Creative Access, the leading social enterprise in progressive career development and support, today announced that 37 people working in the creative industries will receive vital funding for equipment, training, driving lessons and travel costs to support their career progression in the sector as part of its collaboration with McLaren Racing. 

In 2021, Creative Access partnered with McLaren Racing as part of the team’s flagship DE&I programme, McLaren Racing Engage, which was launched to open pathways into motorsport careers. Now in its third year, the Creative Access x McLaren Racing bursary supports talent from under-represented communities aspiring to work or further their career in the creative economy, but who are currently held back from doing so because of their financial status.  

Recent Creative Access data found that 82% of those working or aspiring to work in the creative industries in 2023 named the cost-of-living crisis as a significant barrier to accessing roles (Creative Access Financial Barriers, 2023) and recent ONS data reveals that the number of working-class creatives has halved since the 1970s. This is despite 52% of British people identifying as working-class (British Social Attitudes report, 2023).  

While the Bursary is open to all ages looking to develop their career, the majority of 2023 applicants came from entry-level career stages. And 68% of applicants came from lower socio-economic backgrounds highlighting the impact and lack of accessibility to the creative industries for young people in particular.   

Each successful applicant will receive a grant between £250 and £1,000, which must be used to enable them to progress in their chosen creative career. The most common and significant request was for equipment funding such as tech and software, seconded by driving lessons.   

The successful recipients are located across the UK and currently work or aspire to work across the breadth of the creative industries including publishing, TV, film, theatre, visual arts, music, product design, fashion, technology and gaming. 55% of applicants came from London, indicating the density of creative jobs in the area paired with the effects of the high cost of rent and living in the capital.  

Funding was also requested for: 

• Commuting costs 
• Care costs 
• Living and rent costs  

The sectors with the most requests were:  

1. Film, TV, radio and audio production 
2. Music, theatre, dance and visual arts 
3. Book, newspaper and magazine publishing  

Timotej Baca, who is a freelance videographer based in Northern Ireland, said: “Receiving the Creative Access x McLaren Racing bursary is massive, with the rise in cost-of-living I’ve spent the last year developing and writing projects. With the bursary I can now buy an industry-standard camera to restart my freelance career.” 

London-based film and TV electrician, Mariam Hayat, explained: “As a South Asian woman, I look pretty different to other film and TV electricians – but now my tools look the same as theirs thanks to this bursary! I’m so excited to start a career as a practical electrician and work on my own creative electronic projects using the professional equipment I’ve bought.” 

Bibi Hilton, CEO, Creative Access says: 

“Individuals from groups under-represented in the creative industries often face financial barriers to progression. So, we are very pleased to be able to award funding from our Career Development Bursary for the 3rd year in a row, made possible thanks to generous support from McLaren Racing.  

This funding really does make a critical difference with 80% of those who received funding last year saying it’s enabled them to access new opportunities and move forward in their careers. We can’t wait to see the impact this funding will have for this year’s successful applicants.” 

Kate O’Hara-Hatchley, Head of Diversity, Early Careers and Development, McLaren Racing, commented:  

“McLaren Racing is delighted to be supporting the Creative Access Career Development Bursary for the third year running. The McLaren Racing Engage alliance aims to tackle address systemic inequalities in our industry to ensure we can become one of the most inclusive teams in sport. We have seen great impact to date, helping to break down the barriers and open more doors within the creative industries. The scheme is an integral part of McLaren Racing’s commitment to Diversity, Equity & Inclusion, a key pillar of our Sustainability Strategy ensuring that everyone, irrespective of background and financial status, has equal access and opportunities.” 
 

We were delighted to join ITV Academy at ITV’s White City space to hear from a panel working across the world of TV production, from editorial to production management, working in both scripted and unscripted, as well as two seasoned Creative Access ITV alumni sharing their insights.  

Our panel: 

• Amrit Kaur Bassi, social purpose manager at ITV (chair) – Creative Access alumni 
• Modupe Aluko, post-production manager at Potato 
• Verina Burt, head of news features at Good Morning Britain 
• Kishan Koria, editor of Peston at Multistory Media – Creative Access alumni 
• Sophia MacKay, production manager, Scripted at ITV Studios 

Here’s what we learnt… 

With live TV, things can change whilst on air. This is something Verina knows all too well: with 25 years experience and having worked her way up doing all sorts of production roles, she now runs the team who organise the daily debates, producing the participants, as well as big campaigns and national surveys at Good Morning Britain. Verina said everything is reactive to what’s in the papers that day – you must think on your feet and adapt to what’s happening in the world around you.  

This is something Kishan, who started off as an intern on Peston seven years ago via Creative Access and has been there ever since, agrees with. As editor he works out who’s on the programme and how the show runs, as well as being in the ear of the presenter.  

He explained that things change a lot, despite Peston being one-hour long ep a week and said that the biggest change he experienced whilst on air changing the format of the show was when the Capitol was stormed in 2022. He told the audience that keeping the format fresh is key: “If you want to make good current affairs TV you need to move with what’s happening, so it feels live.” 

Fellow Creative Access alumni Amrit also started off as a trainee at ITV in the social purpose team and is now a manager in the department. She works internally and externally supporting ITV’s missions around mental well-being, diversity, equity and sustainability, and helping the next generation of TV talent. She said: “I find it so difficult to describe my job because it’s so varied”.  

Meanwhile, Sophia explained that because her role is an overview, she is involved at every stage: doing everything right from the beginning such analysing the viability of a production (whether it can even be made), to pre-production, script breakdown, helping the team crew up and liaising with all the in-house teams. She then supports the team on the ground during the shoot and supports a smooth transition into postproduction, and even organises press screenings.

Sophia, having worked across both areas, says essentially the script means that there’s actors, bigger budgets and longer schedules as well as planned sequences (versus impromptu scenes that happen in unscripted).  

Although there are also ‘loose’ scripts in unscripted TV… Modupe, who works mostly on The Chase, told us that the researchers dig into the contestants’ interests and backgrounds and relay this to Bradley Walsh so he can build a rapport. So, in unscripted, the script tends to act as a way to lay down the basics for natural conversations to unfold.  

Sophia recommends that if you want to make the crossover from scipted into unscripted you shoudl try and upskill and learn about concepts such as screenwriting and lighting techniques. 

If you’re interested in TV, you probably know by now that it often requires long days. Modupe explains that as a production manager “you’re the first to be there and you’re the first to leave” and that you’re often the person everyone across the team comes to for help. Modupe said that she tends to record 3 shows a day, starting very early and finishing quite late.  

However, Modupe explains that her love of organisation means the long hours are “very rewarding” and she was keen to tell the audience that you do get that time back. She recommends that people wanting to break into TV utilise their transferable skills and passions to help them find what they want to specialise in.  

Kishan said: “Nothing is more important than love of the area you want to cover”. He explained that it’s difficult for people to respond well to a programme if the people behind-the-scenes making that programme don’t love the subject matter, continuing that all his team are politics-obsessed. 

TV is a fast-paced environment and mistakes can happen. Kishan says your team is there for you to rely on when things go wrong, or you need help: “The key thing is to know you’re part of a team – there’s meant to be a support system in place. The worst thing is to cover it up, the best thing you can do is talk to your team and ask them how you can fix it.” 

As always, we asked our panel… 

Verina: “It’s such a varied career, don’t be afraid if you don’t know what path to take yet. It’s never too late to change direction. 

Use your transferable skills, career paths are changing whether you’ve got a degree or not doesn’t hinder you. If you’re really inspired email people and get the name of the show right! Watch the shows you love that you want to work on. You could even create a YouTube or Tik Tok channel to help build experience.” 

Modupe: “There’s only one you. Whatever you like doing – use that! For example, I was the organiser in my family – I didn’t know that skill could mean I’d become a coordinator, find that skill and run with it” 

Kish: “Persistence is key. I’ve never received an email from someone who loves politics and wants to learn about TV and not been really flattered by that. It’s ok to follow up and say ‘hey, sorry if you’re busy can I follow up on this’. It does lead to things, even if it doesn’t lead to a job.”  

Amrit: “Normalise making mistakes!”  

Sophia: “Be proactive – don’t wait until you’re asked to do something. Try and pre-empt what your colleagues need. People will recognise that and think, ‘yes I want them on my next production.’  

Be kind and talk to everyone! Confidence comes with experience so just ask questions. You’ll be surprised what you find out”.

 

Melina Spanoudi reports on Hachette reopening its 2024 traineeship programme in partnership with Creative Access which will provide entry-level positions as well as, for the first time, placements for experienced candidates looking to take a new step in their career. Read the article.

At Creative Access, we have over 10 years’ experience in the diversity, equity and inclusion (DE&I) space, pioneering bespoke programmes so that people from under-represented backgrounds in the creative sectors can thrive. We also help employers ensure that not only does their company reflect society, but that they are able to provide the best support for all employees by building inclusive cultures. 

This is all to say, we’ve seen a lot of trends, discussions, debates and movements over the past 11 years. Here are our expert and data-backed predictions about the future direction/priorities of DE&I in 2024. 

Between spending cuts and the increasing cost of living, lots of creative organisations are having to tighten their purse strings. However, it would be unwise to put vital diversity and inclusion services on the backburner.  

A recent McKinsey report (Diversity Matters Even More, McKinsey & Company, Nov 2023) found that companies in top quartile for ethnic diversity do 27% financially better than their competitors. Similarly, they also found that good gender and ethnic representation in executive teams makes organisations more likely to outperform their peers.  

Meanwhile, our own data shows that only 38% of employers admit to having a DE&I strategy in place. This means the vast majority do not, and we’re seeing the knock-on impact by way of increased poor mental health and a lack of career progression optimism from under-represented groups without support. This data shows that employers need to take action to invest in the most impactful areas to acquire, develop & retain diverse talent.  

In 2024, employers will have to look at their mental wellbeing, reasonable adjustments and support policies.  

Whilst delivering training across the UK in 2023, we saw an increase in the need for mental health and wellbeing sessions. We also observed a significant uptake in employers requiring neurodiversity training, with our Embracing Neurodiversity session being the most popular workshop in 2023.   

Why? With NHS diagnosis waiting lists up to 24 months long, a shortage of ADHD medication, and increasing awareness of neurodivergent conditions in the UK, people are more likely than ever to self-diagnose or identify as neurodivergent in 2024. Employers that receive training on how to navigate these issues and best support their staff will hugely benefit. 

You can read more about how to best support an employee with reasonable adjustments here, and a guide on disclosure here.  

Much like during the pandemic and the Black Lives Matter movement, crises happening across the globe in 2023 have highlighted a lot of collective pain. 2024 will bring about continued global conversations around these issues and the workplace will have to find ways to respond and prioritise employees’ emotional wellbeing.  

These conversations need to be taken seriously and handled with empathy, and there is no quick fix to complex problems around the world and within the UK. As an employer, it’s not your job to change the world, but you can help your employees feel supported as they navigate it.  

Our trainer and diversity consultant Elonka Soros, says: “A DE&I consultancy session can help those responsible for leading the change to take stock and identify the best course of post-training action.  

Taking an honest look at any in-training feedback about where your company is now and helping you plan for where you want to be by the end of the year. You won’t be able to do everything in twelve months, so don’t set yourself up to fail by promising to do so. Colleagues are less forgiving of pledges and statements that are not followed through. “ 

It wouldn’t be a trend piece without us touching on AI. Much has been debated in the past year since the rapid rise of programmes such as Chat GPT. With think-pieces proclaiming the end of creativity, bolstering the very scary threat to jobs.  

However, despite this threat, we can use AI to help us work smarter through optimising writing or content creation and helping us save time. In the next year, we’ll see an increase in job roles dedicated to harnessing the convenience of AI and embedding it into creative practices in the creative industries.  

However, it’s important to recognise that AI doesn’t account for representation and has its own biases. Programmes like Chat GPT draw its answers from existing information on the internet which – you guessed it – is heavily skewed towards a white, male, privileged voice. This therefore means there are ultimately gaps in how ‘diverse’ or ‘inclusive’, or well-balanced, its conclusions are.  

If you’re interested in prioritising diversity and inclusion in 2024, you can find out more about our services here. 

The Mo Siewcharran Fund has awarded its latest round of grants to five outstanding, creative organisations across theatre, music, dance and the arts:  BoyBlue, MAYK, Platform, Good Chance Theatre, and the Royal Philharmonic Orchestra. 

The Fund was set up six years ago in memory of Nielsen Books’ former director of marketing and communications, Mo Siewcharran, by her husband, John Seaton and is administered by leading diversity and inclusion social enterprise, Creative Access.  

Mo Siewcharran was passionate about ensuring theatre, publishing and the arts were accessible to all and the grant funds internships for talent from Black, Asian and other ethnically diverse backgrounds to improve accessibility and representation in the creative industries.  

This round includes the awarding of funds to train an individual from a refugee and migrant background who will gain paid experience in the arts, via Good Chance Theatre. 

Since the Fund started in 2018, it has supported 40 Black, Asian and ethnically-diverse trainees in publishing, theatre and music across the UK.  

On this latest round of recipients, founder of the Fund, John Seaton said:  

The grants contribute to the salary of an intern for a six-month traineeship, and trainees benefit from a full programme of support from Creative Access to ensure that they thrive in their new role.   

This year’s list of recipients includes the Royal Philharmonic Orchestra. With a mission to enrich lives through orchestral experiences that are uncompromising in their excellence and inclusive in their appeal, James Williams, Managing director said: 

Platform, an arts centre in Glasgow’s east end, offers a year-round programme of performance, music, visual arts and participation, and brings together communities and artists. The trainee at Platform will gain hands-on experience as Performing arts and communities producer. Upon receiving the grant, Creative director Matt Addicott said:  

Another recipient whose work embraces different creative disciplines to reach communities, is London-based theatre and arts charity Good Chance Theatre. The trainee at Good Chance will enter its Stage Door programme as Admin and production assistant. Hannah Harding, Development and communications manager, said:  

The Fund is proud to support organisations across the UK, including Bristol-based live performance organisation, MAYK, which makes space for a holistic, long-term approach to creating memorable experiences that are accessible to lots of people. The trainee at MAYK will learn how to produce live events, as Assistant producer. Co-director Matthew Austin said:  

Also receiving the Fund is hip-hop dance theatre company, BoyBlue. Shaped by a multi-generational, multicultural community, this east London based company will host a trainee administrator. The trainee at BoyBlue will learn the ins and outs of operating an arts charity. BoyBlue’s Executive director, Jo Stendall said: 

Creative Access and John Seaton welcome applications for the next round of the Mo Siewcharran Fund, which is open to theatre, publishing or music organisations wishing to support internships for those from under-represented communities.  

Those interested in applying should contact recruit@creativeaccess.org.uk. The deadline for the next round of applications is Friday 28^th June 2024. 

Senior figures from the sector have been recognised in the King’s New Year Honours list, including the co-founder of Creative Access, Josie Dobrin. Read the article.

Josie Dobrin, Jilly Cooper, Charlie Mackesy and Alexander McCall Smith are among figures in the publishing industry awarded New Year Honours, reports The Bookseller. If you have a subscription to this title, you can read the article here.