and enterpriseThe concept of business and enterprise has arisen from the work conducted on the Creative Blueprint. It is an area of work which is under-developed both internally and in the wider cultural policy agenda. Specifically, for this research focus, innovation and skills in relation to the production of successful creative and cultural businesses is paramount.

Education Mapping UpdateThis project is a means of understanding the supply side of the skills debate. it aims to map the current provision of education and training, by volume and expenditure in terms of:

• understandingwhodeliverswhatqualificationsandnon-accreditedtraining,including work-based learning, where, and identifying how much provision there is in each sector

• definingwhatisdeliveredwithineachareaofskillneed,includingqualifications or other outputs

• identifyingcosts–whatisthefundingfordifferenttypesofqualificationsand the costs of training paid for by the individual, by government, and by industry/employer.

To assess the quality of provision in terms of process and outcomes through

• deliveryprocesses.• theoutputofprovisionintermsofqualificationsachievedandidentification

of best practice.

To identify key themes and patterns across each sector compared to the whole footprint.

Sussex Downs COVE

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To benchmark sector data and analysis against the UK average (or separate UK countries as appropriate), against other countries (eg major competitors like the USA) and against global blocs (eg European Union and the OECD) to establish the relative position of the sector nationally and internationally.

An additional project would be to analyse the difference in supply between current sets of data – most relevant FE and HE data – against that in the Creative Blueprint.

Creative practitioners in non-creative businessesThere are over half a million people working in the creative and cultural industries, and the sectors contribute more than £23 billion to the UK economy. Recent research by NESTA has shown that there could be over three-quarters of a million creative / cultural practitioners in non-creative / cultural businesses and sectors. More research is needed to understand the skills needs of this part of the creative industries. Partners and investmentPartners Investment and roleCrafts Council To be agreed with all relevant partners

Museums, Libraries and Archives Council

Design Council

Arts Council England

English Heritage

Professional and trade associations

Further Education

Higher Education

Employers

Unions

Results• Reportsdisseminatedthroughpublication,online,seminarsand

presentations• Informtheprogressandfuturedevelopmentofprogrammesandpolicy• Developabodyofindustryandintelligence,valuedandrecognisedby

employers, government and stakeholders

Costings• Tobedetermined

Timescale• LMIandworkforcesurveysonabi-annualcycle• Otherprojects2008–2011

Review• Theresearchagendawillbereviewedin2010


1: Key milestones

2008/2009 2009/2010 2010/2011

Creative Apprenticeships 400 apprentices recruited 1000 apprentices recruited New pathways available

National Skills Academy Business plan secures funding/regional employer partnerships developed

Nationwide pilot programmes started/regional employer partnerships operational

National Skills Academy Thurrock opens

Creative Choices˚ Creative Choices˚ launched 25,000 users of Creative Choices˚ Sustainable business model with industry and education partners investing in the high quality resources and reach of Creative Choices˚.

Cultural Leadership Programme Creative Business Leadership programme pilot

Expanded range of creative business leadership opportunities for practitioners and employers

Sustainable range of programmes with industry and education investing in high-quality resources

UK Design Skills Alliance Alliance launched and industry investment campaign

Designers’ Knowledge Base available and Professional Development Campaign begun/Design Mark launched

Visiting Design Professionals and Multi-disciplinary Networks in place/Strategic Analysis and Future Thinking research publications

Continuing Professional Development Scope action required, identify funding and delivery partners

Implement plan/Creative Choices˚/NSA and UK Design Skills providing resources

Employers and Practitioners have access to information and supply of sustainable CPD

Qualification Reform Sector Qualification Strategy and action plan completed

NOS for future apprenticeships developed/Sector Qualification Strategy action plan underway

Increase in Industry-relevant qualifications available

Diversity Diversity profile and campaign launched

Monitor diversity and equalities participation in Creative & Cultural Skills key initiatives

Review project evaluations and research to assess impact

Research Agenda Updated Labour Market Intelligence published/research informs Creative & Cultural Skills policy work

Updated Workforce survey and Craft Labour Market Intelligence published

Research provides evidence base for revised Creative Blueprint

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2: Stakeholder involvement mapped against skills solutions

SOLUTIONS: Creative Apprentice-ships

National Skills Academy

Creative Choices˚

Cultural Leadership Programme

UK Design Skills Alliance

Continuing Professional Development

Diversity Qualification Reform

Research Agenda

DCMS● ● ● ● ●

Under discussion

●

DIUS

● ● ●

DBERR Under discussion

DCSF

●

LSC ● ● ●

QCA ● ● ● ●

NQF ● ● ●

HEFCE Under discussion

Under discussion ●

Under discussion

Under discussion

Higher Education Academy

●

RDAs●


Under discussion

Arts Council England

● ● ● ●Under discussion


Under discussion

Crafts Council● ● ● ●

Under discussion

●

Design Council

Under discussion ● ● ● ●

English Heritage ● ● ●

Under discussion

Under discussion

Museums, Libraries and Archives Council

● ● ●

Under discussion

● ● ●

Trade and Professional Associations

● ●

Under discussion ● ●

Under discussion

Under discussion


Creative Partnerships

Under discussion

●


SOLUTIONS: Creative Apprentice-ships

National Skills Academy

Creative Choices˚

Cultural Leadership Programme

UK Design Skills Alliance

Continuing Professional Development

Diversity Qualification Reform

Research Agenda

Universities UK

● ● ●

Association of Colleges

● ● ● ●

Lifelong Learning Networks

● ● ●

Higher Skills Pathfinders

● ●

Business Link ●

Further Education

● ● ●Under discussion

Higher Education

● ● ● ●Under discussion

Train to Gain Under discussion

Unions

● ● ● ● ● ● ●

Awarding Bodies

● ● ●

LOCOG Under discussion

Sector Skills Councils

Under discussion


2: Stakeholder involvement mapped against skills solutions

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Yorkshire Forward

Millennium Winter Gardens


References08

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Section 08 References


References

Department for Culture, Media and Sport, (2008). Creative Britain: New Talents for the New Economy. Department for Culture, Media and Sport.

Department for Employment and Learning, (2004). Skills Strategy for Northern Ireland. Department for Employment and Learning.

Department for Employment and Learning, (2006). Success through Skills: The Skills Strategy for Northern Ireland – A Programme for Implementation. Department for Employment and Learning.

Department for Employment and Learning, (2007). The Skills Agenda in Northern Ireland and the Department of Employment and Learning is proposing to respond to the Leitch Review of Skills.

Department for Innovation, Universities and Skills, (2007). World Class Skills: Implementing the Leitch report. Department for Innovation, Universities and Skills.

Department for Innovation, Universities and Skills, (2008). World Class Apprenticeships: Unlocking talent, Building Skills for All. Department for Innovation, Universities and Skills, Department for Children, Schools and Families.

Department for Innovation, Universities and Skills, (2008). Innovation Nation. Department for Innovation, Universities and Skills.

Department for Innovation, Universities and Skills, (2008). Raising Expectation: enabling the system to deliver. Department for Innovation, Universities and Skills, Department for Children, Schools and Families.

Design Skills Advisory Panel, (2007). UK Design Industry Skills Development Plan. Creative and Cultural Skills and the Design Skills Advisory Panel.

Design Skills Advisory Panel (2008). Design Blueprint. Design Council and Creative & Cultural Skills.

DET, (2005). The Skills and Employment Action Plan. DET.

Department for Education and Skills, (2003). 21st Century Skills: Realising our potential. Department for Education and Skills.

Department for Education and Skills, (2005). 14-19 Education and Skills White Paper 2005. Department for Education and Skills.

Department for Education and Skills, (2005). Further Education Reform White Paper: Raising Skills, improving life chances. Department for Education and Skills.

EEDA, (2007). Regional Economic Strategy. EEDA.

GLA, (2007). Regional Economic Strategy. GLA.

Higher Education Funding Council England Grant Letter 2007.

Higher Education Funding Council England Grant Letter 2008.

Heritage Link, (2003). Volunteers and the Historic Environment. Heritage Link. December 2003.

Historic Scotland, (2006). Annual Report and Accounts 2005/2006. Historic Scotland.

HM Treasury, (2005). Cox Review of Creativity in Business. HM Treasury.

HM Treasury, (2007). Review of sub-national economic development and regeneration. HM Treasury.

Holden, J, (2004) Capturing Cultural Value: How Culture has Become a Tool of Government Policy. Demos.

Institute of Practitioners in Advertising, (2006). The Future of Advertising Agencies: A 10-year Perspective. IPA.

Leitch, S (2006) Prosperity for all in the Global Economy: World Class Skills – Final Report. London: Stationery Office.

Learning and Skills Council, (2008). Our statement of Priorities; Better Skills, Better Jobs, Better Lives. Learning and Skills Council.

Lord Sainsbury of Turville, (2007). The Race to the Top: A review of Government Science and Innovation Policies. HM Treasury.

McMaster, B, (2008). Supporting Excellence in the Arts. Department for Culture, Media and Sport.

Museums, Libraries and Archives, (2005). Volunteering in Museums, Libraries and Archives. MLA.

National Advisory Committee on Creative and Cultural Education, (1999). All Our Futures: Creative and Cultural Education. Department for Education and Employment and Department for Culture, Media and Sport.

National Trust, (2005). Vital Volunteers: Celebrating the Benefits of Volunteering. National Trust.

North West Regional Development Agency, (2006). Regional Economic Strategy: 2006–2015. North West Regional Development Agency. RDA website.

Oakley, K, (2006). Inside Us Out: Economic Development and Social Policy in the Creative Industries. Cultural Trends. 15, 4, 255–273.

One North East, (2007). Regional Economic Strategy: Summary Document. One North East.

Roberts, P, (2006). Nurturing Creativity in Young People: A report to Government to inform future policy. Department for Education and Skills and Department for Culture, Media and Sport.

Scottish Arts Council, (2002) Crafts Strategy 2002–2007. Scottish Arts Council.

Scottish Arts Council, (2005) Residencies help schools get crafty. Scottish Arts Council.

Scottish Arts Council (2006) Business Plan 2006/07. Scottish Arts Council.

Scottish Arts Council, (2002). Craft Businesses in Scotland: A Study. Scottish Arts Council.

Scottish Executive, (2006). Scotland’s Culture Cultar na h-Alba. Scottish Executive.

Scottish Museums Council, (2006). National Workforce Development Strategy for Scotland’s Museums. Scottish Museums Council.

SEEDA, (2007). Regional Economic Strategy. SEEDA.

South West Regional Development Agency, (2007). Regional Economic Strategy. South West Regional Development Agency.

The Scottish Government, (2007). Skills for Scotland: A Lifelong Skills Strategy. Scottish Government.

The Work Foundation, (2007). Staying ahead: the economic performance of the UK’s creative industries. Department for Culture, Media and Sport.

Tims, C. and Wright, S, (2007). So What Do You Do? A New Question for Policy in the Creative Age. Demos.

Yorkshire Forward, (2006). Regional Economic Strategy: 2006–2015. Yorkshire Forward.

Yorkshire Forward, (2007). Regional Strategic Partnership Consultation Document. Yorkshire Forward.

Advantage West Midlands, (2005). Corporate Plan 2005–08. Advantage West Midlands.

Advantage West Midlands, (2007). Regional Economic Strategy: Consultation Draft. Advantage West Midlands.

Advantage West Midlands, (2007). Regional Skills Partnership: Invest in skills, improve your bottom line. Advantage West Midlands.

Arts Council of Northern Ireland, (2007). Creative Connections: A Five Year Plan for Developing the Arts 2007–2012. Arts Council of Northern Ireland.

Arts Council of Wales, (2006). Craft & Applied Art Action Plan 2006/07. Arts Council of Wales.

Arts Council England, (2006). Making it to Market. Arts Council England Publications.

BPI, (2004). Music Education Directory. BPI.

British Design Innovation, (2005). The British Design Industry Valuation Survey. British Design Innovation.

British Design Innovation, (2006). The British Design Industry Valuation Survey. British Design Innovation.

Craft Northern Ireland, (2006). A Future in the Making: A socio-economic study of makers in Northern Ireland. Craft NI 2006.

Crafts Council, (2004). Making it in the 21st Century. Crafts Council.

Creative & Cultural Skills, (2007). The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries – The Skills Needs Assessment. Creative & Cultural Skills.

Creative & Cultural Skills, (2007). The Creative Blueprint: The Sector Skills Agreement for the Creative and Cultural Industries – Understanding Supply. Creative & Cultural Skills.

Department for Children, Schools and Families, (2007). Education and Skills Bill 2007–2008. Department for Children, Schools and Families.

Published by Creative & Cultural SkillsLafone HouseThe LeathermarketWeston StreetLondon SE1 3HN

Chairman:Tony Hall, CBE Chief Executive:Tom Bewick

Trustees:Tess AlpsJane Glaister, OBERic GreenRosy GreenleesJudith Isherwood, David KershawRoisin McDonoughEric NicoliChristine PayneDame Fiona Reynolds, DBEJohn StalkerDaniel TaylorAlison Wenham

Published in June 2008.

Creative and Cultural Industries Ltd is registered in England as a Charity No. 1105974 and as a limited company by guarantee No. 5122855 at Lafone House, The Leathermarket, Weston Street, London SE1 3HN.

Design by elmwood

Contents

Foreword

1 Executive Summary 051.1 Industry context 081.2 Education and training context 091.3 Meeting the challenges 091.4 Delivery and impact 09

2 Introduction 112.1 The case for change 142.2 Action 172.3 Priorities and progress 20

3 England, Stages 1-3 Summary 213.1 Industry background 243.2 Skills issues background 253.2.1 Current skills 253.2.2 Future skills 263.2.3 International comparisons 263.3 Education and training 273.3.1 Current investment in education and training 283.3.2 What are employers looking for? 28

4 Policy Context 294.1 Skills policy 324.2 Economic and regional policy 354.3 Creative and cultural policy 36

5 Working with Industry, Government and Education 375.1 Consultation 40

6 The Future 43

7 Creative Blueprint Programme 477.1.1 Business support 517.1.2 Creativity and culture in schools 517.2 Creative Apprenticeships 557.2.1 Why are Creative Apprenticeships needed? 557.2.2 Skills needs and issues being met by the programme 557.2.3 Future development 567.2.4 Programme 567.3 National Skills Academy 597.3.1 Why is a National Skills Academy needed? 597.3.2 Skills needs and issues being met by the programme 607.3.3 Future development 607.3.4 Programme 61

Creative BlueprintEnglandThe Sector Skills Agreement for the creative and cultural industriesJune 2008

Creative B

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London OfficeLafone HouseThe LeathermarketWeston StreetLondon SE1 3HN


Scotland and Northern Ireland Office28 Castle StreetEdinburghEH2 3HT


Wales OfficeCreative Business Wales33-35 West Bute StreetCardiff BayCF10 5LH


For further copies of Creative Blueprint documents covering all Nations, regions and creative and cultural industries visit www.creative-choices.co.uk/blueprint

www.ccskills.org.uk

creative blueprint england

Documents

future skills

creative blueprint programme

skills policy

current skills

creative choices

creative apprenticeships

future development

cultural leadership