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Creative UK: Culture as Growth Infrastructure (2025)

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Creative UK: Culture as Growth Infrastructure (2025)

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Drawing on national evidence sessions with academics, sector leaders and financiers, this new paper from Creative UK outlines a practical pathway to embed cultural value into the UK's growth strategy- from strengthening appraisal and data systems to unlocking blended finance and aligning local growth plans.

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About the paper

This paper draws on qualitative evidence gathered in July 2025, during Creative UK's national Culture as Growth Infrastructure evidence session. The UK's cultural sector contributes around £38.2bn in Gross Value Added (GVA), comparable to agriculture, energy supply or telecommunications, yet it receives considerably less recognition in the frameworks that guide public investment. Culture already delivers what government seeks to achieve: sustainable growth, healthy communities and a confident national story. The task now is to recognise it as such; openly, coherently and with communal intent.

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This paper draws on qualitative evidence gathered in July 2025, during Creative UK's national Culture as Growth Infrastructure evidence session. The UK's cultural sector contributes around £38.2bn in Gross Value Added (GVA), comparable to agriculture, energy supply or telecommunications, yet it receives considerably less recognition in the frameworks that guide public investment.

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All talks from Discover! Creative Careers Month are now available to watch on demand.

100+ speakers from across the creative industries

ERIC will be back with more events for National Apprenticeship Week and National Careers Week 2026.

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ERIC x DCCM 2025 — ERIC | Creative Career App

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Join/leave whenever you likeThe zoom link is open for people to join and leave at any time they would like (it’s the same link for the whole week), so you can dip in and out of the event to accommodate your own schedules. You do not need to be accepted into the event and you do not need to watch the whole event from beginning to end.

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AI and the Future of Universities publication and webinar recording

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AI and the Future of Universities publication and webinar recording

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You can access the webinar here: https://www.hepi.ac.uk/events/webinar-ai-and-the-future-of-universities/

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WONKHE - Why ideas of graduate success need to catch up with portfolio careers

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WONKHE - Why ideas of graduate success need to catch up with portfolio careers

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Hybrid and portfolio careers are an increasingly common route through graduate employment. For CITG Chair Dr Miri Firth, the data still needs to catch up

https://wonkhe.com/blogs/why-ideas-of-graduate-success-need-to-catch-up-with-portfolio-careers/

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CITG Member Dr Leo Burtin, and former CITG Secretary Matthew Halfin have contributed to the latest Jisc / Prospects Luminate 'What do Graduates do?' report, analysing the data presented on Creative Arts graduates.

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This year's What do graduates do? is the essential deep dive into the outcomes of students who left university as lockdown restrictions were lifted. It includes subject-by-subject data, expert analysis by careers and employment professionals, and insight into topics such as AI, hybrid working and student engagement

Graduates shows resilience

This edition of What do graduates do? highlights the remarkable resilience of UK graduates during and in the aftermath of the pandemic, as their outcomes ranked among the best in the brief history of the Graduate Outcomes survey. Of the 206,795 UK-domiciled first-degree graduates who responded to the survey:

The majority of graduates (59.6%) were in full-time work 15 months after graduating, while 10.4% were in part-time employment.

Of those graduates in work, 76% were in professional-level employment - a higher proportion than among those who left university the year before.

8.4% of graduates in work were self-employed or actively working towards this goal.

7.8% of graduates were engaged in further study, while 10.5% were both working and studying.

Despite the difficult environment into which they graduated, just 5.0% were unemployed, and this includes some who were due to start work.

What's inside What do graduates do? 2023/24

The full report includes a summary of graduate outcomes in the regions and nations of the UK, Charlie Ball's labour market overview, and detailed analysis and data in the following subject areas:

In addition, the following expert insights add context and analysis, and discuss some of the ongoing challenges for the sector highlighted by the data:

About What do graduates do? 2023/24

What do graduates do? 2023/24 was published in October 2023 on Prospects Luminate. It examines first-degree graduate destinations 15 months after graduation. Itwas produced by Prospects in collaboration with AGCAS, the Association of Graduate Careers Advisory Services.

The data is from the most recent edition of the Higher Education Statistics Agency's (HESA) Graduate Outcomes survey, which collected responses from those who graduated in 2020/21.

Prospects and HESA are part of Jisc.

Previous editions of What do graduates do?

Regional edition

In 2019/20 What do graduates do? studied graduate destinations on a region-by-region basis, with data, analysis and commentary for every part of the UK.

Testimonials for What do graduates do?

As a careers adviser and information specialist with 30 years' experience, I cannot rate What do graduates do? highly enough. It forms an essential part of my toolkit.

- Hilary Nickell, project manager at Career Companion.

With over 300,000 students graduating from a vast array of courses and institutions every year, the UK graduate market is complex. WDGD is a key resource to help employers build their student recruitment strategies.

-Stephen Isherwood, chief executive of the Institute of Student Employers (ISE).

What do graduates do? provides a concise and informative overview of UK graduate destinations by subject area and is an invaluable resource for supporting both learners thinking about progressing on to higher education as well as undergraduate students planning their next steps.

- Andrew Jones, deputy director and IAG specialist at Linking London.

What do graduates do? is an essential resource for higher education providers and employers. Heavily influencing aspects of our work, the publication not only informs best practice through the student pathway but also on attracting and supporting students from diverse background.

- Terry Manyeh, Educating ALL project lead.

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The essential resource for understanding graduate destinations, with findings from the UK's largest higher education survey, insights from careers advice experts and detailed subject overviews.

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Louisa Clark

Employability Consultant & Creative Producer - Bath Spa University

https://www.bathspa.ac.uk

Email - l.clark2@bathspa.ac.uk

LinkedIn - https://www.linkedin.com/in/louisajclark/

Louisa has worked in arts education as an artist, educator, producer, and facilitator for over 20yrs. Previous roles have included running an Arts Council England & Local Authority funded arts education agency; supporting the professional development of creative students and graduates at UAL; and managing an ERDF project to support creative start-ups in the South West. She is currently leading on curriculum development for embedded employability in the art and design schools at Bath Spa University, as well as contributing to projects and research around creative wellbeing and embodiment for students, educators, and the wider community. In a freelance capacity, Louisa is a trainer for Arts Award, Trinity College London, and has been a trainer and facilitator for various national arts education CPD programmes including Artsmark and Artswork. She will be bringing a CPD and resource development focus to the AGCAS Creative Industries Task Group and community of practice.

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Lisa Trencher

Senior Lecturer Fashion Business & Technology

University of Manchester

E mail: lisa.trencher@manchester.ac.uk

LinkedIn: linkedin.com/in/lisa-trencher-757b5930

Lisa’s work sits at the intersection of employability, education, and the fashion industry. She has built a career championing the development of future-ready graduates through innovative curriculum design, meaningful industry engagement, and sector-wide advocacy. Drawing on her strong professional links across the fashion and creative industries, Lisa bridges the gap between academia and practice, ensuring students not only leave with academic excellence but with the workplace culture awareness, soft skills, and future skills needed to thrive.

A passionate advocate for young people and for transformative education, she is a vocal campaigner for a better, more sustainable and equitable fashion industry, underpinned by future-ready skills and meaningful engagement between universities and industry.  Lisa has several publications in this area.

Lisa is very much looking forward to representing the student/graduate voice within the task group.

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Jade Bolderson, Employer Connections Officer, University of Liverpool

https://www.liverpool.ac.uk/

Email - jade.bolderson@liverpool.ac.uk

LinkedIn - https://www.linkedin.com/in/jade-b-971410145/

With over six years’ experience in Employer Engagement, I specialise in enabling students and employers to make meaningful connections. Based in Liverpool, I bring a strong understanding of both the challenges and opportunities within the creative sector.

Through the role of Secretary, I will support the Task Group to increase visibility, accessibility, and inclusivity for students pursuing creative careers, while sharing practical approaches colleagues across AGCAS can adopt.

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Alex Mesterton-Gibbons, Head of Employability, Falmouth University.

www.falmouth.ac.uk

Email - Alex.MestertonGibbons@falmouth.ac.uk

Linkedin -https://www.linkedin.com/in/alexmesterton-gibbons/

Falmouth is currently embedding an Employability Framework across the institution which will improve employability provision and entrepreneurial support at each course level ensuring parity of opportunity and transferrable skills development. Alex’s background is in Fine Art and Fashion Design, having studied at the Savannah College of Art and Design. Throughout her 10+ years working in Higher Education, Alex has been a champion for inclusive recruitment processes, fair pay, and internationalisation. She has previously held positions as Careers Service and Industry Relationship Manager at Istituto Marangoni London, Student Recruitment Manager at London Business School, and Assistant Director of Admission at SCAD Hong Kong. Proudly advocating for arts education globally, Alex previously coordinated activities for the National Saturday Club at Marangoni, taught fashion illustration workshops in over six countries during her time recruiting for SCAD and has written articles on employability in the creative industries for the AGCAS Phoenix Journal. Having received several leadership accolades throughout her career, Alex is also a proud Auroran, having complete Advance HE’s Aurora programme for women in leadership in 2023. Alex currently sits on Falmouth University’s Academic Board, International Committee, and chairs the Employability Steering Group as well as represents the University at Creative UK’s Creative Skills & Futures Network.

Alex is delighted to be on the AGCAS Creative Industries Task Group as Policy Liaison supporting the group’s awareness and impact on the wider creative sector.

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Watch our national meeting with expert guests and data on how we need to tackle Creative Industry Employment!

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Creative UK: Delivering for Freelancers- proposals for a new Freelance Champion role (2025)

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Creative UK: Delivering for Freelancers- proposals for a new Freelance Champion role (2025)

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This new report from Creative UK outlines proposals for the newly announced Freelance Champion role in UK Government, developed with input from Bectu, DACS, and Directors UK.

This paper is a must-read for anyone working with graduate destination data, freelance support, or CPD and short course dev.

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Delivering For Freelancers Report | Creative UK

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Creative UK has consistently called for the appointment of a Freelancers’ Commissioner, independently appointed and hosted by the Department for Culture, Media and Sport (DCMS). This report outlines the potential impact of this role, drawing on comparisons with existing ‘commissioner’ roles, to demonstrate how a Freelance Champion could work across government departments to ensure the perspectives of freelancers are consistently embedded within policy decision making.

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A new report by the British Council gathers voices from 56 leaders across 20 countries to show how artists drive technological and social innovation- making AI, quantum tech, heritage, and education more creative, inclusive, and human-centred.

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Why technology needs artists: 40 international perspectives | British Council

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As technology is front and centre of UK agendas, 56 global leaders in art and technology highlight the critical role of artists in shaping human-centred futures.

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Creative UK: Perceptions & Potential: Public Attitudes Towards Creativity in the UK (2025)

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Creative UK: Perceptions & Potential: Public Attitudes Towards Creativity in the UK (2025)

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This insight briefing delves into the way people in the UK view creativity and particularly its economic value. The report’s findings, based on public polling, show that where people live, how much they earn and how they vote all influence how they perceive creativity.

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Perception & Potential: Public Attitudes Towards Creativity in the UK

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Perception & Potential: Public Attitudes Towards Creativity in the UK is a report based on a poll of over a thousand people that delves into the way people in the UK view creativity and particularly its economic value. The report’s findings show that where people live, how much they earn and how they vote all influence how they perceive creativity.

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Creative PEC: CI Employers' Perspective on Skills Initiatives (2025)

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Creative PEC: CI Employers' Perspective on Skills Initiatives (2025)

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The latest report in Creative PEC’s State of the Nation research series, explores how creative industries employers view current skills initiatives, highlighting key barriers that continue to limit their engagement with the wider skills system.

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Creative Industries Policy and Evidence Centre

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A State of the Nations Research Report

This new report from Work Advance for Creative PEC builds upon their previous work on skills in the creative industries and is based upon survey data on creative industries employers. The report highlights that, despite interventions and efforts, creative industries employers are less likely to recruit workers over 50 and are less likely to engage with training routes like apprenticeships than UK employers overall. It also highlights a range of barriers holding back creative employer engagement with the skills system, such as time, cost, and the difficulty in customising them for the sector.

With the creative industries experiencing considerable growth over the last decade combined with rapid technological advances and an ageing population, the research points to the need to build a more robust talent pipeline and invest in lifelong learning.

The report is written by Directors of Work Advance, Lesley Giles and Heather Carey as part of a suite of State of the Nations research within the Creative Education, Skills and Talent theme.

Key findings:

The creative industries recruit young people (under 25) and older people (50+) at a lower rate compared with other sectors. 57% of creative industries employers had recruited young people aged under 25 in the past 2-3 years, compared with 64% across all sectors.

Older workers aged 50+ are less likely to be recruited, despite 93% of creative employers reporting they were happy with their work readiness when they did draw talent from this group.

Creative industries employers are more likely to recruit graduates to their first job compared with school or college leavers.

Just over a fifth (22%) of creative industries employers had recruited HE leavers compared to 14% across all sectors. However, creative industries employers report that 21% of graduates recruited are not adequately prepared for the role, which is significantly higher than 14% of employers across all industries.

Creative industries employers are more likely to have had someone on a work placement compared to all industries. A total of 37% of creative industries firms had offered any type of work placement, which compares to 30% across the economy.

Creative industries firms are however less likely to offer employment after a placement compared with all sectors. This varies depending on the level of education leavers: only 6% of school leavers taken on for a placement with a creative firm are then employed (vs 13% across all sectors), rising to 24% of graduates (vs 28%).

Capacity and firm size are the main reasons for not offering placements. Creative industries employers are more likely to say that capacity (in terms of time and resources) is the main reason for not offering a placement, at 28% vs 19% across all industries. Other barriers included placements not being suitable due to the size of the business (16% vs 10% across all industries)

Creative industries employers are more familiar with apprenticeships than the wider economy. Despite this, most employers in the sector were unlikely to use apprenticeships in future. 63% said they were unlikely to engage with apprenticeships going forward, compared to 57% across the wider economy.

Awareness of apprenticeships is nearly universal, but detailed understanding is limited. 99% of creative industries employers had heard of apprenticeships, yet only 46% reported having some knowledge of what they involve.

Creative industries engagement with apprenticeships remains low and less sustained over time. Only 5% of employers currently have apprentices, with another 3% having offered them in the past. Both these figures are below the national average (11% and 8%, respectively).

What are State of the Nations reports?

Creative PEC's State of the Nations series analyses the latest data across four thematic areas to inform the development of policies relating to the creative industries. Their scope is the whole of the United Kingdom, and wherever possible data is presented for all the nations and regions. Regular reports on each area will be published biannually over the five years of the Arts and Humanities Research Council (AHRC) funding. The themes and corresponding Research Consortium Partners are:

This report is written by our consortium partners at Work Advance:

Thanks to Creative PEC policy, operations and communications teams for editing, proofing and other support.

Citation: If the information in this report is used in any subsequent research and/or publications, please cite as follows: Giles, L. and Carey, H. (2025) Creative industries employers' perspectives on skills initiatives: 2025. Creative PEC. doi: 10.5281/zenodo.15730438.

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Credits
Report design by Mike Green/Green Doe Ltd.

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Creative industries employers' perspectives on skills initiatives: 2025 - Creative Industries Policy and Evidence Centre

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Read the latest State of the Nations research report from Work Advance on Creative Employers' Perspectives on Skill Initiatives in the UK.

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Youtube: Creator Consultation Report (2025)

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Youtube: Creator Consultation Report (2025)

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Compiled from feedback by nearly 10,000 UK creators, the report reveals that despite the UK’s creator economy being worth over £2 billion and supporting more than 45,000 jobs, only 17% of respondents believe creators receive adequate support, training, and skills development.

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YouTube calls for greater support for creator economy, backed by 10,000 creators Blog Copy linkCopy linkToggleToggleToggleToggleToggleToggleToggle

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New Govt Creative Industries Sector Plan

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New Govt Creative Industries Sector Plan

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The UK Government has released their Creative Industries Sector Plan, with the aim of ensuring the UK is the number one destination worldwide for investment in creativity and innovation and aims to significantly increase investment by 2035.

The policy suggests 4 focuses:

Transforming cost-cutting support to: accelerate innovation-led growth; secure grown finance for creative start ups and scale ups; build a resilient, skilled and diverse workforce fit for the future and increase trade and exports

Boosting growth in sub-sectors with the highest potential: Film & TV; Music, Performance and Visual Arts; Video Games; and Advertising and Marketing

Realising the potential of the Creative Industries, boosting regional economic growth and creating high quality jobs

Delivering joint commitments from government and industry, working in partnership

There is a great deal of focus on public investment, Createch, intellectual property (particularly in relation to AI, although the government have not yet confirmed their stance on this), and interventions for skills growth via creative education and skills reform.

There is also a steer toward valuing and measuring the evolving sector, and a recognition that the sector "suffers from misperceptions and recognition challenges".

Link to Gov.uk for reference: https://www.gov.uk/government/publications/creative-industries-sector-plan

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The Creative Freelancer’s Climate Almanac

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The Creative Freelancer’s Climate Almanac

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The Creative Freelancer’s Climate Almanac is a companion for artists, independent creatives, community practitioners and producers, created by Julie’s Bicycle (JB) with input from freelancers as part of our Arts Council England Environmental Programme.

The almanac gathers useful resources from existing toolkits, alongside templates, wellbeing practices, artist case studies, and book recommendations, weaving them into a seasonal approach for sustainable change with justice for the environment, land, and people at the forefront.

Designed specifically with freelancers in mind, this resource will lighten the load, spark new ways of working, and remind you that you’re not alone in your climate action.

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The Creative Freelancer’s Climate Almanac - Julie’s Bicycle

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A companion for artists, independent creatives, community practitioners and producers, supporting them to make sustainable change. Filled with resources, templates, wellbeing practices, artist case studies, and book recommendations.

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Visual Arts Southwest is an excellent one stop shop for jobs, training, residencies and mentoring opportunities in the Southwest region (Cornwall to Wiltshire).

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Kingston University: Future Skills Report (2025)

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Kingston University: Future Skills Report (2025)

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Kingston University’s latest report highlights the growing importance of future skills – including creative thinking, critical thinking, and digital fluency – in today’s evolving job market.

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Kingston University Future Skills Report 2025

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Discover the findings from Kingston University’s latest Future Skills report – identifying the skills most valued by industry to drive innovation and boost economic growth.

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Creative UK: Cultural & Creative Industries Quarterly Statistical Bulletin (Q1 2025)

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Creative UK: Cultural & Creative Industries Quarterly Statistical Bulletin (Q1 2025)

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Creative UK’s new Quarterly Statistical Bulletin offers powerful data to support advocacy and investment in the creative sector. While members can access the full report, the linked blog highlights some of the most compelling stats- offering a snapshot of the stories emerging from the UK’s cultural and creative industries, as told by the data.

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Cultural and Creative Industries Stats – Q1 2025 26 - Creative UK

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The UK’s creative industries continue to thrive. See the key data from our Cultural and Creative Industries stats bulletin from Q1 2025 26.

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Great News! The AGCAS Creative Industries Task Group has been shortlisted for an AGCAS Award for Excellence: Employability Impact Award!

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AGCAS Awards for Excellence encourage, reward and share good practice amongst HE careers and employability practitioners,

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ERIC's Creative Industries Spreadsheet for Educators

💥 HERE'S THE LINK 💥 https://lnkd.in/eaNNqZ59

⁉️ What is it? ⁉️
It's an open-to-all spreadsheet for all careers people/creative subject teachers in schools/colleges/universities. It has everything you need to keep up with the latest from the creative industries on it, stay connected with important people in industry and help your students explore & develop skills:

✅ 300+ recommended resources (lesson plans, activities, podcasts, articles, videos, etc)
✅ 220+ industry events (good for networking, some of which are specifically trying to get more students to come along)
✅ 90+ trade bodies in the creative industries (the groups who know common needs/demands of industry employers)
✅ 80+ industry/trade publications (reporting on industry news that you & your students need to know)
✅ 70+ landmark creative careers reports (my favourite ones out of the hundreds I read every year)
✅ Full archive of talks we recorded during National Careers Week and the Q&A
🕵️‍♀️ It will keep being updated as I find new things

💥 HERE'S THE LINK 💥 https://lnkd.in/eaNNqZ59

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'Gradual' hosted by UAL's Employability & Careers Team explores the big questions and challenges that many students will face around creative careers. In each episode of Gradual UAL colleagues share unfiltered stories from creative graduates and industry professionals, sharing advice and insight.

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London

Brought to you by the University of Arts London, Careers & Employability team. Gradual: a podcast that explores the big questions and challenges that many Students will face. In each episode, we share unfiltered stories from creative Graduates 'who make a living doing what they love.' Subscribe: Apple Podcasts | Spotify | <wherever you get your podcast>

Gradual Podcast's tracks

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Brought to you by the University of Arts London, Careers & Employability team. Gradual: a podcast that explores the big questions and challenges that many Students will face. In each episode, we share unfiltered stories from creative Graduates 'who make a living doing what they love.'

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Creative UK: Forging Freelance Futures Report (2025)

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Creative UK: Forging Freelance Futures Report (2025)

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Creative UK (CITG co-opted member) launches its Forging Freelance Futures Report identifying a suite of reforms, aimed at enhancing support structures and improving the resilience of the freelancing model in the Creative & Cultural Industries.

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Forging Freelancer Futures | Creative UK

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Forging Freelance Futures is Creative UK’s comprehensive report into the freelance economy of the cultural and creative industries.

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The Design Council: The Environmental and Social Value of Design (2025)

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The Design Council: The Environmental and Social Value of Design (2025)

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Latest research by the Design Council carried out across 2021 to 2024- spotlights how design can power the green transition and address pressing skills gaps.

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Discover the economic, social and environmental value of design in the UK.

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Unleashing Creativity: Fixing the Finance Gap in the Creative Industires

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Unleashing Creativity: Fixing the Finance Gap in the Creative Industires

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Creative UK launches a new landmark report following a survey of 896 firms across all creative sub-sectors. The findings outline the obstacles for creative business is accessing the right kind of finance to facilitate their growth.

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Fixing the finance gap in the creative industries.
Exploring access to finance in the UK’s creative industries through findings from the frontline.

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Arts sector’s use of unpaid interns for some roles could be illegal

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Arts sector’s use of unpaid interns for some roles could be illegal

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“The creative sector has been using unpaid internships for so long without penalty that it has become an embedded way of doing things,” said the British Film Institute’s director of skills and workforce development, Sara Whybrew.

“The law is clear on what makes someone a worker, and therefore when the national minimum wage must apply. But there’s anecdotal evidence that some employers aren’t fully cognisant of the factors that define worker status.”

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Arts sector’s use of unpaid interns for some roles could be illegal, experts say

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Concerns also raised that practice prevents young working-class people from finding paid work in creative industries

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Creative PEC: Skills Mismatches in the UK's Creative Industries

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Creative PEC: Skills Mismatches in the UK's Creative Industries

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The UK's creative industries are growing rapidly but face a widening skills gap due to an education system that hasn't kept pace. A new Creative PEC report highlights this mismatch as a key challenge for the sector.

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Creative Industries Policy and Evidence Centre

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Skills Mismatches in the UK’s Creative Industries - Creative Industries Policy and Evidence Centre

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Read the latest State of the Nations research report on the skills mismatch in the creative industries produced by Work Advance.

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The Coronation Challenge: CreaTech Report (2025)

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The Coronation Challenge: CreaTech Report (2025)

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Commissioned by DCMS and the Royal Anniversary Trust, the report explores how CreaTech- the fusion of creativity and emerging technologies- can drive innovation, create jobs, and position the UK as a global leader. Backed by Erskine Analysis, the research highlights CreaTech’s potential to add £18 billion to the economy and generate 160,000 jobs over the next decade.

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Major investment to boost growth and cement Britain’s place as cultural powerhouse

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Major investment to boost growth and cement Britain’s place as cultural powerhouse

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Over £270 million Arts Everywhere Fund for arts venues, museums, libraries and the heritage sector in major boost for growth.

Hundreds of arts venues, museums, libraries and heritage buildings will receive a share of more than £270 million as part of an Arts Everywhere Fund from the government, supporting jobs and creating opportunities for young people to learn creative skills while helping to boost people’s sense of pride in where they live.

The cash will be targeted at organisations in urgent need of financial support to keep them up and running, carry out vital infrastructure work and improve long term financial resilience.

Today’s announcement hope to help protect hundreds of jobs in the cultural and heritage sectors. Overall, cultural sectors support 666,000 filled jobs across the country.

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Major investment to boost growth and cement Britain’s place as cultural powerhouse

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Over £270 million Arts Everywhere Fund for arts venues, museums, libraries and the heritage sector in major boost for growth

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Creative UK (Co-opted task group member) champions equality, diversity, and inclusion (EDI) with its new Create Diversity Hub, featuring 40+ case studies from leading organisations like SKY, The V&A Museum, and The PRS Foundation.

With research revealing the creative sector's lack of diversity-working-class representation at its lowest since the 1970s and 90% of the workforce identifying as White- the hub inspires meaningful action to engage underrepresented groups and drive change.

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Leading creative sector champion, Creative UK is highlighting the positive impact of equality, diversity and inclusion (EDI) through publication of 40+ case studies.

Research shows representation of working-class creatives at its lowest level since the 1970s and that 90% of the arts, culture and heritage workforce is White.

Creative UK's Create Diversity hub features organisations from across the sector, including SKY, The V&A Museum, All 3 Media, and The PRS Foundation and aims to inspire the sector to engage more effectively with people from under-represented groups.

Creative UK has launched a Create Diversity EDI hub as a positive response to worsening diversity and inclusion in creative sector organisations. With research showing that representation of working-class people in Creative Industries is at its lowest level since the 1970s, the Create Diversity initiative aims to shine a light on the value of acting in pursuit of greater equality, diversity and inclusion in the creative and cultural sector.

As the membership organisation for the Creative Industries, Creative UK is committed to improving diversity and inclusion across the sector and with this first-of-its-kind resource, will amplify examples of effective EDI practice. More than 40 case studies have been drawn from across the creative sector, with organisations including SKY, The V&A Museum and The PRS Foundation. These case studies, open to all on Creative UK's website, highlight how diversity creates better ideas, better content, better business performance, and better staff engagement and retention.

The Create Diversity campaign will span a full year and aims to inspire the sector to actively support those from under-represented backgrounds to take up space in the creative sector by taking action to expand, or begin, EDI initiatives.

Sarah Gregory, Head of Equality, Diversity & Inclusion commented:

"At a time when there is widespread social discourse, a shift to the right in politics, and a turning away from the value of EDI programmes across the corporate and political world, it has never been more important to shine a light on the benefits and value of acting in pursuit of greater equality, diversity and inclusion in the creative and cultural sector and how the sector is already making purposeful strides towards an industry where everyone is included, belongs and is treated with dignity.

"Create Diversity is a timely hub of ideas, learning and inspiration that aims to encourage organisations across the creative and cultural sector to embark on or deepen their own equality, diversity and inclusion (EDI) journey so that together, we grow the diversity of our thought, output, reach, and engagement, maximising the economic and social impact this brings."

Ali Jafarey, Equality, Diversity and Inclusion Lead, The Victoria & Albert Museum commented:

"The V&A aims to become a truly open, tolerant and diverse organisation: a place where everyone feels welcome and we recognise this means doing more to foster an inclusive culture, both for our people and our visitors.

"In 2022 we developed a comprehensive 3-year, Equality, Diversity, and Inclusion Strategy covering all functions of the organisation, spanning three broad areas: People, Programmes and Place, each supported by specific key strategic objectives.

"We are entering an exciting period of growth, with the opening of three new sites and I am confident about the progress we have made. The V&A is proud to share this good work as an exemplar for Creative UK's Create Diversity resource."

Sharon Lloyd Barnes, Commercial Director, Advertising Association also commented:

"Working towards an inclusive workforce and ensuring the ads we make authentically represent the society we serve is vital to the Advertising Association and the whole UK advertising industry. The All In initiative leads with a census-style survey every two years and an industry action plan, as well as a directory of resources and best practice to support and inspire the agencies, advertisers, media and tech companies that make up the sector. We are supporting the launch of Creative UK's Create Diversity resource to help the sector learn from our experiences."
PRS Foundation commented:
"One of the core strengths of the UK's cultural output is driven by the diversity of the talent based here. At PRS Foundation we see time and again that when we tackle the barriers to talent development and career progression through our targeted initiatives such as POWER UP, Keychange and Women Make Music, that no matter what someone's background, gender, ethnicity, where they are based in the UK or disability, the positive cultural, economic and societal impacts are significant. We believe that all talent should have the opportunity to reach its potential and in these challenging times, targeted action, collaboration and sharing good practice and information such as the Create Diversity resource is more important than ever."

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Creative UK Launches Create Diversity EDI Case Studies Hub to Combat Fall in Diversity across Creative Industries - Creative UK

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Creative UK is highlighting the positive impact of equality, diversity and inclusion (EDI) through the publication of 40+ case studies.

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The AGCAS Creative Industries Task Group have been awarded QAA funding for a CEP, on a project led by Leeds Arts University.

Our project seeks to develop a Work Readiness Education (WRE) framework tailored to the creative industries, providing flexible learning pathways that enhance employability for all students. Emphasising the needs of diverse learner groups — including neurodivergent, international, carer, widening participation, and distance students — the project will design inclusive, practice-based learning experiences that support industry-relevant skills and ethical awareness.

Sign up to our community of practice to keep up to date: https://www.jiscmail.ac.uk/cgi-bin/webadmin?A0=CREATIVEINDUSTRYEMPLOYMENT%20

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We are very pleased to share that 18 new Collaborative Enhancement Projects (CEPs) have been successful in their applications for QAA funding this year! The projects, which are funded by QAA, were selected following a rigorous review process and involve QAA Member institutions leading initiatives and working in collaboration with other organisations to enhance the quality of higher education. The opportunity to lead CEPs is one of the many benefits of being a QAA Member institution. They'll investigate a broad scope of themes including assessment, artificial intelligence, lifelong learning, sustainability and flexible pathways to higher education. Institutions leading this year's CEPs are the University of Bedfordshire, the University of Southampton, the University of South Wales, The London School of Economics and Political Science (LSE), Edge Hill University, the University of York, Queen Mary University of London, The Manchester Metropolitan University, the University of Greenwich, De Montfort University, the University of Nottingham, Birmingham City University, Leeds Arts University, the University of Lincoln, Oxford Brookes University, the University of Exeter and Kingston University. In addition to these project lead institutions, this year's CEPs will involve collaborations with institutions and organisations based across the UK, Asia, Australia, Europe, North America and the Middle East. In total, 74 institutions and organisations are involved. 🎉We extend our congratulations to all the participating CEP organisations, and we are excited to support these projects as part of our QAA Membership service. 👉 Read more here: https://lnkd.in/eQDQBuZ8

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The Quality Assurance Agency for Higher Education on LinkedIn: We are very pleased to share that 18 new Collaborative Enhancement...

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We are very pleased to share that 18 new Collaborative Enhancement Projects (CEPs) have been successful in their applications for QAA funding this year! The...

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Filming in England: New Entrant Starter Pack

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Filming in England: New Entrant Starter Pack

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Kickstart your career in film and TV with the ultimate companion guide.

Creative UK's Filming in England Programme presents this accessible resource, packed with clear, practical advice on topics such as:

Entry-level career pathways

Trainee schemes and apprenticeships

Networking strategies

CV templates

Tips for going freelance

Perfect for aspiring professionals ready to break into the industry.

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Filming in England’s New Entrant Starter Pack is the ultimate companion for individuals of all backgrounds of skillsets who want to kickstart their careers in film and TV.

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If you Could: Creative Career Conundrums

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If you Could: Creative Career Conundrums

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Creative Career Conundrums, is a weekly advice column from @IfYouCouldJobs, where industry experts answer your burning career quandaries. Do your students/alumni face the similar challenges navigating or kickstarting their careers? Submit a question to gain industry insight!

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If You Could is a creative jobs board and a sister company to It’s Nice That…

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Snowdon Master's Scholarships 2025 for disabled students.

Greetings from the Snowdon Trust! We are pleased to announce that our prestigious Snowdon Trust Master's Scholarship programme will open for applications on . These are scholarships of up to £30,000 to accelerate the most exceptional disabled students through their master's studies and into leadership in all its forms.

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By entering your email address, you are consenting to receiving communications from the Snowdon Trust

I would like to receive notifications for the 2025 Snowdon Master's Scholarship application process

If selecting agree, you will be sent reminders regarding application opening dates and deadlines

This field is for validation purposes and should be left unchanged.

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Snowdon Master's Scholarship 2025 sign-up form - Snowdon Trust

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By entering your email address, you are consenting to receiving communications from the Snowdon Trust I would like to receive notifications for the 2025 Snowdon Master's Scholarship application process If selecting agree, you will be sent reminders regarding application opening dates and deadlines This field is for validation purposes and should be left unchanged.

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We are delighted to link and share 4 articles now available from our colleagues on Creative Industry employment. These are housed in a dedicated page in TImes Higher Education.

https://www.timeshighereducation.com/campus/collections/supporting-students-creative-industries

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From acting in an award-winning film to producing a number one album, getting to the top of the creative industries is a dream for many young people. But access to such careers, both behind the scenes and in front of an audience, is currently far from equal. For young people from lower socio-economic backgrounds in particular, there are major barriers.  Download the full report here: https://www.suttontrust.com/our-research/a-class-act/

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Creative arts graduates succeed because of their background, not in spite of it

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Creative arts graduates succeed because of their background, not in spite of it

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"There is a systematic underestimation of the contribution that creative industries graduates make to the economy... coupled with an absence of any method of determining value beyond financial gain"

Excellent article from Katie Normington, Vice Chancellor of De Montfort University, for Wonkhe.

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Creative arts graduates succeed because of their background, not in spite of it

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De Montfort University vice chancellor Katie Normington questions why the data on creative arts graduates fails to capture the volume and power of their impact

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This year's What do graduates do? report provides an in-depth look at the outcomes for students who graduated into a relatively stable labour market, but one in which finding the right job was still challenging

Jo Hadler, careers manager at BIMM Music Institute, and What do graduates do? editor Laura Greaves provide an overview of how this cohort of creative arts graduates fared 15 months after leaving university

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This year's What do graduates do? is the essential deep dive into the outcomes of students who left university as lockdown restrictions were lifted. It includes subject-by-subject data, expert analysis by careers and employment professionals, and insight into topics such as AI, hybrid working and student engagement

Graduates shows resilience

This edition of What do graduates do? highlights the remarkable resilience of UK graduates during and in the aftermath of the pandemic, as their outcomes ranked among the best in the brief history of the Graduate Outcomes survey. Of the 206,795 UK-domiciled first-degree graduates who responded to the survey:

The majority of graduates (59.6%) were in full-time work 15 months after graduating, while 10.4% were in part-time employment.

Of those graduates in work, 76% were in professional-level employment - a higher proportion than among those who left university the year before.

8.4% of graduates in work were self-employed or actively working towards this goal.

7.8% of graduates were engaged in further study, while 10.5% were both working and studying.

Despite the difficult environment into which they graduated, just 5.0% were unemployed, and this includes some who were due to start work.

What's inside What do graduates do? 2023/24

The full report includes a summary of graduate outcomes in the regions and nations of the UK, Charlie Ball's labour market overview, and detailed analysis and data in the following subject areas:

In addition, the following expert insights add context and analysis, and discuss some of the ongoing challenges for the sector highlighted by the data:

About What do graduates do? 2023/24

What do graduates do? 2023/24 was published in October 2023 on Prospects Luminate. It examines first-degree graduate destinations 15 months after graduation. Itwas produced by Prospects in collaboration with AGCAS, the Association of Graduate Careers Advisory Services.

The data is from the most recent edition of the Higher Education Statistics Agency's (HESA) Graduate Outcomes survey, which collected responses from those who graduated in 2020/21.

Prospects and HESA are part of Jisc.

Previous editions of What do graduates do?

Regional edition

In 2019/20 What do graduates do? studied graduate destinations on a region-by-region basis, with data, analysis and commentary for every part of the UK.

Testimonials for What do graduates do?

As a careers adviser and information specialist with 30 years' experience, I cannot rate What do graduates do? highly enough. It forms an essential part of my toolkit.

- Hilary Nickell, project manager at Career Companion.

With over 300,000 students graduating from a vast array of courses and institutions every year, the UK graduate market is complex. WDGD is a key resource to help employers build their student recruitment strategies.

-Stephen Isherwood, chief executive of the Institute of Student Employers (ISE).

What do graduates do? provides a concise and informative overview of UK graduate destinations by subject area and is an invaluable resource for supporting both learners thinking about progressing on to higher education as well as undergraduate students planning their next steps.

- Andrew Jones, deputy director and IAG specialist at Linking London.

What do graduates do? is an essential resource for higher education providers and employers. Heavily influencing aspects of our work, the publication not only informs best practice through the student pathway but also on attracting and supporting students from diverse background.

- Terry Manyeh, Educating ALL project lead.

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The essential resource for understanding graduate destinations, with findings from the UK's largest higher education survey, insights from careers advice experts and detailed subject overviews.

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Creative Corridors: connecting clusters to unleash potential

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Creative Corridors: connecting clusters to unleash potential

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Despite a challenging national economic backdrop, the creative industries have bucked the trend with consistent growth over the last decade, albeit, this growth is not experienced equally across the UK.

In this report by the RSA, Creative PEC and Arts Council England, creative corridors are offered as one potential mechanism for harnessing this growth. Our ambition is that creative corridors will stimulate economic growth by increasing linkages – supply chains, R&D partnerships, or networks of people in the labour market – between creative clusters and microclusters over a large geographic area. Through this, they aim to bring the agglomeration effects often seen in creative clusters to a larger geographic scale and provide a shared regional strategy.

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Creative Corridors: connecting clusters to unleash potential - RSA report

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This RSA report offers creative corridors as a mechanism for harnessing this growth. Our ambition is that creative corridors will stimulate economic growth by increasing linkages.

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Exploring the skills requirements of employers (both creative and non-creative) hiring creative graduates.

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Written byElli WhitefootAssistant careers, employability and enterprise managerLeeds Arts University

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Employer expectations of creative graduates’ skills

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A new report from Leeds Arts University provides insight into employer expectations of the skills of creative graduates.

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Artists' Union England Rates of Pay guidelines, designed to help artists and their employers to determine fair pay for artists’ labour.

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This page is designed to help artists and their employers to determine fair pay for artists' labour.

AUE objects to fee-based 'opportunities' and the normalisation of this practice within the arts sector. Fee-based opportunities further disadvantage freelance and precarious workers and exacerbate inequality.

Download PDF Guide

Daily and Hourly Rates for Artist Wages UK:

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England's trade union for visual, applied and socially engaged artists

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Full details here: https://vasw.org.uk/resources/a-guide-to-funding-for-early-career-artists

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This superb resource from Visual Arts Southwest offers advice, guidance and important links to funding, residencies, and employment in the creative industries, along with a great list of do's and don'ts.

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PEC presented to the group on 3rd September and the slides are here for your information

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A series of articles on Employability for Higher Education. Group members Chris, Louise & Miri have authored content of this publication.

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BERA Bites, issue 10: Employability education – learning from the present: A cross-sector view

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In an era characterised by rapid technological advancements, globalisation and shifting labour market dynamics, the concept of employability has emerged as a central concern in education. As…

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Leeds Arts University partnered with the targetconnect team at GTI to analyse the language used across creative job descriptions to identify the most sought-after skills across graduate level creative roles.

The Employer Expectations report, authored by Elli Whitefoot (Leeds Arts University), examines this data to establish the skills requirements of employers hiring creative graduates.

The purpose of the research and subsequent report is:

• To provide creative students and graduates with an accurate and informed overview of modern job market demands

• To provide employers with insight and guidance seeking to engage with and recruit creative students and graduates

• To inform university strategy

• To share though networks as open resource

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Empowering creative students to have positive workplace wellbeing

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Empowering creative students to have positive workplace wellbeing

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This report by Rosie Pollock, career advice and guidance consultant at Leeds Arts University, explores how to empower creative students and graduates when it comes to their workplace wellbeing and knowledge of their workplace rights. It examines their positive and negative experiences as well as the types of support they are looking for.

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Students appear to be more confident than graduates about workplace rights and discussing wellbeing issues, with graduates less comfortable raising topics such as mental health, disability or additional needs, research shows

This report by Rosie Pollock, career advice and guidance consultant at Leeds Arts University, was funded by the Jisc careers research grant and explores how to empower creative students and graduates when it comes to their workplace wellbeing and knowledge of their workplace rights. It examines their positive and negative experiences as well as the types of support they are looking for.

Key findings

Most students and graduates felt supported by their employers both in their work and as individuals.

Graduates reported more negative experiences than positive ones. These negatives included long hours, difficulties navigating the start of a job, poor communication, mismatch of expectations, feeling overworked, workplace stress, feeling disposable on zero-hours contracts, insufficient breaks, and lack of support.

For students, negatives included lack of concern for safety, lack of follow-up after verbal abuse, changes in contract post-commencement, toxic expectations, and disrespect towards availability.

Positive experiences for students related to having supportive managers, a positive working environment, flexible hours and understanding of travel issues.

For graduates, positives were around financial rewards or perks, job autonomy, work-life balance and understanding of mental health and neurodiversity.

Overall, students appeared to be more prepared for navigating workplace rights and wellbeing than graduates.

Students felt more confident about their workplace rights than the graduate cohort, and were more comfortable discussing their workplace wellbeing with a manager. However, graduates were slightly more comfortable raising workplace issues than students.

Graduates were much less comfortable speaking about their mental health, disability or additional need in the workplace than students.

About the report

This project aims to explore experiences and preparedness of students and graduates with regards to their wellbeing and rights in the workplace, and what support they would like with this. It explores specific questions such as:

What experiences do creative arts students and graduates at Leeds Arts University have in relation to their workplace wellbeing?

To what extent are creative arts students and graduates at Leeds Arts University prepared for navigating their workplace wellbeing and rights?

What support would creative arts students and graduates at Leeds Arts University like to see in relation to developing their knowledge of workplace wellbeing and workplace rights?

The findings are followed by a series of recommendations for further research, as well as actions that universities can take to prepare students and graduates for navigating their workplace wellbeing and rights.

We encourage other institutions to utilise and build on our 'Toolkit of Resources'. By sharing our research and resources with each other, we can build an empowered network of students, graduates and staff.

If you are interested in conducting similar research, see Start of Project Docs and Promotional Material.

This research was funded by the Jisc careers research grant. If you're a careers professional planning to undertake research, you may be eligible for funding of up to £5,000.

Written by

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Empowering creative students to have positive workplace wellbeing

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This Jisc-funded research examines creative students' and graduates' experiences and knowledge of workplace rights and wellbeing.

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GuildHE and UKADIA's 'Value of Creative Graduates' Report (July 24)

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GuildHE and UKADIA's 'Value of Creative Graduates' Report (July 24)

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GuildHE and UKADIA, with a steering group of creative specialist higher education providers and Chris Slesser from Creative UK (CITG member), launched a new report ‘The Value of Creative Graduates’ that investigates and addresses the challenges of defining the value of creative graduates. It sets out the unique impact of creative degrees and creative pedagogy and evidences the significant contribution specialist creative institutions make to their regions, both culturally and economically, supported by case studies.

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GuildHE - Distinction and Diversity in Higher Education

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GuildHE and UKADIA, with a steering group of creative specialist higher education providers and Creative UK, are today launching a new report 'The Value of Creative Graduates' that investigates and addresses the challenges of defining the value of creative graduates. It sets out the unique impact of creative degrees and creative pedagogy and evidences the significant contribution specialist creative institutions make to their regions, both culturally and economically, supported by case studies. The report features a series of recommendations for the higher education sector, businesses and government to encourage the realignment of the perception of the value of creative graduates and ensure there is equality of access and opportunity for individuals.

These include asking the government and regulators to rethink the current 'value' measures of graduates, such as highly skilled and salary metrics; asking non-creative industries to better articulate the value of creative skills to their productivity, growth and innovation activities; better careers IAG and alumni tracking; and ensuring sustainable funding models for specialist creative providers to protect the diversity of the globally-valued UK higher education sector.

The incoming government has made a commitment through the Labour Party's and to support the development of creative skills and harness them to support national growth. This report is a highly useful resource in bringing together the evidence base for the value of creative graduates, and GuildHE and UKADIA look forward to working with the ministerial team in both DfE and DCMS.
Dr Kate Wicklow, Policy Director at GuildHE said: The UK has a world-leading creative industry. In 2022, government estimated that it provided over 2.4 million jobs and generated £126bn in gross value added (GVA) to the economy. This report addresses the challenge of defining creative graduates' value by critiquing current methods, providing robust longitudinal data "Collectively higher education providers, employers and policymakers need to collaborate to support the future pipeline of creative skills. Creative education has been eroded by austerity and policy change that has impacted access and participation, industry collaboration with education providers, and the role of culture in regional development. With the new Labour government, we must come together to address these issues and barriers for the better. Championing the incredible value creative graduates bring to our society, recognising the subsequent economic contribution of the creative industries and ensuring we collectively commit to improving diversity in the sector, will be the first steps to a fairer and more dynamic creative skills system." Read the report 'The Value of Creative Graduates' Read the accompanying blog by Lisa Mann, Executive Director of Innovation at Arts University Bournemouth, Chair of the Steering Group and representing UKADIA realigning the perception of the value of creative graduates."
Lisa Mann, Executive Director for Academic Innovation at Arts University Bournemouth and representing UKADIA said:

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GuildHE and UKADIA launch new report 'The Value of Creative Graduates' - GuildHE

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GuildHE and UKADIA, with a steering group of creative specialist higher education providers and Creative UK, are today launching a new report 'The Value of Creative Graduates' that investigates and addresses the challenges of defining the value of creative graduates.

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Elli & Miri co-authored this yearly piece in October 2023

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Miriam Firth and Elli Whitefoot consider the outcomes for creative arts graduates in their contribution to this year's What do graduates do? report

The Graduate Outcomes data concerns five areas of creative arts study: fine arts, design, media studies, performing arts, and cinematics and photography. Approximately 20,400 creative arts graduates completed the survey (10.6% of total respondents), of which 64% identified as female and 36% male. Of these respondents, 13,040 were working in the UK with the female/male split remaining at 64% to 36%.

Five key data points

Creative arts graduates are more likely to work in non-graduate roles than the average for all graduates (41% compared to 28%). Setting up their own enterprises, working in a number of temporary/freelance roles, and supporting societal and non-government organisations is equivalent.

On average, creative arts graduates are three times more likely to be working in freelance/self-employed roles.

Creative arts graduates are less likely to go on to further study (4.7%) compared to the average across all subjects (9.2%).

Completing a creative arts postgraduate course can lead to higher graduate earnings in the creative industries. We do not have the data to align PG study with their previous undergraduate study, but it is noteworthy that completing a creative arts postgraduate programme leads to significantly higher earnings (approximately 10%).

Clerical and retail work appear to be high for creative arts graduates. However, when aligned to all subjects, these are equally high for all graduates.

Employment and entrepreneurship

Although the number of creative arts graduates working for an employer (56.5%) was significantly below the average across all subjects (68.1%), nearly 13% of creative arts graduates cite running their own business (2.8%) or self-employment/ freelancing (9.9%) as their main activity. This is almost triple the number of graduates from other subjects (4.4%). If you also consider the number of creative arts graduates developing a creative artistic or professional portfolio (9.1%), which is significantly higher than all other subjects (average 2.2%), this more than makes up for the deficit in employment figures.

Although the number of self-employed creative graduates is below the sector average - with the creative industries as a whole reporting 32% freelancers, compared to 16% in other sectors in 20211 - the ratio follows an interesting trend, with creative arts graduates nearly tripling the percentage of entrepreneurial graduates from other subject areas.

Entrepreneurial creative arts graduates are more likely to be working in creative occupations aligned to their subject while occupations of creative arts graduates working for an employer are more varied, with top results showing teaching, retail and hospitality among creative occupations in design, marketing, photography, and broadcasting.

The number of creative arts graduates who worked one job since graduation (52.6%) is more than 10% lower than the average across all subjects (63.7%). However, the percentage of those who have worked two or more since graduation is consistently higher, with those working five or more (1.7%) significantly higher than the average across other subjects (0.4%).

This could be reflective of those working to support entrepreneurial activities or be a comment on the nature of the creative industries.

Unemployment among creative arts graduates (6.5%) was the highest across all subjects (5.9%).

Employment type,Percentage of graduates
Creative arts graduate working for an employer,56.5
All graduates average,68.1
Creative arts graduates running their own business or self-employed/freelance,12.7
All graduates average,4.4
Creative arts graduates developing a creative artistic or professional portfolio,9.1
All graduates average,2.2

Employment looks different for creative arts graduates

Employment type

Percentage of graduates

Creative arts graduate working for an employer

56.5

All graduates average

68.1

Creative arts graduates running their own business or self-employed/freelance

12.7

All graduates average

4.4

Creative arts graduates developing a creative artistic or professional portfolio

9.1

All graduates average

2.2

Creative arts in context

While the Graduate Outcomes data infers employment patterns for creative arts graduates, we also need to look beyond this data to get the full picture:

Graduate roles in the creative industries confirmed by creative arts graduates are not stratified enough to distinguish the range of roles completed. Therefore, the data does not fully account for all creative industries graduate roles.

Employers and graduates do not always align a creative industries role in the same way as the sector. Therefore, the data does not always accurately identify all graduates working in these roles.

Graduate Outcomes reflects main activities, so does not provide insight into creative arts graduates who rely on other employment to subsidise their bills whilst pursuing entrepreneurial activities.

The creative industries represent 5.9% of the UK economy.2 The number of jobs has increased by a third in the last ten years, which is significantly higher than overall employment across the nation.3 There is, therefore, the potential for creative arts students to find graduate employment in the UK labour market.

Accounting for the nature of the creative industries, it is evident that considering employment and entrepreneurship destinations under one banner is important as they are so entwined. The number of creative arts graduates working on entrepreneurial activities, alongside those who have worked more than one job since graduation, highlights the need for a robust enterprise education for all creative students as an equal part of their careers education, rather than as an addition.

National Statistics on the Creative Industries, Creative Industries Policy & Evidence Centre (PEC), June 2022.

Impact of government policy on the creative sector, GOV.UK, October 2021.

Ibid.

Written by

The University of Manchester

Assistant careers, employability and enterprise manager

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Find out about the employment and study destinations of creative arts graduates 15 months after they left university

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UK Creative Industries Add £124bn To UK Economy

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UK Creative Industries Add £124bn To UK Economy

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London Fashion Week is a creative industries calendar highlight (Image: Lily Craigen/BFC)

The economic contribution of the UK creative industries grew by 6.8 per cent in 2022 to reach £124.6bn, according to official UK government estimates.

In real terms, this means the economic value of the UK creative industries was 12 per cent bigger in 2022 than before the COVID pandemic and more than 50 per cent larger than its size in 2010.

Using the government's official economic measure of Gross Value Added (GVA) in chained volume measures, the creative industries grew more than twice as fast in 2022 as the UK economy as a whole. Since 2010, the creative industries have expanded according to this measure by 50.3 per cent, compared to the UK economy's average increase of 21.5 per cent during the same period. Creative industries account for 5.7 per cent of total UK GVA.

'IT, software and computer services' comprises the largest subsector component of the creative industries by GVA (£53.4bn in 2022). It is more than twice the size of the next largest subsector, 'Film, TV, video, radio and photography' which contributed £20.8bn in 2022.

The largest contributions to the increase in creative Industries GVA from 2021 to 2022 were the 'IT, software and computer services' subsector, the 'Publishing' subsector and the 'Film, TV, video, radio and photography' subsector, which grew by 7.3 per cent, 10.1 per cent and 5.4 per cent respectively. All segments of the creative industries grew their GVA from 2021 to 2022, apart from the crafts subsector, which fell by 6.8 per cent.

Read more about the government statistics.

‍

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UK creative industries add £124bn to UK economy - The Creative Industries

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The economic impact of the UK creative industries is 12 per cent bigger than before the pandemic.

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Careers Consultant, University of Leeds

www.leeds.ac.uk

Email - j.law2@leeds.ac.uk

Linkedin -  https://www.linkedin.com/in/jason-k-law/(5) Jason Law | LinkedIn

Jason is a Careers Consultant attached to the Faculty of Art, Humanites and Culture. He liaises and supports academics on a range of subjects in the Faculty. Currently there is an initiative across the whole institution to surface  skills in the curriculum in all UG subjects, making them more apparent to students, which Jason has supported academics. His work has focused on leading Employability Modules to Year 2 students, supporting events and conducting guidance appointments. The module he leads involves employers providing a live brief which he has developed relationships in industry. He also has FHEA accreditation.

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University website: www.aup.ac.uk

email: lsharland@aup.ac.uk

LinkedIn https://www.linkedin.com/in/louise-sharland-

website: louisesharlandauthor.com

Louise Sharland is a Careers Advisor at Arts University Plymouth. Louise works with fourteen subject areas ranging from Games Animation to Craft and Material Practices. Her work includes embedding employability through in-class and cross-curricular delivery linked to the university's Common Unit Framework, and 1:2:1 careers guidance. Her areas of particular interest include supporting widening participation and neurodivergent students. Previous experience includes working for the national homeless charity Crisis UK as a Work and Learning Coach, and as a 6th Form Careers Advisor. Louise has a BA (Hons) from the Open University, an MA in Creative Writing from the University of East Anglia, a PG Cert in CEIG from Warwick University, and is currently completing her HEA Fellowship. In her spare time Louise is a published crime writer. Her third book Vengeance Street, is out on kindle in July.

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Call for submissions

National blog posts grouped to support the Creative Industries

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Qualtrics Survey | Qualtrics Experience Management

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The most powerful, simple and trusted way to gather experience data. Start your journey to experience management and try a free account today.

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https://www.canva.com/design/DAGHJ9kkw88/ihfN_3pfifhWfYWppN9BJQ/view?utm_content=DAGHJ9kkw88&utm_campaign=designshare&utm_medium=link&utm_source=viewer

We welcomed the brilliant Sam from ERIC in our meeting this month. Click on the link to see the slides for more information!

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The UK's #1 career app for young people looking to upskill & get experience in the creative industries. Thousands of internships, apprenticeships, events, courses, training schemes and more.

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Report: Enhancing Neurodivergent Graduates' Access to Graduate Employment (ENGAGE)

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Report: Enhancing Neurodivergent Graduates' Access to Graduate Employment (ENGAGE)

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This research, led by University of Southampton and Lancaster University and supported by AGCAS, has found that neurodivergent graduates feel confident about their careers skills and value their degree-related knowledge for gaining future employment. However, adverse early employment experiences, including prejudice and discrimination, can affect their ability to set and achieve career goals and develop career capital. Funded by Research England, the research is based on a survey of 228 neurodivergent graduates from UK higher education institutions, and follow-up interviews with 14 respondents.

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Enhancing Neurodivergent Graduates' Access to Graduate Employment (ENGAGE)

This research, led by University of Southampton and Lancaster University and supported by AGCAS, has found that neurodivergent graduates feel confident about their careers skills and value their degree-related knowledge for gaining future employment. However, adverse early employment experiences, including prejudice and discrimination, can affect their ability to set and achieve career goals and develop career capital. Funded by Research England, the research is based on a survey of 228 neurodivergent graduates from UK higher education institutions, and follow-up interviews with 14 respondents. The survey and interviews were conducted between March 2023 and July 2023.

72% of research participants found recruitment processes challenging, but difficulties continued even after a job had been secured. Many found it hard to be themselves at work, with one commenting that "there is no advantage to being your true neurodivergent self in the workplace", and another highlighting that employer statements about neurodiversity don't always match the work environment or behaviours "One of the things I find most frustrating [...] is that people always say they want someone who thinks outside the box, but they don't." 58% of participants felt they had to conceal their neurodivergence, and only 17% felt that their neurodivergence would be understood by employers and colleagues.

Building on the Graduate Capital Model, and AGCAS research on outcomes for disabled graduates, the Enhancing Neurodivergent Graduates' Access to Graduate Employment (ENGAGE) project established a series of recommendations for action. These focus on what careers professionals, higher education institutions, policymakers, sector bodies and employers can do, in collaboration with neurodivergent students and graduates, to support the fulfilment of their career potential. These include:

Embedding the skills and capitals that graduates need for their career development into degree programmes, alongside tailored 1:1 careers support, throughout degrees and beyond graduation.

Establishing partnerships between higher education and employers to create tailored, inclusive opportunities for developing work experience that generate skills, networks, and confidence around recruitment processes.

Working collaboratively with neurodivergent graduates and support organisations to educate employers about neurodiversity, inclusive recruitment, and sustainable support/development.

Creating supportive structures e.g. mentoring and supervision, where neurodivergent staff, students and graduates feel listened to, valued, and psychologically safe.

Committing to training and education for all staff that is co-created and co-facilitated by neurodivergent people on inclusive recruitment, neurodiversity and allyship.

DOWNLOAD THE REPORT (OPEN ACCESS)
Related resources and a free online employability course developed as part of the ENGAGE project can be found at the ENGAGE project website. If you have queries about this research, please contact Claire Toogood.

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Enhancing Neurodivergent Graduates’ Access to Graduate Employment (ENGAGE)

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AGCAS shareds expertise in student career development and graduate employment through a growing research programme. We also produce expert careers information and advice for students and graduates hosted by our external partners.

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Here are the presentations delivered at our February Event in PDF format.

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Not Just AI: Digital Skills Gaps For Creatives. 22nd February. 10am.

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Not Just AI: Digital Skills Gaps For Creatives. 22nd February. 10am.

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Join the AGCAS Creative Industries Task Group for a facilitated discussion on the digital skills challenges in the creative industries. Highlighting emergent practices in the sector, this webinar brings together anyone working to support students into creative roles to collectively address the rise in demand for digital skills.

In this collaborative environment, we will share case studies and invite participants to work towards developing a framework for the effective integration of digital skills to support employability in the creative industries.

WHAT WILL I GAIN FROM ATTENDING?

We will focus on the specific nature of work in the creative sector and its dynamic relationship to digital technology. This will allow us to develop shared insights on how to best support graduates in their engagement with essential and emerging technologies as part of their career development.

Please note that this FREE event is only available to AGCAS Full and Partner Members.

Book your place now. Your email booking confirmation will include the Zoom link to the session.

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Not just AI: Digital skills gaps for creatives

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AGCAS provides specialised training and conferences tailored to the modern day careers professional aspiring to meet the needs of all higher education careers and employability staff.

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Leeds Arts University, in partnership with GTI, are currently working on a project researching the skills requirements of employers when hiring creative students and graduates. The overall aim of the project is to provide students and graduates with an accurate and informed overview of the modern job market’s demands; and of providing insight and guidance to employers seeking to engage with and recruit creative students.

Utilising the data from the Target Connect careers platform (creative opportunities advertised), as well as cutting-edge AI technologies, we have been able to analyse the language used across thousands of job descriptions and identify the most sought after skills categories across graduate level creative roles.

Although the report is still in progress, initial findings have highlighted the need for digital skills for creative roles:

Elli Whitefoot, Leeds Arts University, will provide an overview of the initial key findings of the report, particularly around digital skills.

The full report is due to be released, for public consumption, early 2024.

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How To Fail With Elizabeth Day is a podcast that celebrates the things that haven’t gone right. Every week, a new guest explores what their failures taught them about how to succeed better.

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How To Fail With Elizabeth Day is a podcast that celebrates the things that haven't gone right. Every week, a new interviewee explores what their failures taught them about how to succeed better.

How To Fail With Elizabeth Day is a podcast that celebrates the things that haven't gone right. Every week, a new interviewee explores what their failures taught them about how to succeed better.

Love love love

I love this podcast! It's has helped me navigate my way through the challenges that is life itself as a 41 year old busy working mother of two and in my role as a carer for my mother who has dementia. When I lost my dad to MND a few years ago I became obsessed with podcasts and my bestie recommended this. Listening to these episodes has provided untold insight and understanding of my emotions! It has saved my husband (unbeknownst to him) endless conversations and the guests are so insightful and Elizabeth beyond articulate not to mention in possession of a cracking name! Highly recommend! One of my favourite quotes 'death energy' by Gerry Halliwell! I now recognise that I too have this🥰 Elizabeth Williams x

Refreshing AND Relaxing!

How to make sense of the world and yourself whether connecting to guests such as Claudia Winkelman (she is what you see!) or gaining a deeper understanding of what your friends are going through (Dawn French, thank you). Revelations through a chat.

Great interviewees

Great concept, the guests are amazing and I think Elizabeth Day asks good questions. But, she is a bit of a sycophant and I find her trying to almost morph her personality into whoever she is talking to.

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‎How To Fail With Elizabeth Day on Apple Podcasts

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How To Fail With Elizabeth Day is a podcast that celebrates the things that haven't gone right. Every week, a new interviewee explores what their failures taught them about how to succeed better.

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Creative Careers Podcast co-hosted by former AGCAS CITG member Ben Robertson

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Listen to Your Careers Ride with Leeds Untied on Spotify. Ben Robertson and Marc Steward, two creative and curious careers consultants from Leeds, who run the Leeds Untied (Not a Typo!) #LUNAT careers collective, discuss all things career development with a focus on providing career wisdom in a world of career chaos in a fun and engaging way.

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Partnerships Manager: Education, Skills & Training - Creative UK

https://www.wearecreative.uk/

Email: chris.slesser@wearecreative.uk

Linkedin: https://www.linkedin.com/in/chrisslesser/

Chris works at Creative UK, working closely with its membership of universities, college, and training providers to champion creative education, strengthen skills provision, and improve access into industry.

He previously worked at Falmouth University, focusing on improving student experience, engagement, retention and outcomes and was prior to this was the President of Falmouth's Students' Union.

A practicing fine artist working at the intersection of sculpture and live performance, Chris is passionate about the transferability of a creative skillset to enrich all sectors of the UK economy and has delivered several guest lectures on the topic.

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Subscribe to our JISC Mail here!

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1. Before using JiscMail, please read our terms and conditions: https://www.jiscmail.ac.uk/policyandsecurity/

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CREATIVEINDUSTRYEMPLOYMENT@JISCMAIL.AC.UK

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Dr Miriam Firth and Elli Whitefoot consider the outcomes for creative arts graduates on page 21 of the 2023 report.

The CITG has also contributed to past WDGD reports, which can also be accessed at this link.

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This year's What do graduates do? is the essential deep dive into the outcomes of students who left university as lockdown restrictions were lifted. It includes subject-by-subject data, expert analysis by careers and employment professionals, and insight into topics such as AI, hybrid working and student engagement

Graduates shows resilience

This edition of What do graduates do? highlights the remarkable resilience of UK graduates during and in the aftermath of the pandemic, as their outcomes ranked among the best in the brief history of the Graduate Outcomes survey. Of the 206,795 UK-domiciled first-degree graduates who responded to the survey:

The majority of graduates (59.6%) were in full-time work 15 months after graduating, while 10.4% were in part-time employment.

Of those graduates in work, 76% were in professional-level employment - a higher proportion than among those who left university the year before.

8.4% of graduates in work were self-employed or actively working towards this goal.

7.8% of graduates were engaged in further study, while 10.5% were both working and studying.

Despite the difficult environment into which they graduated, just 5.0% were unemployed, and this includes some who were due to start work.

What's inside What do graduates do? 2023/24

The full report includes a summary of graduate outcomes in the regions and nations of the UK, Charlie Ball's labour market overview, and detailed analysis and data in the following subject areas:

In addition, the following expert insights add context and analysis, and discuss some of the ongoing challenges for the sector highlighted by the data:

About What do graduates do? 2023/24

What do graduates do? 2023/24 was published in October 2023 on Prospects Luminate. It examines first-degree graduate destinations 15 months after graduation. Itwas produced by Prospects in collaboration with AGCAS, the Association of Graduate Careers Advisory Services.

The data is from the most recent edition of the Higher Education Statistics Agency's (HESA) Graduate Outcomes survey, which collected responses from those who graduated in 2020/21.

Prospects and HESA are part of Jisc.

Previous editions of What do graduates do?

Regional edition

In 2019/20 What do graduates do? studied graduate destinations on a region-by-region basis, with data, analysis and commentary for every part of the UK.

Testimonials for What do graduates do?

As a careers adviser and information specialist with 30 years' experience, I cannot rate What do graduates do? highly enough. It forms an essential part of my toolkit.

- Hilary Nickell, project manager at Career Companion.

With over 300,000 students graduating from a vast array of courses and institutions every year, the UK graduate market is complex. WDGD is a key resource to help employers build their student recruitment strategies.

-Stephen Isherwood, chief executive of the Institute of Student Employers (ISE).

What do graduates do? provides a concise and informative overview of UK graduate destinations by subject area and is an invaluable resource for supporting both learners thinking about progressing on to higher education as well as undergraduate students planning their next steps.

- Andrew Jones, deputy director and IAG specialist at Linking London.

What do graduates do? is an essential resource for higher education providers and employers. Heavily influencing aspects of our work, the publication not only informs best practice through the student pathway but also on attracting and supporting students from diverse background.

- Terry Manyeh, Educating ALL project lead.

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The essential resource for understanding graduate destinations, with findings from the UK's largest higher education survey, insights from careers advice experts and detailed subject overviews.

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Dr Miriam Firth explains why incorporating graduates' working experiences into teaching is essential to helping students develop

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Employability, placements, and work based learning are important for all university students.

In one short sentence I have just turned off swaths of colleagues, but bear with me. These marmite terms are not about to be thrown around in careless abandonment in another KIS/metrics driven rant. Nor is this a post on how to support you to do something you do not want/need to do.

I am calling colleagues to action to embed your graduates' perspectives in your classes. Doing so will not only liven up class discussion - and engage those asleep or blank screens - but also situate knowledge in different contexts in order to challenge your students' theoretical comprehension.

My reason for calling colleagues to incorporate graduate perspectives? My research from a needs analysis study identified that the theory and practice in graduate employment do not always match up. Furthermore, from my 14 years' experience as an HE lecturer I have seen a marked improvement in student to graduate wellbeing as a direct result of considering graduate perspectives within university study. It's a win-win to me, so I thought I'd share.

Learning and working

Universities should ensure that students research and respond to real-world issues as part of their studies, no matter the subject area of their qualification.

Situating their studies in working contexts is essential for their part-time work during their studies and preparation for graduate life. It is estimated that 66 per cent of UK university students support their studies via part-time employment. Situating learning in working contexts is therefore not only important for their graduate life, but student life also. A high proportion of UK students complete this part-time work in the hospitality industry due to the flexibility and appeal of the work.

Work completed in the hospitality industry requires individual adaptability, flexibility, negotiation, dealing with difference, and handling difficult customer requests. If students are to work or graduate into these roles they must have an awareness on how to respond and deal with these situations.

Many students and graduates are not fully equipped to deal with extensive colleague or customer demands placed on them in the workplace, regardless of their degree title and occupation.

Students need to be aware of, and practice responding to, global situations. Wherever our students move to after they complete their higher education, they need to be adaptable to different groups of people, issues, and demands made of them.

Work-based learning is therefore an appropriate pedagogy from which students can apply their learning in relevant working contexts to critique its application and relevance to the working world. Students can also self-reflect on their individual responses within work experience in order to problematise their knowledge and skills in external situations.

By situating learning in working contexts, students are able to critically reflect on what is happening in the context, how they would respond, and how they can improve in skills and knowledge to better prepare for similar incidents.

How can graduate stories help?

In the absence of work-based opportunities, case studies are the most commonly accepted form of study material from which to consider working situations or external contexts. But by themselves, case studies are insufficient and do not prepare students for life post-graduation as the distance between the situation and the student lens is still too abstract and objective.

Instead, using real-life graduate stories in teaching better engages and situates student positions, knowledge, and self-reflection because they carry more weight and relevance. The situation is moved from a case study on "let's look at this example of a difficult customer' to "let's learn about Sophie's story as a waitress in a hotel, when a customer asked for sexual services instead of paying for their bill."

There is increased power in the validity of a story. In tandem, stories invoke a more emotional and reactive perception of the situation by the student. Sophie's story aside, students in every degree should be prepared for a range of demands placed upon them in graduate life.

Whether the demands link to intercultural sensitivity, gendered aesthetic labour, interpersonal skills, or management and colleague conflict, all students should have the opportunity to critically reflect on how they would respond to a range of external situations as part of their studies.

Once students have considered their responses to these situations they can then reflect on whether their response is ideal, and how they can develop their knowledge and skills to better succeed in similar situations upon graduation. Using graduate narrative stories is both an insightful research method and a supportive teaching method to better equip students for graduate life.

Narratives are important

Higher education must pivot to respond to the challenges of real-life employment to sufficiently prepare the next generation of employees and engaged members of a democratic society. Applying a narrative approach to research helps to offer insights into situations where other methods still include researcher subjectivity within the inquiry.

Narrative data, if gathered appropriately, is rich in an individual's account and perception of a situation. Not only can the stories from graduates enable student self-reflection and development within their studies, it can also lead to improved social responsibility and industry training for future generations.

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Why higher education needs graduate workers' perspectives | Wonkhe

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Employability, placements, and work based learning are important for all university students. In one short sentence I have just turned off swaths of colleagues, but bear with me. These marmite terms are not about to be thrown around in careless abandonment in another KIS/metrics driven rant.

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A visual C.V/Portfolio site I have been using extensively with students and graduates lately. Particularly useful for highlighting future potential, as well as existing experience (Andrew Garfoot)

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The CV is dead. Create a Vizzy to stand out in job applications, or as a personal website to showcase who you are and everything you do.

CREATE YOUR FREE PROFILE

EXPRESS your WORK-SELF

Our content-rich profiles champion your work, skills, inspirations, ambitions and all the things that make you tick.

Our psychometrics highlight your skills, personality-type and working style.
Helping you and employers understand your strengths and what you add to a team. Clever stuff.

CREATE YOUR FREE PROFILE

Create a bespoke URL or convert your Vizzy into an interactive PDF and share it with anyone, anywhere.

CREATE YOUR FREE PROFILE

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Vizzy | SHOW the WORKING world who you REALLY are.

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The CV is dead. Create a Vizzy to stand out in job applications, or as a personal website to showcase who you are and everything you do. CREATE YOUR FREE PROFILE Our content-rich profiles champion your work, skills, inspirations, ambitions and all the things that make you tick.

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Find your perfect role in the creative industries - Creative Careers

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Skip to content

Explore your values and how they align with your business idea

Identify your customers and the relationships you need to build

Use blueprint modelling to visually map how your business will function

Develop your marketing messages

Learn financial tools to ensure you are in control of your business finances

If you're interested in launching your own creative business and don't know where to start, you can purchase the Creative Enterprise Toolkit through Nesta's Shopify store.

Make your good idea grow

Specifically designed for creative people, the activities in the Creative Enterprise Toolkit are focused on developing both you and your business idea.

As well as exploring your values, identifying customers, developing your marketing messages, you will consider what future success looks like to you and develop a business plan that suits your motivations and aspirations.

Toolkit contents

Four handbooks to help shape your creative idea into a business

Activity worksheets for you to explore and visualise the key issues of the business

Case studies of successful creative entrepreneurs from around the world who have used the Creative Enterprise Toolkit

Tutor notes for creative entrepreneur supporters with information on how to build a programme of activities

What creative entrepreneurs say about the toolkit

The Creative Enterprise Toolkit has been used by hundreds of successful creative entrepreneurs around the world, from fashion designers, to freelance artists, to tech start-ups.
"Thinking about myself, my ideals, my motivations and the impact of my business was much more valuable to me than simply knowing how a business functions." "Starting a business can be daunting but nonetheless exciting prospect. Being given the tools to help you break down exactly what you need to do and when you need to do it has helped me manage my business needs one step at a time instead of visualising a mammoth task and not knowing where to start."
This short video features three creative entrepreneurs who have used Nesta's creative enterprise toolkit to help plan, build, shape, test, launch and communicate their new creative business.

Toolkit translations

Download the toolkit in the languages listed below by clicking on the link:

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Starting a business can be daunting. That's why Nesta created the Creative Enterprise Toolkit - a practical resource to help you plan, build, test, communicate and launch your new creative business.

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ASET was established to advance the prevalence, effectiveness and quality of work based and placement learning in Higher Education, by promoting and publishing research into that system of education. We are very pleased to offer our members a range of resources to support their ongoing professional development. Our resources offer informed and authoritative advice and support to all professionals working in the field. Our resources include:

* ASET Good Practice Guides
* ASET Viewpoints
* ASET Publications
* Conference Proceedings

We also provide an online forum to our members via Linkedin, a rich discussion area that is a useful place to post a query, pose a question or share your own practice with colleagues.

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ASET was established to advance the prevalence, effectiveness and quality of work based and placement learning in Higher Education, by promoting and publishing research into that system of education. We are very pleased to offer our members a range of resources to support their ongoing professional development.

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Here is a presentation I have used as part of my delivery, to develop career management skills in the creative industries (Andrew Garfoot)

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Senior Lecturer - University of Manchester
https://www.manchester.ac.uk/

Email - miriam.firth@manchester.ac.uk
LinkedIn - https://www.linkedin.com/in/mirifirth/
Research Profile - https://www.research.manchester.ac.uk/portal/miriam.firth.html

Dr Miriam Firth is a Senior Lecturer in Education Management and Leadership, in the Institute of Education, within the University of Manchester, UK. Her research focuses on Vocational Education, particularly Leisure, Hospitality, Events and Tourism Education. She chairs the AGCAS Creative Industries task group, and leads in Assessment for the Flexible Learning Project across the University of Manchester.

With 15 years UK Higher Education lecturing experience Miriam has taught and supervised students on all programme levels. She has worked with the Higher Education Statistics Agency to support development of new national Employability metrics and published textbooks on Employability to support vocational students.

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Careers and Employability Manager - BIMM Manchester

www.bimm.ac.uk

Email - andrewgarfoot@bimm.co.uk

LinkedIn - https://www.linkedin.com/in/andrew-garfoot/

​​​​​​​Andrew has worked for BIMM Manchester for over nine years, working with students of music, songwriting, business, events and production. This work is part of over ten years experience in supported employment and higher education.

Music is a huge part of Andrew's life, and being able to provide careers guidance in this area gives him the opportunity to combine his professional and personal interests. He has been in bands and worked with singer/songwriters since he was a teenager and plays guitar, dobro and lap steel.

His careers guidance specialisms include creative career paths, portfolio careers, postgraduate study, self employment, employment with a disability, professional online interactions, speculative applications and interview preparation. Andrew is also responsible for organising BIMM Manchester's yearly Careers Event, and frequently interviews music industry guests as part of BIMM's Masterclass programme.

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Careers Education Manager

UCL School for the Creative & Cultural Industries

Email - l.burtin@ucl.ac.uk

LinkedIn - https://www.linkedin.com/in/leoburtin/

Website - https://leoburtin.eu/

Leo Burtin is an artist, academic and creative producer with expertise in and passion for socially engaged practices. Over the last twelve years, Leo has combined his practice, research and management skills to develop critically acclaimed projects and programmes in Universities, Arts Council National Portfolio Organisations (Lancaster Arts, Manchester Jewish Museum), with independent cultural outfits (King Street Studios and Art Gallery, DART), as well as individual artists in the UK and Europe.

With a focus on talent and community development, Leo’s work within the field of creative careers and creative enterprise seeks to nurture strategic insight and proactive practical support to bolster artistic ambition.

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Creative Boom celebrates, inspires and supports the creative community. Launched in 2009, we explore the best in creativity and deliver news, inspiration, insight and advice to help you succeed.

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Shaping the future of graphic design, with Paula Scher

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Join host Katy Cowan as she enjoys candid conversations with creatives to uncover the secrets to success, and all the practical advice, funny stories and honest wisdom that will help you build a booming creative career.

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The DO Lectures is the long established ideas event run out of a cowshed in Cardigan Bay, Wales.

In previous seasons they have covered some inspiring personal stories and discussed some of the hurdles and barriers guests have had to overcome in order to go DO some truly amazing things.

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The DO Lectures is the long established ideas event run out of a cowshed in Cardigan Bay, Wales.

The DO Lectures podcast with Gav Thompson is our first venture into the podcast format. We're now in Season 3 - 'Dot Dot Dot' - in which Gav catches up with some of our past speakers to hear what they've been up to since DO.

In previous seasons we've listened to some inspiring personal stories and discussed some of the hurdles and barriers our guests have had to overcome in order to go DO some truly amazing things.

The DO Lectures is the long established ideas event run out of a cowshed in Cardigan Bay, Wales.

The DO Lectures podcast with Gav Thompson is our first venture into the podcast format. We're now in Season 3 - 'Dot Dot Dot' - in which Gav catches up with some of our past speakers to hear what they've been up to since DO.

In previous seasons we've listened to some inspiring personal stories and discussed some of the hurdles and barriers our guests have had to overcome in order to go DO some truly amazing things.

Hilarious antics from comedy legend

Very very funny

Essential listening

Brilliant series of discussions with real people determined to make a positive impact on the world. All with a peppering of Gav humour! Highly recommended.

Easy, fun conversations with a bit of X factor

Loving the series! Light hearted and fun with food for thought. Keep them coming!

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‎DO Lectures podcast with Gav Thompson on Apple Podcasts

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The DO Lectures is the long established ideas event run out of a cowshed in Cardigan Bay, Wales. The DO Lectures podcast with Gav Thompson is our first venture into the podcast format. We're now in Season 3 - 'Dot Dot Dot' - in which Gav catches up with some of our past speakers to hear what they'v...

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Every week a panel of top wonks will dissect the week’s big policy developments, and they also feature interviews, features and views from around the sector.

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Every week the Squiggly Careers podcast community comes together to explore our weekly podcast topic.

It's a friendly, informal way of spending some time on your career development every week, with the chance to learn more from hosts Sarah and Helen and lots of supportive like-minded learners.
Find out more

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Every week the Squiggly Careers podcast community comes together to explore our weekly podcast topic. It's a friendly, informal way of spending some time on your career development every week, with the chance to learn more from hosts Sarah and Helen and lots of supportive like-minded learners. Find out more

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I'm Jack and this is Ollie. We've joined up to explore the early careers market together with the help of the wonderful people we've met over our combined 20 years of experience in the sector.

Jack Denton, is the co-founder of the AllAboutGroup and Ollie Sidwell is the co-founder of RMP Enterprise and their well-known brands. We've known each other for many years and we hope that you'll enjoy joining us as we make our way through a host of different topics and issues found in the wonderful world of early careers.

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Early Careers Podcast | Early Careers Podcast

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I'm Jack and this is Ollie. We've joined up to explore the early careers market together with the help of the wonderful people we've met over our combined 20 years of experience in the sector. Jack Denton, is the co-founder of the AllAboutGroup and Ollie Sidwell is the co-founder of RMP Enterprise and their well-known brands.

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A Careers podcast by former AGCAS CITG Chair Rish Baruah

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A podcast by Karuna CV and Careers Advice, exploring different types of jobs and what people actually do when they go to work.

A podcast by Karuna CV and Careers Advice, exploring different types of jobs and what people actually do when they go to work.

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‎What Exactly Do You Do? on Apple Podcasts

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A podcast by Karuna CV and Careers Advice, exploring different types of jobs and what people actually do when they go to work. A podcast by Karuna CV and Careers Advice, exploring different types of jobs and what people actually do when they go to work.

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One for the musos, but I really love this podcast and I have learned a great deal from the interviews that is applicable to providing advice to students seeking a career in the creative industries. (Andrew Garfoot)

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Hi, my name is Cory Wong. This is my podcast. I'm going to talk to your favorite artists as they discuss their personal tricks of the trade, never-before-heard stories, and the proper response when Sinatra wants to peep your master tapes.

Hi, my name is Cory Wong. This is my podcast. I'm going to talk to your favorite artists as they discuss their personal tricks of the trade, never-before-heard stories, and the proper response when Sinatra wants to peep your master tapes.

Amazing host and content!!!

Love the ground Cory covers, who his guests are, the entire vibe is informative and uplifting!

Love This Podcast!

I've been listening to Cory's podcast for a short time. Kind of stumbled upon it actually. Got to tell you, this is one of my favorite go-to's. Whether your a musician (pro or aspiring) or just someone who appreciates music and wants to learn more about the art and artists, there's so much to get out of Cory's interviews and insights. I'm hooked for the long haul!! Thanks for all you do, Cory!!

Fantastic

I started listening to this podcast from the beginning. Cory is an excellent host, and the show develops as an ongoing conversation about evolving as artist, finding one's own unique voice, and approaching the business of music in modern times. His broad range of guests share their insight and candor during excellent, concise conversations.

Cory seems like a genuinely nice guy, and it's easy to imaging sitting in the room with him as a buddy while he talks to guests. His tireless enthusiasm and joyful approach to music and the instrument is refreshing - I'm glad I've spent the hours listening. I've learned a lot, and there's a lot of inspiration in these conversations.

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Hi, my name is Cory Wong. This is my podcast. I'm going to talk to your favorite artists as they discuss their personal tricks of the trade, never-before-heard stories, and the proper response when Sinatra wants to peep your master tapes.

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Would recommend the 'How to do your tax return', 'How to know what to do with your life' and 'How to smash a job interview' for a more light-hearted take on some tricky subjects (Andrew Garfoot)

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by Plosive, Tessa Coates and Stevie Martin
Go to website

(The podcast formerly known as The Debrief Podcast) Your guidebook to being a fully functioning adult without screaming all the time. Each week, Stevie Martin and Tessa Coates tackle life's big, small, fun and sometimes scary questions with the help of experts and special guests because we're all in this together, guys. So nobody panic.

Produced by Plosive. Photos by Marco Vittur, jingle by David Dobson.
Be part of the Nobody Panic Patreon gang
Support this show http://supporter.acast.com/nobodypanic.

Hosted on Acast. See acast.com/privacy for more information.

Comedy

Education

Society & Culture

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(The podcast formerly known as The Debrief Podcast) Your guidebook to being a fully functioning adult without screaming all the time. Each week, Stevie Martin and Tessa Coates tackle life's big, small, fun and sometimes scary questions with the help of experts and special guests because we're all in this together, guys.

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A very good music podcast, with a strong focus on the career journey of the artist/producer/songwriter (Andrew Garfoot)

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Miracle and Wonder: Conversations with Paul Simon is unlike any artistic portrait you've ever heard before. Recorded over a series of 30 hours of conversation between Simon, Malcolm Gladwell, and Broken Record podcast...

For generations of music lovers, the liner notes on albums were a central part of the way music was heard. You bought an album and it came with an accompanying narrative: a digression, an aside, a backstory-maybe even an invented history. We intuitively understood that great music required not just listening but conversation between the artist and the audience and the audience and the rest of the world.

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Broken Record is hosted by Justin Richmond with interviews by producer Rick Rubin, writer Malcolm Gladwell, and former New York Times editor Bruce Headlam.

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Sylvan Esso's Nick Sanborn and Amelia Meath have been making music together since 2013, when Amelia asked Nick, a music producer and bassist, to remix her band Mountain Man's hit...

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Broken Record Podcast - Rick Rubin and Malcolm Gladwell Music Podcast

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Skip to Main Content Gain access to ad-free versions of 20+ podcasts from the Pushkin library along with exclusive bonus episodes and other member benefits. Order your copy of Malcolm Gladwell and Bruce Headlam's new audiobook, Miracle and Wonder: Conversations with Paul Simon, now!