A Partnership of Equals?

2. A Partnership of Equals? How HEIs and Arts Organisations can work together to develop the creative entrepreneur A Practitioner’s Perspective

3. The sector is highly fluid - characterised by rapid change • Small number of large enterprises and a large number of small enterprises with a huge number of sole traders, freelancers and micro businesses • The age profile of the sector is young with those working as freelancers and sole traders largely within the 22 – 40 age range, though there are wide variations across different sub sectors • 40% are either self employed or on short term contracts compared with 20% within the economy as a whole • Permanent employment is declining and self employment growing. • Flexible employment is increasing, with multiple job holding and portfolio careers becoming a norm

4. ‘improvisational entrepreneurship by the seat of their pants’

5. THE PAST Managers manage Artists create THE PRESENT and FUTURE “Employers are increasingly indicating that what they want now and in the forseeable future are intelligent, flexible, adaptable employees who are quick to learn and who can deal with change.”

6. LIPA BLUEPRINT • That there was a need for training within the performing arts that was multi disciplinary, • That there was a need for training in the performing arts that focussed on the popular performing arts, • The the training should be practical and delivered by practitioners, • That it should be collaborative and • That it should give artists the range of business skills needed to survive.

7. Artists work as part of a ‘cluster’, a creative community that brings the collective set of skills required to realise production and distribution. Artists create products that are not always market orientated.

8. “Cultural Entrepreneurs need to acquire business skills, but as and when and how they want to. Provision of training in these skills should be modular, flexible and demand led.” Leadbeater and Oakley (1999) “ By assimilating entrepreneurial ways of thinking throughout programmes, students are able to switch on to entrepreneurship and become more readily able to recognise the usefulness of existing extra curricular support and business modules.” Richards (2005)

9. ‘They want advice and help from people who understand how creative businesses work.’

10. What exactly are the skills the successful performing artist requires? • How can we improve the way we go about developing them? • How do HE and the sector work together to do that?

11. Problem Solving • Negotiation • Management • Strategic thinking • Decision making • Networking • Presentation

12. The ability to balance creative independence with the ability to work collaboratively • The ability to manage artistic integrity with an understanding of finance and self management • The ability to create financial self sufficiency through a creative and lateral approach to the management of skills • The ability to create networks, maintain and manage them and communicate effectively • Above all the ability to be proactive, pragmatic and flexible

13. It is a way of doing things, perhaps even, a way of seeing things. It is concerned with change, with the development and implementation of new ideas, with proactive responses to the wider environment and with risk taking. It is about taking the initiative, combining ideas creatively, and importantly, managing independence.

14. Improved curriculum content and enhanced entrepreneurship within graduate cohorts will evolve through strong, mutually satisfying and equal partnerships between arts organisations and HE institutions. This requires a breakdown of the distinctions between academics and practitioners. Greater interaction will maximise mutual benefit.

15. The cultural sector is changing rapidly and its resource needs change accordingly. • Industry practitioners know the sector. • Enterprise skills within the undergraduate curriculum must be taught and delivered in a context of relevance • Graduates leave HE and enter a profession that has expectations of their workforce. • When the graduate enters the real world of work, there is a need for a continuum of provision that supports and continues to develop their skills and behaviours.

16. A two way street.

17. Joint Project Development • Culture Campus • Partnership between University of Liverpool, Liverpool John Moores University, FACT, Liverpool Biennial and Tate Liverpool • Postgraduate provision • Graduate retention • CPD for artists and arts organisations • Research • Knowledge transfer between industry and HE

18. Practice Based Research • Redefine paradigm • Interdisciplinary, cross cultural enquiry • Research teams of scholars, students and practitioners • Robust, relevant and meaningful • Intelligence, critical enquiry and knowledge generation

19. Joint Course Development • LJMU Developments • Joint programme development and delivery • Industry led and focussed • MBA Programme in Cultural Leadership – Industry consultation and linked CPD programmes, joint delivery and development • MA in New Media Curating – ACE funded • BA in Museum Studies – Tate Liverpool • M Res programmes – Industry practitioners • Collaborative Research Studentships – AHRB funding