What We Can Do<\/h4>\n\n\n\n\n- Alert decision-makers on the long-term rewards of supporting emerging talent<\/li>\n\n\n\n
- Establish networks of nationwide creative incubators \/ accelerators, sponsored by those depending creative industries’ future output<\/li>\n\n\n\n
- Leverage the untapped potential of public bodies’ access to networks and create peer support groups and one-to-one mentorship programmes (giving back to the ecosystem)<\/li>\n<\/ul>\n<\/div>\n\n\n\n
Creativity is not free<\/h2>\n\n\n\n
Society has come to believe that creativity has no value, but speculative work and unpaid briefs will ultimately kill the creative class by pushing creators into alternative markets, forcing them to spend less time on work (mediocre work) and ultimately leading to a polarised market allowing only those of a certain status to afford to be creative professionals.<\/p>\n\n\n\n
Protecting creatives’ income (and empowering creators to advocate for themselves) improves the quality of their work and enriches our economy and cultural heritage.<\/p>\n\n\n\n
\nWhat We Can Do<\/h4>\n\n\n\n\n- Include basic business development in universities’ creative course curriculum<\/li>\n\n\n\n
- Publish minimum rates for creative professionals and establish Fair Pay in an institution akin to “The Living Wage Foundation”<\/li>\n\n\n\n
- Update the law around payment terms for freelancers and SME’s, ensuring quick payment turnaround<\/li>\n<\/ul>\n<\/div>\n\n\n\n
Spread the stardust<\/h2>\n\n\n\n
Cinemas used to play short films before features, allowing audiences to discover something new and increasing exposure to deserving talent. These days are unfortunately over\u2014short films are cast aside for ad revenue. Audiences’ opportunities to see emerging talent alongside the greats have dried up.<\/p>\n\n\n\n
There’s no doubt known artists are the ones making sales, but showcasing emerging talent lays a stepping stone in audiences’ collective consciousness, quietly building rapport between audience, emerging talent, and the overall development of the creative pyramid.<\/p>\n\n\n\n
\nWhat We Can Do<\/h4>\n\n\n\n\n- Offer large creative businesses incentives to integrate emerging talent in their programmes<\/li>\n\n\n\n
- Ringfence public spaces to showcase emerging talent (e.g. TFL hosts Art on the Underground)<\/li>\n<\/ul>\n<\/div>\n\n\n\n
Fragmentation helps no one<\/h2>\n\n\n\n
A few years ago, the creative industry’s exact sectors were vague, but since then the DCMS (Department for Culture, Media and Sport) published a definition to simplify our understanding of what constitutes the creative industry. With this information, we need to rethink how we support these segregated sectors as a single ecosystem.<\/p>\n\n\n\n
Start by addressing fragmentation within government-backed organisations supporting the creative industries. Tackling three main challenges frees up massive potential:<\/p>\n\n\n\n
\n- Uniting organisations’ decision-makers and datasets<\/strong> will unify their future strategies and deepen their overall understanding of the industry and its growth. Institutions’ most innovative groups will receive more support if the creative industry can keep up with its own evolution.<\/li>\n\n\n\n
- Organisations share common challenges<\/strong>, and can pool problem-solving resources rather than spending them solving the same issues independently.<\/li>\n\n\n\n
- Merging organisations simplifies work for creatives<\/strong>, who usually waste precious time identifying who to go to and for what purposes. (e.g. Who should digital VR\/AR artists depend on? The Space, ACE, NESTA, Creative Skillset, Digital Catapult, Tech City UK, DBA, Innovate UK\u2026?)<\/li>\n<\/ul>\n\n\n\n\n
What We Can Do<\/h4>\n\n\n\n\n- Establish a single point of entry for creatives to know where to go for what they need<\/li>\n\n\n\n
- Centralise and simplify the existing support for creative industries into one organisation (e.g. a Creative Council) broken down into departments supporting the Arts (ACE), Film (BFI), and Digital (Tech City)<\/li>\n<\/ul>\n<\/div>\n\n\n\n
It’s not just about money<\/h2>\n\n\n\n
Artists, like anyone else, need money to live. There’s no question they need sufficient income to afford basic needs (food, shelter, transport), but cheap access to space, protection for their intellectual property, and basic business mentorship are just as vital for creatives’ well-being.<\/p>\n\n\n\n
Access to these resources lightens a burden on their creative ecosystem as well, cutting back on the need for funding and building a strong case for sustainable development.<\/p>\n\n\n\n
\nWhat We Can Do<\/h4>\n\n\n\n\n- Facilitate access to unused publicly owned buildings, or buildings available on short leases, for creative projects<\/li>\n\n\n\n
- Create an online resource of legal firms providing pro-bono services for creative talent<\/li>\n<\/ul>\n<\/div>\n\n\n\n
Creativity is a business<\/h2>\n\n\n\n
Creatives, like any entrepreneur, have a strong sense of purpose. Businesses are not built solely to fulfil capitalistic endeavours\u2014many are built to address a need much deeper than filling their coffers. In their case, money is only an agent that scales their operations and increases their impact on the world.<\/p>\n\n\n\n
Creatives who reject this idea inevitably end up producing someone else’s work to survive, and businesses who ignore the importance of revenue and self-subsistence ultimately become a burden on the overall creative ecosystem.<\/p>\n\n\n\n
The harsh reality of the world is that money is a necessity. It is not a crutch or a limitation\u2014it allows us to continue working and sustain our creative freedom.<\/p>\n\n\n\n
\nWhat We Can Do<\/h4>\n\n\n\n\n- Public funding should be the push that gets the motor running; not the gasoline in the tank<\/li>\n<\/ul>\n<\/div>\n\n\n\n
Conclusion<\/h2>\n\n\n\n
The creative industries have shown remarkable growth, but this success cannot be taken for granted. To secure our creative future, we must move beyond celebrating current achievements and address the fundamental challenges that threaten long-term sustainability.<\/p>\n\n\n\n
From supporting emerging talent at the grassroots level to ensuring fair compensation and creating unified support systems, the solutions require coordinated effort across public and private sectors. The goal is not just to fund creativity, but to build an ecosystem where creative professionals can thrive independently and contribute meaningfully to our economy and cultural heritage.<\/p>\n\n\n\n
The creative economy’s future depends on our willingness to invest in its foundation today. Public funding should be the push that gets the motor running; not the gasoline in the tank.<\/p>\n\n\n\n
Creativity is not free<\/h2>\n\n\n\n
Society has come to believe that creativity has no value, but speculative work and unpaid briefs will ultimately kill the creative class by pushing creators into alternative markets, forcing them to spend less time on work (mediocre work) and ultimately leading to a polarised market allowing only those of a certain status to afford to be creative professionals.<\/p>\n\n\n\n
Protecting creatives’ income (and empowering creators to advocate for themselves) improves the quality of their work and enriches our economy and cultural heritage.<\/p>\n\n\n\n
What We Can Do<\/h4>\n\n\n\n\n- Include basic business development in universities’ creative course curriculum<\/li>\n\n\n\n
- Publish minimum rates for creative professionals and establish Fair Pay in an institution akin to “The Living Wage Foundation”<\/li>\n\n\n\n
- Update the law around payment terms for freelancers and SME’s, ensuring quick payment turnaround<\/li>\n<\/ul>\n<\/div>\n\n\n\n
Spread the stardust<\/h2>\n\n\n\n
Cinemas used to play short films before features, allowing audiences to discover something new and increasing exposure to deserving talent. These days are unfortunately over\u2014short films are cast aside for ad revenue. Audiences’ opportunities to see emerging talent alongside the greats have dried up.<\/p>\n\n\n\n
There’s no doubt known artists are the ones making sales, but showcasing emerging talent lays a stepping stone in audiences’ collective consciousness, quietly building rapport between audience, emerging talent, and the overall development of the creative pyramid.<\/p>\n\n\n\n
\nWhat We Can Do<\/h4>\n\n\n\n\n- Offer large creative businesses incentives to integrate emerging talent in their programmes<\/li>\n\n\n\n
- Ringfence public spaces to showcase emerging talent (e.g. TFL hosts Art on the Underground)<\/li>\n<\/ul>\n<\/div>\n\n\n\n
Fragmentation helps no one<\/h2>\n\n\n\n
A few years ago, the creative industry’s exact sectors were vague, but since then the DCMS (Department for Culture, Media and Sport) published a definition to simplify our understanding of what constitutes the creative industry. With this information, we need to rethink how we support these segregated sectors as a single ecosystem.<\/p>\n\n\n\n
Start by addressing fragmentation within government-backed organisations supporting the creative industries. Tackling three main challenges frees up massive potential:<\/p>\n\n\n\n
\n- Uniting organisations’ decision-makers and datasets<\/strong> will unify their future strategies and deepen their overall understanding of the industry and its growth. Institutions’ most innovative groups will receive more support if the creative industry can keep up with its own evolution.<\/li>\n\n\n\n
- Organisations share common challenges<\/strong>, and can pool problem-solving resources rather than spending them solving the same issues independently.<\/li>\n\n\n\n
- Merging organisations simplifies work for creatives<\/strong>, who usually waste precious time identifying who to go to and for what purposes. (e.g. Who should digital VR\/AR artists depend on? The Space, ACE, NESTA, Creative Skillset, Digital Catapult, Tech City UK, DBA, Innovate UK\u2026?)<\/li>\n<\/ul>\n\n\n\n\n
What We Can Do<\/h4>\n\n\n\n\n- Establish a single point of entry for creatives to know where to go for what they need<\/li>\n\n\n\n
- Centralise and simplify the existing support for creative industries into one organisation (e.g. a Creative Council) broken down into departments supporting the Arts (ACE), Film (BFI), and Digital (Tech City)<\/li>\n<\/ul>\n<\/div>\n\n\n\n
It’s not just about money<\/h2>\n\n\n\n
Artists, like anyone else, need money to live. There’s no question they need sufficient income to afford basic needs (food, shelter, transport), but cheap access to space, protection for their intellectual property, and basic business mentorship are just as vital for creatives’ well-being.<\/p>\n\n\n\n
Access to these resources lightens a burden on their creative ecosystem as well, cutting back on the need for funding and building a strong case for sustainable development.<\/p>\n\n\n\n
\nWhat We Can Do<\/h4>\n\n\n\n\n- Facilitate access to unused publicly owned buildings, or buildings available on short leases, for creative projects<\/li>\n\n\n\n
- Create an online resource of legal firms providing pro-bono services for creative talent<\/li>\n<\/ul>\n<\/div>\n\n\n\n
Creativity is a business<\/h2>\n\n\n\n
Creatives, like any entrepreneur, have a strong sense of purpose. Businesses are not built solely to fulfil capitalistic endeavours\u2014many are built to address a need much deeper than filling their coffers. In their case, money is only an agent that scales their operations and increases their impact on the world.<\/p>\n\n\n\n
Creatives who reject this idea inevitably end up producing someone else’s work to survive, and businesses who ignore the importance of revenue and self-subsistence ultimately become a burden on the overall creative ecosystem.<\/p>\n\n\n\n
The harsh reality of the world is that money is a necessity. It is not a crutch or a limitation\u2014it allows us to continue working and sustain our creative freedom.<\/p>\n\n\n\n
\nWhat We Can Do<\/h4>\n\n\n\n\n- Public funding should be the push that gets the motor running; not the gasoline in the tank<\/li>\n<\/ul>\n<\/div>\n\n\n\n
Conclusion<\/h2>\n\n\n\n
The creative industries have shown remarkable growth, but this success cannot be taken for granted. To secure our creative future, we must move beyond celebrating current achievements and address the fundamental challenges that threaten long-term sustainability.<\/p>\n\n\n\n
From supporting emerging talent at the grassroots level to ensuring fair compensation and creating unified support systems, the solutions require coordinated effort across public and private sectors. The goal is not just to fund creativity, but to build an ecosystem where creative professionals can thrive independently and contribute meaningfully to our economy and cultural heritage.<\/p>\n\n\n\n
The creative economy’s future depends on our willingness to invest in its foundation today. Public funding should be the push that gets the motor running; not the gasoline in the tank.<\/p>\n\n\n\n
Spread the stardust<\/h2>\n\n\n\n
Cinemas used to play short films before features, allowing audiences to discover something new and increasing exposure to deserving talent. These days are unfortunately over\u2014short films are cast aside for ad revenue. Audiences’ opportunities to see emerging talent alongside the greats have dried up.<\/p>\n\n\n\n
There’s no doubt known artists are the ones making sales, but showcasing emerging talent lays a stepping stone in audiences’ collective consciousness, quietly building rapport between audience, emerging talent, and the overall development of the creative pyramid.<\/p>\n\n\n\n
What We Can Do<\/h4>\n\n\n\n\n- Offer large creative businesses incentives to integrate emerging talent in their programmes<\/li>\n\n\n\n
- Ringfence public spaces to showcase emerging talent (e.g. TFL hosts Art on the Underground)<\/li>\n<\/ul>\n<\/div>\n\n\n\n
Fragmentation helps no one<\/h2>\n\n\n\n
A few years ago, the creative industry’s exact sectors were vague, but since then the DCMS (Department for Culture, Media and Sport) published a definition to simplify our understanding of what constitutes the creative industry. With this information, we need to rethink how we support these segregated sectors as a single ecosystem.<\/p>\n\n\n\n
Start by addressing fragmentation within government-backed organisations supporting the creative industries. Tackling three main challenges frees up massive potential:<\/p>\n\n\n\n
\n- Uniting organisations’ decision-makers and datasets<\/strong> will unify their future strategies and deepen their overall understanding of the industry and its growth. Institutions’ most innovative groups will receive more support if the creative industry can keep up with its own evolution.<\/li>\n\n\n\n
- Organisations share common challenges<\/strong>, and can pool problem-solving resources rather than spending them solving the same issues independently.<\/li>\n\n\n\n
- Merging organisations simplifies work for creatives<\/strong>, who usually waste precious time identifying who to go to and for what purposes. (e.g. Who should digital VR\/AR artists depend on? The Space, ACE, NESTA, Creative Skillset, Digital Catapult, Tech City UK, DBA, Innovate UK\u2026?)<\/li>\n<\/ul>\n\n\n\n\n
What We Can Do<\/h4>\n\n\n\n\n- Establish a single point of entry for creatives to know where to go for what they need<\/li>\n\n\n\n
- Centralise and simplify the existing support for creative industries into one organisation (e.g. a Creative Council) broken down into departments supporting the Arts (ACE), Film (BFI), and Digital (Tech City)<\/li>\n<\/ul>\n<\/div>\n\n\n\n
It’s not just about money<\/h2>\n\n\n\n
Artists, like anyone else, need money to live. There’s no question they need sufficient income to afford basic needs (food, shelter, transport), but cheap access to space, protection for their intellectual property, and basic business mentorship are just as vital for creatives’ well-being.<\/p>\n\n\n\n
Access to these resources lightens a burden on their creative ecosystem as well, cutting back on the need for funding and building a strong case for sustainable development.<\/p>\n\n\n\n
\nWhat We Can Do<\/h4>\n\n\n\n\n- Facilitate access to unused publicly owned buildings, or buildings available on short leases, for creative projects<\/li>\n\n\n\n
- Create an online resource of legal firms providing pro-bono services for creative talent<\/li>\n<\/ul>\n<\/div>\n\n\n\n
Creativity is a business<\/h2>\n\n\n\n
Creatives, like any entrepreneur, have a strong sense of purpose. Businesses are not built solely to fulfil capitalistic endeavours\u2014many are built to address a need much deeper than filling their coffers. In their case, money is only an agent that scales their operations and increases their impact on the world.<\/p>\n\n\n\n
Creatives who reject this idea inevitably end up producing someone else’s work to survive, and businesses who ignore the importance of revenue and self-subsistence ultimately become a burden on the overall creative ecosystem.<\/p>\n\n\n\n
The harsh reality of the world is that money is a necessity. It is not a crutch or a limitation\u2014it allows us to continue working and sustain our creative freedom.<\/p>\n\n\n\n
\nWhat We Can Do<\/h4>\n\n\n\n\n- Public funding should be the push that gets the motor running; not the gasoline in the tank<\/li>\n<\/ul>\n<\/div>\n\n\n\n
Conclusion<\/h2>\n\n\n\n
The creative industries have shown remarkable growth, but this success cannot be taken for granted. To secure our creative future, we must move beyond celebrating current achievements and address the fundamental challenges that threaten long-term sustainability.<\/p>\n\n\n\n
From supporting emerging talent at the grassroots level to ensuring fair compensation and creating unified support systems, the solutions require coordinated effort across public and private sectors. The goal is not just to fund creativity, but to build an ecosystem where creative professionals can thrive independently and contribute meaningfully to our economy and cultural heritage.<\/p>\n\n\n\n
The creative economy’s future depends on our willingness to invest in its foundation today. Public funding should be the push that gets the motor running; not the gasoline in the tank.<\/p>\n\n\n\n
Fragmentation helps no one<\/h2>\n\n\n\n
A few years ago, the creative industry’s exact sectors were vague, but since then the DCMS (Department for Culture, Media and Sport) published a definition to simplify our understanding of what constitutes the creative industry. With this information, we need to rethink how we support these segregated sectors as a single ecosystem.<\/p>\n\n\n\n
Start by addressing fragmentation within government-backed organisations supporting the creative industries. Tackling three main challenges frees up massive potential:<\/p>\n\n\n\n
- \n
- Uniting organisations’ decision-makers and datasets<\/strong> will unify their future strategies and deepen their overall understanding of the industry and its growth. Institutions’ most innovative groups will receive more support if the creative industry can keep up with its own evolution.<\/li>\n\n\n\n
- Organisations share common challenges<\/strong>, and can pool problem-solving resources rather than spending them solving the same issues independently.<\/li>\n\n\n\n
- Merging organisations simplifies work for creatives<\/strong>, who usually waste precious time identifying who to go to and for what purposes. (e.g. Who should digital VR\/AR artists depend on? The Space, ACE, NESTA, Creative Skillset, Digital Catapult, Tech City UK, DBA, Innovate UK\u2026?)<\/li>\n<\/ul>\n\n\n\n
\nWhat We Can Do<\/h4>\n\n\n\n
- \n
- Establish a single point of entry for creatives to know where to go for what they need<\/li>\n\n\n\n
- Centralise and simplify the existing support for creative industries into one organisation (e.g. a Creative Council) broken down into departments supporting the Arts (ACE), Film (BFI), and Digital (Tech City)<\/li>\n<\/ul>\n<\/div>\n\n\n\n
It’s not just about money<\/h2>\n\n\n\n
Artists, like anyone else, need money to live. There’s no question they need sufficient income to afford basic needs (food, shelter, transport), but cheap access to space, protection for their intellectual property, and basic business mentorship are just as vital for creatives’ well-being.<\/p>\n\n\n\n
Access to these resources lightens a burden on their creative ecosystem as well, cutting back on the need for funding and building a strong case for sustainable development.<\/p>\n\n\n\n
\nWhat We Can Do<\/h4>\n\n\n\n
- \n
- Facilitate access to unused publicly owned buildings, or buildings available on short leases, for creative projects<\/li>\n\n\n\n
- Create an online resource of legal firms providing pro-bono services for creative talent<\/li>\n<\/ul>\n<\/div>\n\n\n\n
Creativity is a business<\/h2>\n\n\n\n
Creatives, like any entrepreneur, have a strong sense of purpose. Businesses are not built solely to fulfil capitalistic endeavours\u2014many are built to address a need much deeper than filling their coffers. In their case, money is only an agent that scales their operations and increases their impact on the world.<\/p>\n\n\n\n
Creatives who reject this idea inevitably end up producing someone else’s work to survive, and businesses who ignore the importance of revenue and self-subsistence ultimately become a burden on the overall creative ecosystem.<\/p>\n\n\n\n
The harsh reality of the world is that money is a necessity. It is not a crutch or a limitation\u2014it allows us to continue working and sustain our creative freedom.<\/p>\n\n\n\n
\nWhat We Can Do<\/h4>\n\n\n\n
- \n
- Public funding should be the push that gets the motor running; not the gasoline in the tank<\/li>\n<\/ul>\n<\/div>\n\n\n\n
Conclusion<\/h2>\n\n\n\n
The creative industries have shown remarkable growth, but this success cannot be taken for granted. To secure our creative future, we must move beyond celebrating current achievements and address the fundamental challenges that threaten long-term sustainability.<\/p>\n\n\n\n
From supporting emerging talent at the grassroots level to ensuring fair compensation and creating unified support systems, the solutions require coordinated effort across public and private sectors. The goal is not just to fund creativity, but to build an ecosystem where creative professionals can thrive independently and contribute meaningfully to our economy and cultural heritage.<\/p>\n\n\n\n
The creative economy’s future depends on our willingness to invest in its foundation today. Public funding should be the push that gets the motor running; not the gasoline in the tank.<\/p>\n\n\n\n
- Public funding should be the push that gets the motor running; not the gasoline in the tank<\/li>\n<\/ul>\n<\/div>\n\n\n\n
- Organisations share common challenges<\/strong>, and can pool problem-solving resources rather than spending them solving the same issues independently.<\/li>\n\n\n\n
![\"\"](\"http:\/\/mused.co\/wpadmin2\/wp-content\/uploads\/sites\/5\/2023\/11\/guy-armitage-zealous-1.webp\")
<\/figure>\n\n\n\n