Wild and freelance

Back in early 2007 I decided that I wanted a life of greater uncertainty, financial insecurity and with higher levels of personal administration. Yes, I chose to go freelance. Before I took the step, I undertook research on freelancing in the arts for a work-based MA through Middlesex University. The findings have been really helpful to me as I have started out.

I continue to research and reflect on some of the issues, particularly around best practice and work across artforms, and would welcome feedback and further debate. I also interviewed a number of freelance arts practitioners and representatives from organisations who employ freelance artists. Although I found only limited arts-specific research on freelancing, Dr Janet Summerton’s research on working practices and portfolio careers proved extremely interesting and informative.

Is it safe?

Freelancing offers greater flexibility and control, and, while it can be insecure in any sector, there seem to be challenges specific to the arts. The majority of arts practitioners I interviewed juggle a number of jobs at the same time, often supporting their creative output with supplementary roles such as workshop leaders, curators and/or consultants. Participants attested that financial insecurity goes with the territory (which, in turn, can be linked to the ongoing arts funding issues), and they also mentioned their need to be continually on the lookout for new work opportunities. Some practitioners, as ACE’s Artists’ Insights initiative (http://www.artscouncil.org.uk/artistsinsights) also shows, noted their dependency on their partners or other family members with steadier income streams.

Only 20% of participants in my research were members of unions, in spite of the precarious nature of self-employment, but there is some question about which union you should join if you are working across disciplines. Another alarming statistic was that Artists’ Insights online survey into artists and pensions found that 70% of respondents did not have a pension (Artists’ Insights’ newsletter, update edition 2, Spring 2007). The latter is being addressed through the website www.pensionsforartists.org.uk and a series of free workshops provided by their partner organisation EUCLID (www.euclid.info).

Artists’ Insights continues to put other initiatives in place to provide support and guidance, and is also working with Creative & Cultural Skills (www.ccskills.org.uk) to support National Occupational Standards (NOS) development across the creative and cultural sectors.

Each arts freelancer I interviewed had their own reasons for becoming self-employed and a unique approach to their work. Although they use their own instinct and creative force, respondents talked of the need to be structured, to have an ordered routine, and to stick to this even when not working on a specific project. There were also practical suggestions such as moving gradually into self-employment by maintaining a part-time job initially, setting appropriate boundaries between personal living space and working area, and tapping into support networks.

The question of how to gauge success and measure quality warranted a range of responses. Indicators included a mixture of their own instinct based on their experience and artistic values, completing formal or informal evaluation with the client, and subsequent feedback.

Setting aims was in most cases done by the arts practitioner in liaison with their client. Being clearer on the aims and remit for their work enabled both individual arts practitioners and organisations to turn down work that did not fit, thereby helping them to define their practice. All Ways Learning (www.allwayslearning.org.uk) has a handy ‘professional development planning tool’, which can help to plan long-term professional development.

Training and support

In terms of start-up, the free support I’ve received from my local branch of Business Link (http://www.businesslink.gov.uk) has proved invaluable: a day and a half of training and a further two years of support from a designated Business Link adviser. Although the business aspect can seem contradictory to our artistic natures, I’ve found it helpful to consider my methods and long-term career aspirations carefully within the context of a business plan. Spending time on the set-up of structures and systems provides a solid base and the freedom to focus on creative practice.

Training and networking opportunities to help support arts practitioners across the UK include:
• CIDA (http://www.cida.co.uk),
• Electric Business Club through Farnham Maltings
(www.farnhammaltings.com), and
• local authority arts development provision, such as the CIBAS-funded training events available through the Reading Arts Team (http://www.readingarts.com).

There are also opportunities for practitioners to access training provided by arts organisations with which they regularly work. Some individuals acknowledged that their practice has developed through working with a particular organisation that is very adept at managing artists.

Organisations

My findings were focused primarily on individuals, but interviews undertaken with organisations provided insights into how freelancers are identified and supported. London Bubble Theatre Company has its own staff handbook, which specifically references freelancers. However, it is at an organisation’s discretion to outline their work with freelancers, if at all. More often than not, it is a lack of time and/or money that prevents any good intentions from becoming a reality. In fact, an individual or organisation must usually initiate the sourcing of available support and information, the creation of and/or adherence to a set of policies and procedures, and the development of practice. This is why there is such variety of approach. There is still a need for a greater cohesion in the dissemination of good practice, information and support to both freelancers in the arts and organisations.

As a project manager working across artforms, I have developed a ‘pick and mix’ attitude, accessing training and support from a variety of sources. Creative People (http://www.creativepeople.org.uk) and, of course, ArtsProfessional (http://www.artsprofessional.co.uk) are two examples of an online news and information base for the whole sector. I also refer to artform specific organisations, such as The Artists Information Company (http://www.a-n.co.uk) because their resources, such as the ‘artist’s fees toolkit’, have proved so useful.

I have not yet found an over-arching code of practice that is offered for adaptation for other artforms or roles, although there are codes in place or in development for specific artforms, such as music (http://www.musicleader.net/http://www.soundsense.org), dance (www.communitydance.org.uk) and visual art. Again, it is at the individual or organisation’s discretion to sign up to these codes, but it does show that frameworks are continuing to be put in place to help support those involved and to promote good practice across the arts.