Supporting artists

A new organisation being formed to prevent and tackle bullying and harassment across the creative industries has received support from the Society of London Theatre (SOLT) and UK Theatre.

The Creative Industries Independent Standards Authority (CIISA) will work to uphold and improve standards of behaviour across the creative industries by providing services, insight, research, policy, influence and advocacy.

CIISA’s work providing services is expected to include mediation, investigation, early dispute resolution and immediate advice, while its work on influence and advocacy is likely to include lobbying for a legal definition of bullying, preventing misuse of NDAs, advocating for better advice and protections for freelancers, and promoting inclusivity.

SOLT and UK Theatres backing for CIISA follows support from the film and TV sectors, with music expected to follow suit in the coming months.

Co-Chief Executives of the two theatre trade associations, Claire Walker and Hannah Essex, said the “theatre sector welcomes this opportunity to show its commitment to tackling bullying and harassment once and for all. 

“We look forward to working with our members to support the development of this much-needed organisation in the coming months.”

CIISA Interim Chief Executive Jennifer Smith added: “The purpose of CIISA is prevention from harm and to ensure there are consistently safe workplaces for our talented workforce to thrive in. 

“We are delighted to be working very closely with the theatre sector’s leading performing arts trade bodies alongside the film and TV industries and thank them for their commitment and support for CIISA as we continue to develop our proposals over the coming months.”

A new bursary scheme has been launched to support and develop the career of a first-generation migrant theatre producer.

PROJEKT EUROPA and Chris Grady Org (CGO) will award one aspiring producer a fully funded place on the CGO Diploma in Creative Producing and a 16-week paid work placement with PROJEKT EUROPA.

“The world needs more producers, especially producers who reflect the communities that artists wish to serve, and the stories that need to be told,” said Chris Grady, Director of CGO.

He added that CGO aims “to make connections for, and develop the skills of, those who will change the world one show at a time”.

Maria Aberg, Artistic Director of PROJEKT EUROPA, said the theatre company “is committed to internationalising the UK theatre industry by championing  and platforming migrant talent, creating a more diverse and international sector”.

The diploma course runs from February to June 2023 and the placement will run from April onwards.

Candidates can be based anywhere in the UK. Applications close on 18 January.

An Arts Council England (ACE) funding stream aimed at individuals working in the cultural sector has opened for its 16th edition.

The Developing your Creative Practice (DYCP) fund provides independent cultural and creative practitioners with grants available to “take a dedicated period of time to focus on their own cultural and creative development, to take them to the next stage in their practice”.

The fund covers all of ACE’s supported artforms for activities including creating new work, research periods, travel for national or international work, training, mentoring or networking.

Grants of between £2,000 and £10,000 are available, with prospective applicants advised to identify a clear development opportunity in their application.

ACE says it received more 19,000 applications to the DYCP fund between rounds eight and 15. The 15th round received 1,261 requests for funding before sharing over £3.5m between 377 individuals.

In light of this high demand, anyone that has made one successful or two unsuccessful applications to the DYCP fund since 10 January 2021 is not eligible for Round 16.

Applications are open until 17 January 2023, with decisions announced by 28 March 2023.

A survey commissioned by the Edinburgh Fringe Society has found 70% of performers at this year’s Edinburgh Fringe are likely to bring a show to the festival again in the future. 

The finding forms part of an evaluation survey into this year’s edition, which received more than 10,000 responses including audiences and performers. For performers, the biggest barrier to future participation appears to be accommodation, with 87% of artists agreeing that affordability of accommodation and living costs will be a barrier to future participation in the Fringe.

Concerns were raised around soaring accomodation costs at the time of this year’s festival, with a coalition of Edinburgh's producing venues calling the issue a threat to the festival’s future.

Despite the concerns, 81% of all survey respondents -  including artists, audience members, arts industry professionals, residents and other participants - said they were likely to come to next year’s festival.

Two thirds of visitors would like to see discounted tickets available at next year’s edition, with 91% agreeing a discount should be available for Edinburgh residents.

The festival says the call for discounted tickets is a result of the cost of living crisis, which it says is “likely to extend into 2023”.

Over 2.2million tickets were issued by the end of this year’s edition, with artists from 63 countries performing more than 3,400 shows across the Scottish capital.

Edinburgh Festival Fringe Society Chief Executive Shona McCarthy said that in a tumultuous year, “it feels miraculous the Fringe happened at all”.

“Improvements can always be made, and the insights and data gained from our recent listening exercise are already being taken forward”, she added.

“We recognise that there are ongoing challenges, and our team are working hard behind the scenes to continue to advocate for our artists, and to support audiences as they plan for Fringe 2023.”

A new mentoring and financial aid scheme will support Ukrainian art students and universities.

The UAx Platform, launched at the Tate Modern, is a partnership between the European League of Institutes of the Arts (ELIA), the Abakanowicz Arts and Culture Foundation and an international network of 280 higher arts education institutions.

It will offer war-affected students and staff wishing to stay in Ukraine a network of mentor schemes and institutional partnerships with European universities, as well as an emergency bursary fund for students in severe need.

ELIA has put its largest ever financial grant towards the programme.

The platform will include a "Sister School" network, which in its first year will consist of partnerships between five Ukrainian universities and five institutions in Germany, Estonia, Poland, the Netherlands and the Czech Republic. 

By year three, 15 Ukrainian institutions will become partnered and fully subsidised ELIA members for three years, with access to its networks, resources, programming and other opportunities.

“The need of the higher arts education sector in Ukraine was clear. They did not need an evacuation. They needed support to keep the institutions alive. Support to allow students to keep studying and support to help these young artists keep making art,” ELIA Executive Director Maria Hansen said.