If you take a full-time job in the arts sector, then what might you expect in the way of career progression and benefits? ArtsProfessional delves into the findings from its 2006 salary survey to explore the evidence.
Carving out a lifelong career in the arts sector is an art in itself. Securing a much coveted first job as an arts professional is a good starting point, but navigating a path that will bring job satisfaction, adequate remuneration and a sustainable lifestyle requires a degree of luck, as well as some good judgement. The ArtsProfessional salary survey sheds some light on these issues.
The pecking order
Arts professionals are a diverse bunch. Their work ranges from the more easily classified, generic and definable roles (like marketing and fundraising), to roles engaged directly with the arts themselves (artistic direction) and others (like project management) where the content of the job is only apparent when its context is understood. Calculations of average remuneration for different types of work can therefore conceal as much as they reveal, but is worth looking at these figures relative to each other (see Fig 1). Survey respondents were asked to identify the main focus of their work and, perhaps unsurprisingly, policy-makers and artistic directors emerge as the clear leaders in the financial pecking order. Neither will it come as much of a surprise to education professionals that they are paid little more than general administrators.
Revolving doors
High staff turnover is a feature of sectors where career progression opportunities and pay levels are perceived as being limited. It can create significant problems for employers: the costs of recruiting and selecting staff, the loss of expertise when trained staff move on, and the cost of bringing new staff up to speed, all place a drain on limited resources.
The situation in the arts sector (see Fig 2) suggests that almost a quarter of arts professionals have less than a years experience in their organisations, while only 15% have been in post for more than five years a hint, perhaps, that many arts organisations are not able to satisfy the medium- to long-term career ambitions of their staff. The widespread use of fixed-term employment contracts is contributing to this picture (Fig 3).
Over three-quarters of survey respondents claimed that most weeks they work more hours than they are contractually obliged to. On average, they work an additional 6.6 hours a week but their extra labours are unlikely to swell their pay packets. Only 2% of the respondents who work extra hours receive any financial compensation for this, and over 40% receive nothing at all, not even time off in lieu (see Fig 4). More than 20% are expected to work on Bank Holidays, but of these, 71% are compensated with either time off in lieu or additional pay.
Pension and perks
Pension contributions and other employer benefits can bolster an otherwise rather unimpressive salary package, and almost half of respondents claimed to receive pension contributions from their employers. Complimentary tickets, mileage allowances and support for professional development were also enjoyed by a significant majority, and payments for professional subscriptions and help with travel costs are available to more than 10% of respondents. However, fewer than 7% receive any performance-related pay, annual bonus, commission, private medical insurance or financial support for child care. Fifteen per cent report no benefits at all.
Union impact
Only 15% of respondents to the survey were trades union members, but there is clear evidence to suggest that pay and benefits are better in a unionised workplace. The average salary for employees who belong to a union was £26,058, compared with £23,812 for those who do not. Holiday entitlement for union members averaged 26 days a year, compared with 23.8 days for non-members.