We started this session with points-of-view from three freelancers, two in the performing arts and one in film:

- Gemma McDowell: Casting agent, teacher, coach, choreographer, gigging as a performer (solo and with band The Contacts), and the sole owner of First Performers Recruitment & Entertainment.

- Emily Steele: Freelance film-maker and working part-time for local arts organisation, 62 Gladstone Street, Emily is also director of Cine-Sister and the Gateway Film Festival.

- Darren Pritchard: Dancer, choeographer, director and producer, including running a Black Gold Arts and a number of successful Vogue Houses and is part of Fuel’s Freelance Task Force (for HOME in Manchester) focusing initially on QTIPOC (Queer, Transgender and Intersex People of Colour) representation and now broader, especially on the redundancies of technicians from mothballed venues.

The notes below are structured around Gemma, Emily and Darren’s contributions, with additional material from the notes from the breakout rooms.

Work stopped overnight when lockdown hit, busy diaries got wiped clean in one go, and access to financial support like Universal Credit and the Self-Employed Support Scheme has been difficult and slow. This left artists, especially freelancers, to scramble and hustle for work in whatever place they can find. And in some cases the hustle has been a success. Government support is not universal, especially if you have swung between self-employed and PAYE contracts, or are just starting out. Survival without savings or partners, friends or family if only to bridge the gap, would be impossible. Those whose lives are more transient face real hardship – including homelessness.

An ability to adapt has been vital. This is an essential tool for any creative freelancer at any time. Some adaptations have resulted in income, such as teaching via Zoom (falling off now) or working with brand ambassadors. Some venues have honoured their financial commitments, but the predominance of split box-offices has meant that this is also not a universal experience. Some organisations are commissioning work and creating opportunities - look locally at Stamford Arts Centre, Metal Culture, and Nene Park for the programmes that they have created, and follow them on social media / mailing lists for what is coming down the line.

There was some debate about micro-commissions, to spread the resources, versus bigger commissions which effectively support one or two artists. It was agreed that there needs to be a focus on artists fees returning to normal as soon as possible. Artists, after making the case to be properly financially remunerated (as “exposure” and “opportunities” don’t pay the bills) are dropping their rates to just get some money in – but that isn’t sustainable. Holding your nerve and valuing your content was proving effective, for some, ie. For Korp and Lamphouse Theatre, for those who have the right “product”.

Online teaching is complex, limited by the artform, student’s own space, inclination, finances, and by the vagaries of the internet. Online work needs to be valued, and paid for – audiences can support artists by paying for the content that are enjoying, and organisations that are paying the artists are also to be celebrated and acknowledged.

For others it’s about adapting to keep your practise, profile and spirits alive; by hosting classes, band nights and film clubs online, doing a limited amount of work for free, for charities etc, or just exploring your own ideas.

No matter how you adapt, we came to the conclusion that what is important is keeping the creative practice alive. This is because creative practice is also part of an artists’ self-care - it goes to the heart of our identity. Deadlines are useful for maintaining momentum and motivation. Not being paid does not stop the impulse to create, but bills still need to be paid. Many artists have been documenting the pandemic itself and are finding that this is building new audiences and relationships as well as being personally rewarding.

Self-care is important for everyone and it’s helpful to recognise how to use the online tools can support yourself personally, not just professionally. We were therefore encouraged to connect with others, from Zoom socials to pub quizzes to catching up with long-lost friends. Though others also noted that the apparent productiveness of others online creates a competitive atmosphere, and one of self-doubt. (Why haven’t I written my opus?) So it’s important to recognise that everyone’s situation is different, including your own – and that it’s all changing, constantly. Taking yourself off social media may be self-care. The key is to be self-aware.

Emily discussed how the precariousness of freelancing is normally justified by what you are able to achieve as a passionate, skilled freelancer – having that taken away from you is a struggle. Raising questions about future career paths, which will mean the loss of skill sets, especially amongst technicians. This is amplified even further amongst people who may face additional barriers, such as those with disabilities and those already under-represented in the sector.

There are tools which can support us to work, from Zoom to Patreon, and numerous pots of financial support from the Netflix Artists Fund, to government led initiatives – so it’s never been more important to collaborate and network, listen and learn from others, and become really effective in identifying what your unique skills are, marketing them really well, and making sure you value them for what they’re worth.

Drawing on networks has always been vital for freelancers, and the longer you have been working the more networks you might have; For instance Gemma has been working with the performing arts school where she trained. This only highlights the disadvantage that younger and not yet fully established artists face by not having the range of contacts and relationships that build up over the years. For many, especially those just starting freelancing, the creative network seems like an impenetrable fortress for which they’ll never be able to access. This is where it becomes the responsibilty of established artists and organistions to create welcoming and accessible networks. Some professional networks have been helpful, as have some colleagues – possibly creating a this kinder, more collaborative industry.

Looking ahead is important. Remembering that being a freelancer is not just about being a hired hand, jousting with our lances for a gig. It’s that we are skilled practitioners who can’t be switched off – we are still creative, even at times when we can’t take our work to the public. That is our gift to others, and ourselves.

Darren talked about how we just have to do what freelancers do - make work. Producers need to create projects that commission freelancers. As many as possible. And that something needs to change – 70% of the workforce are freelancers, but they don’t get 70% of the income of the sector, and are even harder hit by the impact of COVID. So if the bailout is going to venues they need to, by return, support those who actually make the work – to mobilise the whole industry and not just re-polish the ‘crown-jewels’.

One of the difficulties of creative careers in the past is that the impact can be hard to measure when we are talking about changed lives among audiences etc. But so many people are turning to creative pastimes during the pandemic that they are now beginning to realise how much they have benefited from creative work they have been exposed to in the past– either events or tuition. So maybe change is possible. Maybe some good can come out of this situation for the sector as a whole.

* The origin of the word freelancer, provided by Marcus Romer, came from when at a jousting tournament a rider would be paid to joust because of their skill at it, or would turn up and joust for themselves. In this uncertain time we must all show up for ourselves and joust, or hustle, for the motivation to keep going and, most importantly, to keep creative.

Next Culture Forums:

Monday 20 July, 4-5pm. Natalie Philips, Arts Council England: Let’s Create Strategy / Project Grants / Creative Industries Bailout.

Monday 3rd August, 4-5pm; Marcus Romer, Digital & Social Distancing in Live Performance.

Attendance list:

Darren Pritchard - House of Ghetto

Chloe Wilmot - Chloe’s Dance Company

Lee Ashton - Beat This

Tim Casson - Casson & Friends

Prin Marshall - PCVS / Youth Inspired

Natalia Piotrowska

Lucia Restanion

Jenna Tudor - Dance teacher