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Creativity is now recognised as a crucial part of economic growth in the globalised knowledge-based environment, and scholars and industry experts regularly highlight the role creative skills are playing in the future of the Australian economy. The arts and cultural sector has come in from the economic margins, shifting from a publicly funded outlier to, many would argue, a significant player in Australia’s post-industrial journey. Creativity, innovation and entrepreneurial skills are not just important for economic growth; at an individual level they are the skills necessary for individuals to flourish in the age of automation.
One would naturally expect that our arts and cultural organisations would be leading the way in developing and utilising these skills and capabilities. After all, the arts are the quintessential creative workplaces. A recent study undertaken by the Deakin University Arts and Cultural Management Program, however, suggests that this may not be the case.
The Deakin research team wanted to understand the future skills required in the arts and cultural sector, along with perceived skills gaps in recent graduates entering the employment market. To do this they began by conducting telephone surveys with 16 of Australia’s peak arts associations. These associations represented not only major artistic disciplines, but different constituencies, such as regional or multicultural arts and culture. This was followed by an online questionnaire exploring desired arts and cultural management skills undertaken by 29 artistic organisations, with a view to understanding what skills were valued by arts and cultural employers. The results were surprising.
When asked what skills were important for organisation sustainability and growth, instead of the expected focus on innovation, creativity, entrepreneurship or audience development, those participating in the research prioritised commercial and business orientated skills. Perhaps unsurprisingly, communication skills were seen as the most important skill by those in the sector, but other highly rated skills included revenue generation, strategic planning, financial management and customer relationship management: skills that would not seem out of place in a government or financial services organisation.
When asked to rate the most important skills when hiring, creative, community and audience development orientated skills were conspicuous in their absence. Arts organisations participating did not place great value on skills such as supporting diversity, community outreach, innovation or entrepreneurship.
What might cause arts and cultural organisations to prioritise business skills over those that are more artistically oriented?
The research also asked respondents their biggest challenges with regard to workplace and employment issues. Revenue and costs were seen as the largest challenges faced by those in the arts and cultural sector, with the issues of most concern being securing organisational funds and the expenses associated with staff. While this may be impacted by the tumultuous changes to government funding faced by those in the sector for the past four years, there has hardly been a time when Australian arts and cultural institutions have been flush with funds, so surely by now this is business as usual.
Peak associations suggested that there may be a disconnect between organisational attitude toward requisite skills and issues of importance, and the practical realities of making human resource decisions. While leaders within arts and cultural organisations valued the health and wellbeing of their employees and ensuring workforce diversity, both issues that also rated highly with regard to workforce challenges, when it came to hiring employees they often took the quickest and easiest approach. Instead of considering the strategic needs of the organisation and prioritising finding a diverse candidate pool, arts managers hire those right in front of them with a view to organisational survival over sustainability and growth.
The research, then, also raises questions about the role and capability of human resource functions within Australian arts and cultural organisations. When running companies on the smell of an oily rag there is little space for strategic HR. Yet with better understanding of how workforce diversity, both demographically and in terms of capability, links to organisational strategy and outcome, there may be different approaches to hiring and other workforce issues.
What this research shows, however, is a stark disconnect between creative industries’ policy rhetoric and the attitudes toward required skills within arts and cultural sector employees.
Research undertaken by the ARC Centre of Excellence in Creative Industries and Innovation Queensland University of Technology highlights the importance of entrepreneurship and transdisciplinarity for creative industries graduates[1]. In Victoria’s 2016 Creative State industry policy, the creative ecosystem is said to be furthered by business development, innovation and collaboration, while creative workers are described as diverse and innovative.
An over-reliance on business capabilities, and a neglect of the creative skills that make arts and culture so valuable, suggests an industry that is focussed inward rather than looking for new opportunities and new audiences. In the face of ongoing financial pressure, the Australian arts and cultural sector has battened down the hatches. The implications, for our arts sector and our economy, could be dire.
Download a copy of Deakin’s Graduate Employability Research Project Report here.
[1] Bridgstock, R. 2013, ‘Professional Capabilities for Twenty‐First Century Creative Careers: Lessons from Outstandingly Successful Australian Artists and Designers’, International Journal of Art & Design Education, vol. 32, no. 2, pp. 176-89.
