Earlier this week, a new 103-page Cultural Freelancers Study 2024 based on responses from over 5,000 stakeholders was published. It was carried out by the University of Essex under a commission by Arts Council England, alongside an equivalent document relating specifically to literature. The survey responses were supplemented by output from 27 focus groups and 53 one-to-one interviews with 200 freelancers.

Arts Council England Chief Executive Darren Henley frighteningly summarises the need for this exercise, which will now be repeated every three years. “This report, which quantifies the anecdotal stories we have been hearing for a number of years, makes for sobering reading. The challenges to the freelance community—of burnout, of leaving, or for the next generation, of not joining the cultural sector at all—are clear. I hope this report compels those of us with agency to take action—and to take action fast.”

Many of the responses will be worryingly familiar, but there may also be unexpected conclusions along the way.

  • 69% of respondents work only / mainly as freelancers.
  • 73% earned under £25,000 before tax from freelance work each year, even though many hold graduate and postgraduate qualifications and could earn much more in other sectors. (To put the remuneration into context, readers may have seen recent news stories about newly qualified solicitors receiving up to £180,000 per year!)
  • Many freelancers report that their income does not cover their living expenses and household bills.
  • Necessary travel costs may reduce even this low level of income.
  • 68% of respondents were unable to save for a work-related pension.
  • Freelancers often hit a mid-career income wall where earnings fail to increase in line with skills and experience, meaning that a proportion leave the industry.
  • 60% are not members of a union, most unaware that this is an option.
  • 70% said that mentoring, advice and supervision is not available when they need it.
  • 81% found out about work opportunities through personal recommendations and 56% to repeat bookings. This means that accessing work opportunities is difficult.
  • Concerns, including from those who left the profession, were expressed about stagnant pay and a lack of pay progression.
  • Other reasons for leaving the professional included issues relating to equality, inclusion and accessibility and “ongoing challenges related to age or disability.”
  • In particular, 47% felt that the creative and cultural sector is “not very” or “not at all” inclusive and this led to financial inequalities. The figure amongst those under-represented backgrounds was considerably higher.
  • 23% of respondents were deaf, disabled or had long-term health conditions. They felt stigmatised.
  • Working in this industry can be harmful to mental health and well-being, primarily resulting from / leading to a lack of work-life balance, fatigue, anxiety and despondency.
  • Poor working conditions did not help, along with workplace discrimination, bullying and unequal treatment, leading to fear of speaking out.
  • Other issues:
    • Arts organisations do not necessarily maximise opportunities for communal interaction.
    • The reduction in state funding for culture and the arts since 2010 was regarded as disproportionate, particularly in regard to grassroots venues and arts education.
    • The consequences of the pandemic are still being felt.
    • Brexit, migration policy and visas are new issues that have made working in the EU difficult or even impractical and limited the work pool as fewer EU citizens study in UK higher education.
    • The cost-of-living crisis has exacerbated existing concerns.
    • Artificial Intelligence is both a new opportunity and a new threat.

Future Plans

77% of respondents expect to continue with freelance work. However, only 43% would recommend it to others. The underlying reasons include a desire to see changes to pay and contractual terms closer to those of employees. They would like the introduction of a living wage for freelancers, something for which Equity has long favoured.

As one might expect in a report commissioned by Arts Council England, there is a statement that “freelancers believe that Arts Council England has the potential to play leading role in more effective resource allocation and in securing a more sustainable, equitable accessible future for the sector”. This is qualified by recognition that legislative change may be necessary to bring this about.

They would also like to see increased investment in arts education and greater opportunities in state schools with widespread accessibility.

Funding

The elephant that should have been in the room that has not been stated explicitly is the lack of funding to and from Arts Council England.

Many organisations have been thrown into chaos and a few out of existence as a direct consequence of funding decisions made by the body itself, which inevitably has a knock-on effect on freelancers. It could be argued that providing adequate, well-directed financial support to theatres and other cultural organisations would be of far greater significance than anything coming highlighted by this report.

Conclusion

In conclusion, the report’s authors (who include academics working at East 15 Acting School) note that freelancers have “serious passion for their work, which they feel is exploited by organisations and funders. This underpins a sector which depends on a financially insecure and relatively unregulated workforce. The report of the need for collective representation, fair remuneration and conditions, and better recognition of the value of their work.”

If anyone wishes to respond personally, they can do so at [email protected].