Creative and cultural industries

Source: SfBn Evaluation Employer Survey 2004: Creative & Cultural Skills SSC Report 2005, page 2.

N.B. As measured by the IDBR.  Crafts and Design are excluded as there are no corresponding SIC codes.

Source: Creative Industries Economic Estimates Statistical Bulletin (October 2007), produced by DCMS, table 4.

Source: Skills Needs Assessment 2007

Source: Working Futures 2004-2014 (sectoral report) 2006, table 3.24.7

Source: Skills Needs Assessment 2007, table 37.

Source: Skills Needs Assessment 2007, table 30.

26,560 people working in the Advertising sub-sector (as their main paid occupation). It’s a profitable industry, contributing £1.46bn (or 0.23%) of GVA to the UK economy. 44% of businesses have a turnover of £1m or more, and 65% of businesses employ 20 or more people. Productivity levels – calculated as GVA per head – are running at £54,820.

There are 12,300 businesses in the sub-sector; 65% employ more than 20 people.

The business model in advertising is changing – non-traditional areas of marketing are growing, and through the development of digital technology, more traditional areas of operation are experiencing either expansion, or decline.

The internet is continuing to exhibit great opportunities and challenges, and tapping into this sector has generally been seen as a success.

Sources: Skills Needs Assessment 2007 and Gap Analysis and Market Testing 2007

Click here for information on entry routes and progression in the sub-sector.

This sub-sector has many more lone workers than the other sectors with 87% of traders operating as sole traders.  40% of businesses turned-over less than £10,000.  30% of makers have been trading for more than 20 years.

Sources: Skills Needs Assessment 2007 and Gap Analysis and Market Testing 2007

In England and Wales:

• Two thirds of makers are female
• 96% of makers are white
• 87% of makers are operating as sole traders
• 40% of businesses turned over less than £10,000

Source: Crafts Council (2004) Making it in the 21st Century

In Scotland:

• Two thirds of makers are female
• 98% of makers are white
• 22% of makers had been in business for more than 20 years
• 76% of makers are operating as sole traders
• 47% of businesses turned over less than £10,000

Source: Scottish Arts Council (2002) Craft Businesses in Scotland: A Study

In Northern Ireland:

• Two thirds of makers are female
• 100% of makers are white
• 86% of makers are operating as sole traders
• 48% of businesses turned over less than £10,000

Source: CraftNI (2006) A Future in the Making: A socio-economic study of makers in Northern Ireland 2006

Click here for information on entry routes and progression in the sub-sector.

55,960 people are provided with paid employment by the sector (53,810 as a main occupation, 2,150 as a secondary occupation).  However once volunteers are added to the ‘workforce’, this total could more than triple.  The largest segment is museums, accounting for 31,740 people (or 59%) of this workforce.  Cultural heritage contributes 0.15% of GVA to the UK economy.  Museums make the most significant contribution to this at 85% - since admission charges were scrapped to national museums, there have been 30 million extra visitors.

Although the sector is heavily publicly funded, the sector faces increasing economic pressure; for example organisations increasingly need to demonstrate that they add value.

Although the sector is moving towards a more commercial model, it still does not tend to compete in the traditional sense.  The focus is on organisations being the best that they can be.

Key statistics:

• 53,810 people work in the cultural heritage sector.
• 7% are self employed and 3% are freelancers.
• Cultural heritage contributes £951m of GVA to the UK economy.  
• There is a small majority of female workers in the industry (52%).  
• 95% of the cultural heritage workforce is white.
• There are 1,340 businesses in the sector.
• 13% of organisations employ 20 or more people.

Sources: Skills Needs Assessment 2007 and Gap Analysis and Market Testing 2007

Click here for information on entry routes and progression in the sub-sector.

Design contributes 1% of GVA (£6.3 billion) to the UK economy per annum, with a fairly even split across the segments (though Stage and Set Design is a much smaller contributor).  Productivity levels (GVA) are calculated at £35,100 per person.  The industry is heavily concentrated in London and the South East, which account for 73,000 of the approximately 180,000 people working in design businesses or occupations (i.e. 40%).  Scotland has a design population of around 11,000 people, in Wales the figure is approximately 6,000 and in Northern Ireland the sector totals 3,000 people.  Almost 90% of businesses employ fewer than 5 people.

The overall profile of UK design could be described as a ‘cottage industry’, which is highly fragmented.

Growth in design has occurred in SMEs, with large and small businesses and freelancers feeling the effect of a decline in fee income.

Key statistics:

• 180,000 people currently work in the design sector.
• 33% are self employed and 20% are freelancers
• Design contributes £6.3b to the UK economy.
• There is a majority of male workers in the sector (68%).  
• 95% of the design workforce is white.
• There are 14,805 businesses in the design sector.
• Less than 2% of design businesses employ 20 people or more.

Sources: Skills Needs Assessment 2007 and Gap Analysis and Market Testing 2007

Click here for information on entry routes and progression in the sub-sector.

Visual, performing and literary arts contribute 1.4% of GVA to the UK economy. Nearly half of this falls within the performing arts.  Productivity levels – calculated as GVA per employee – are running at £28,200.  There are approximately 31,000 businesses in visual performing and literary arts across Great Britain.  These are distributed as follows; 29,200 in England, 1,100 in Scotland and 750 in Wales.  Their businesses employ approximately 90,600 people across Great Britain, the vast majority of which are located in England (81,600).  There are 5,900 people employed in Scotland and 3,000 in Wales.  There are 186,580 people working in the visual, performing and literary arts sub-sector (as their main paid occupation).The largest segment is performing arts, which accounts for nearly 85,000 people (or 45%).

Across the industry there is a need for improved procedural business skills that allow employers and practitioners to run business effectively.

Business and enterprise issues pertain specifically to how the sector can raise its ambitions, to professionalise creative processes but to maintain that unique element which enables innovation and success.

Regional hotspot: South East region

Literary arts key statistics:

• 68,900 people currently work in the literary arts industry.
• Literary arts contribute £2.3b to the UK economy.
• 52% of the sector is male.  
• 94% of the workforce is white.
• 32% of the workforce are freelance, and 62% self-employed.
• There are 17,805 businesses in the sector.
• Less than 93% employ less than 5 people.

Sources: Skills Needs Assessment 2007 and Gap Analysis and Market Testing 2007

Click here for information on entry routes and progression in the sub-sector.

Music contributes £6 billion of GVA to the UK economy, which represents 0.95% of total GDP. Productivity levels – calculated as GVA per head are relatively high at £40,800.

There are several successful small businesses in the industry.  Small businesses in the sector have considerable entrepreneurial drive led by people who will invest their personal finances.

Keeping hold of Intellectual Property in small businesses is a real challenge.  Addressing key issues relating to the performance of businesses in the sector is also imperative. 

Key statistics:

• 95,010 people work in the music Industry.
• 47% are self employed and 20% are freelancers.
• Music contributes £6b of GVA to the UK economy.
• There is a significant majority of male workers in the sector (69%).
• 96% of the music workforce is white.
• There are 17,680 businesses in the music sector in the UK.
• Only 4% employ 20 people or more.

Sources: Skills Needs Assessment 2007 and Gap Analysis and Market Testing 2007

Click here for information on entry routes and progression in the sub-sector.

Visual, performing and literary arts contribute 1.4% of GVA to the UK economy.  Nearly half of this falls within the performing arts.  Productivity levels – calculated as GVA per employee – are running at £28,200.  There are approximately 31,000 businesses in visual performing and literary arts across Great Britain.  These are distributed as follows; 29,200 in England, 1,100 in Scotland and 750 in Wales.  Their businesses employ approximately 90,600 people across Great Britain, the vast majority of which are located in England (81,600).  There are 5,900 people employed in Scotland and 3,000 in Wales.  There are 186,580 people working in the visual, performing and literary arts sub-sector (as their main paid occupation).The largest segment is performing arts, which accounts for nearly 85,000 people (or 45%).

Many performing arts organisations face competition for venues to stage events.  It is essential that touring companies gain good box office returns.

Across the performing arts there is a need for improved procedural business skills that allow employers and practitioners to run business effectively.

Regional hotspot: South East and North West regions

Performing arts key statistics:

• 84,470 people currently work in the performing arts sector.
• 19% of the workforce are freelance, and 55% self-employed.
• Performing arts contribute £4.1b to the UK economy.
• 59% of the sector is male.  
• 95% of the workforce is white.
• There are 5,350 businesses in the sector.
• 88% employ less than 5 people.

Sources: Skills Needs Assessment 2007 and Gap Analysis and Market Testing 2007

Click here for information on entry routes and progression in the sub-sector.

Visual, performing and literary arts contribute 1.4% of GVA to the UK economy.  Nearly half of this falls within the performing arts.  Productivity levels – calculated as GVA per employee – are running at £28,200.  There are approximately 31,000 businesses in visual performing and literary arts across Great Britain.  These are distributed as follows; 29,200 in England, 1,100 in Scotland and 750 in Wales.  Their businesses employ approximately 90,600 people across Great Britain, the vast majority of which are located in England (81,600).  There are 5,900 people employed in Scotland and 3,000 in Wales.  There are 186,580 people working in the visual, performing and literary arts sub-sector (as their main paid occupation).The largest segment is performing arts, which accounts for nearly 85,000 people (or 45%).

For many organisations in the literary arts sub-sector, the main revenue stream is public funding.  Across the industry there is a need for improved procedural business skills that allow employers to run business effectively.  Business issues pertain to how the sector can raise its ambitions, to professionalise creative processes.

Regional hotspot: South East and South West regions

In Northern Ireland, there is a community based arts culture with a ‘bottom up’ approach, which means that international art culture has no easy route in.

Visual arts key statistics:

• 2,160 people currently work in the visual arts industry. 
• Visual arts contribute £2.1b to the UK economy.
• The sector is evenly split between male and female workers.
• 95% of the workforce is white.
• 21% of the workforce are freelance; 63% are self-employed.
• There are 4,470 businesses in the sector.
• 75% of businesses employ less than 5 people.

Sources: Skills Needs Assessment 2007 and Gap Analysis and Market Testing 2007

Click here for information on entry routes and progression in the sub-sector.

London

• there are just under 20,000 businesses
• 95% of the businesses employ less than 10 people
• 55% have a turnover of less than £100,000, 7% turnover over £1m
• 12% had recruitment difficulties, 12% UK average
• 64% said they lacked skills followed by experience

South East

• there are 10,400 creative businesses
• 95% of businesses employ less than 10 people
• 50% have a turnover of less than £100,000
• 8% experienced difficulty recruiting, 12% UK average
• 50% said that applicants lacked skills followed by experience
• 17% said they had skills gaps, lowest of the regions, 56% UK average

North West

• there are 4,660 creative businesses
• 92% of businesses employ less than 10 people
• 49% have a turnover of less than £100 000
• 12% experienced difficulty recruiting, 12% UK average
• 74% said that applicants lacked skills followed by experience
• 26% said they had skills gaps

South West

• there are 5,100 creative businesses
• 94% of businesses employ less than 10 people
• 55% have a turnover of less than £100,000
• 16% experienced difficulty recruiting, 12% UK average
• 66% said that applicants lacked skills followed by experience
• 26% said applicants lacked qualifications, UK average 11% (this is the highest UK figure)
• 27% said they had skills gaps

East of England

• there are 5,570 creative businesses
• 93% of businesses employ less than 10 people
• 53% have a turnover of less than £100,000
• 13% experienced difficulty recruiting
• 71% said that applicants lacked skills followed by experience
• 31% said they had few or no applicants
• 29% said they had skills gaps

West Midlands

• there are 3,835 creative businesses
• 93% of businesses employ less than 10 people
• 49% have a turnover of less than £100,000
• 12% experienced difficulty recruiting, 12% UK average
• 54% said that applicant lacked skills
• 40% said that applicants lacked experience, 33% UK average
• 25% said applicants lacked motivation or the right attitude
• 26% said they had skills gaps

Yorkshire and the Humber

• there are 3,215 creative businesses
• 92% of businesses employ less than 10 people
• 49% have a turnover of less than £100,000
• 8% experienced difficulty recruiting, 12% UK average
• 77% said that applicants lacked skills and experience
• 13% said applicants lacked qualifications
• 25% said they had skills gaps

East Midlands

• there are 2,975 creative businesses
• 92% of businesses employ less than 10 people
• 49% have a turnover of less than £100,000
• 10% experienced difficulty recruiting, 12% UK average
• 38% said that applicants lacked skills
• 32% said that there had been few or no applicants
• 27% said they had skills gaps

North East

• there are 1,095 creative businesses
• 88% of businesses employ less than 10 people
• 42% have a turnover of less than £100,000
• 12% experienced difficulty recruiting, 12% UK average
• 28% said that applicant lacked skills
• less than 1% said that applicants lack qualifications
• 20% of businesses said they had skills gaps

Source: Gap Analysis and Market Testing 2007

Source: Skills Needs Assessment 2007, table 31.

N.B. Figures are intended as a guideline only.

Animator

• Starting salaries are around £20,000 a year.
• With experience and skills, earnings are usually around £30,000 to £40,000 a year.
• You may also earn a bonus at the end of a project, particularly in the computer games industry.
• Freelance animators are usually paid a fee for each contract or project.  Rates can vary based on your track record and the type of production.  Contact the Broadcasting Entertainment Cinematograph and Theatre Union (BECTU) for current pay guidelines.

Actor

• A recent survey of Equity members found that nearly half of people in the UK performance industry had earned less than £6,000 from the profession in the previous year.  Only 6% earned more than £30,000 from acting.
• There is no set income for actors.  Most are self-employed, and are paid a fee for each contract or performance.
• Contact Equity for details of minimum income rates for members.

Textile designer

• Newly-qualified designers earn around £15,000.
• Experienced textile designers can earn £25,000 upwards.
• Income for textile designers varies depending on the type of employer.
• Freelance designers may charge per design or per collection and rates vary widely.

Jewellery designer/maker

• Starting salaries can be up to £15,000 a year.
• Experienced jewellery designers can earn between £20,000 and around £50,000.
• Earnings for freelance designer/craftworkers vary depending on how successful they are in selling their work.

Museum curator

• New entrants can start on around £16,000 a year.
• With experience, earnings can rise to more than £20,000.
• Senior curators can earn between £27,000 and £36,000.

Classical musician

• Full-time rank and file players with orchestras may earn between £22,000 and £28,000 a year.
• Principal players may earn £25,000 to £38,000.
• See the ISM and Musicians' Union websites for recommended rates of pay for freelance performances.

Advertising account executive

• Starting salaries are around £18,000 to £24,000 a year.
• With experience, this typically rises to between £30,000 and £45,000.
• Top salaries can reach £90,000 a year.

Data sourced from the Learndirect online job profiles.

Advertising 

• Almost half of all employees undertaking advertising activity have a degree level qualification.
• Employees in the advertising industry are far more likely to have a first or postgraduate degree.
• 39% of the creative workforce hold a level five qualification, whereas at least 42% of the advertising workforce hold a level five qualification.

Craft

• The highest qualifications of people in the craft workforce are most likely to be GCSEs, O Levels or City and Guilds qualifications.
• 9% of people in craft have a degree level qualification.
• People in Craft are more likely to have a vocational or professional qualification as their highest qualification.
• Across the UK, 57% of makers had completed full-time art/design courses at a college, university, far in excess of the 9% of people with degree level qualifications.
• 39% of the creative workforce hold a level five qualification, whereas, only 13% of makers in jewellery have a level five qualification.

Cultural heritage

• Almost half the workforce in Museum Activities (this covers museums, built heritage and a large proportion of archaeological activities) has degree level qualifications.
• 83% of Archivists/Curators are graduates, compared with 49% of all staff undertaking Museum Activities.
• 39% of the creative workforce hold a level five qualification, whereas, 41% of practitioners in Museum Activities have level 5 qualifications.

Design

• 46% of design employees hold a degree as their highest qualification.
• Design employs the highest proportion of people (14%) that hold an HND or HNC as their highest qualification. 

Music

• Although there is considerable provision, people in music are less likely than other creative and cultural sub-sector to hold a degree level qualification.
• Most music graduates do not follow a career in music.
• Whilst 41% of musicians hold a degree level qualification, only 27% of musical instrument makers do.
• Instrument makers are more likely to hold only an O’ Level or equivalent qualification than to have a degree.

Visual, performing and literary arts (VPLA)

• 35.2% of VPLA  workers have degree level qualifications.
• Only around 10% of staff hold a GCSE (or vocational GCSE) as their highest level qualification.
• About 50% of staff working in ‘visual arts’ have a degree level qualification, supporting the view that the industry is highly qualified.
• In the ‘performing arts’, 38% hold a degree level qualification.
• 50% of practitioners in ‘sound recording publishing’ have level 5 qualifications.

Sources: Skills Needs Assessment 2007 and Understanding Supply 2007

Source: Understanding Supply 2007, table 439.

Source: Supplied by Creative and Cultural Skills.

Source: Understanding Supply 2007, table 42 (TBR Survey 2006).

Source: Understanding Supply 2007, table 42 (TBR Survey 2006).

Source: Understanding Supply 2007, figure 11 (TBR Survey 2006).

Source: Understanding Supply 2007, figure9 (TBR Survey 2006 (W29/S6)).

Source: Understanding Supply 2007, table 55.

Source: IFF Research Ltd. 2005, page 9.

Sector Qualification Strategy

This strategy is central to addressing qualification reform in the creative and cultural industries, including the issues of volume of qualifications, clarity of qualification type and progression, and industry involvement in qualification development.

National Occupational Standards

Standards exist for Design, Cultural Heritage and Archaeology, while they have just been completed for technical theatre and are in development for the Creative Apprenticeship pathways.  To support qualification reform, further apprenticeship development and CPD standards are required across the sector.  The Design Professional Practice framework and Diagonal Thinking project in Advertising connect to standards work.

Young Apprenticeships

The Young Apprenticeship Programme in England has been running for 4 years.  The first cohort has achievement of 97% with retention at 98%.  Employers in the sector are keen to open up new ways for young people to gain experience of working in the industry.

The programme is set apart from other work-related programmes as it involves learners achieving a Level two in art and design or performing arts, and 50 days of relevant work experience with an employer.

Creative and Media Diploma

The Creative and Media Diploma in England will provide a broad, applied learning programme delivered in the context of the creative and media sectors.  The Diploma aims to be appealing to the most able and those not engaged with existing qualifications.

The intention is that the Diploma will be valued by both employers and HE, recognising its credibility and its parity to the traditional GCSE and A-Level offer.  It will incorporate creative approaches to applied and work-related learning, industry devised learning outcomes and innovative models of assessment.

Learning Pathways

In Wales, work-based Learning Pathway in Dance to be piloted in September 2008 aims to address the need for a more flexible and balanced approach to the education of 14-19 year olds, providing a wider range of experiences to encourage more young people to achieve their potential

Foundation Degree framework

With over 400 Foundation Degrees already in existence and further development underway it is essential to explore the role of a framework developed by industry and education in England and Northern Ireland.

Source: Gap Analysis and Market Testing 2007

For more information on qualification issues by sub-sector, future reforms and developments see:

The Creative and Cultural footprint is vast and what follows below is by no means an exhaustive list of industry related courses and useful websites from across the sectors.

Young Apprenticeships: 14-16 year olds

The Young Apprenticeship (YA) programme is for 14-16 year-olds. Young people with both a talent and an interest in drama, art and design can obtain an additional qualification in their chosen subject and also get vital industry experience (50 days over 2 years). Further details on the programme and how it relates to the creative and cultural industries can be found in the YA leaflet.

Both the Young Apprenticeships and the Creative Apprenticeships described below aim to increase diversity across the workforce. This document provides further information on diversity within the Young Apprenticeships scheme.  Click here for more general information on apprenticeships.

Creative Apprenticeships: for those aged 16 and above

This programme is a progression route for Young Apprenticships and also provides an alternative education route for those aged 16 or over. The apprenticeship allows people of all ages to specialise, re-train and gain invaluable industry-relevant experience in order to become employable within job roles where there are
recognised skills gaps. It also allows the apprentice to learn key business skills needed for the creative sector and is aimed at those who want on-the-job training whilst earning a wage. The apprenticeship will have core business units delivered by a college or training provider and then specialist pathways delivered by the employer - focusing on a particular career path such as a curator, a graphic designer or a theatre technician.

Click here for further details on the Creative Apprenticeship programme and the Young Apprenticeship and Creative Apprenticeship scheme, contact Creative
and Cultural Skills. 

Source: Information provided by Creative and Cultural Skills 2008

Advertising and design
DANDAD run workshops for people at all stages in their career:

• Recent Graduates - their Workshops in Design and Advertising are aimed at people trying to get their first job in their chosen field. Students who have graduated within the last three years are eligible to apply.
• Experienced workers - the DANDAD Workout is for those people with industry experience who are now looking for professional
  development opportunities.

Music

Jazz Services is the UK’s national jazz organisation and includes details of jazz courses, orchestras, tutors and institutions.

Music Leader provides access to training and professional development for music leaders at every stage of their career. It has information on training, funding, courses, career development and workshops as well tips and guidelines on how to create your own training programme.

Musical Routes provides details of musical courses in London.

Sound Sense is a professional body providing professional development opportunities for community musicians. Their website provides details of all the latest community music training courses, conferences, events and networking activities.

Youth Music works alongside the formal and community-based sectors to support music-making and training; activities are held mainly outside of school hours and delivered by non-profit making organisations.

Literary Arts

Literature Training provides information on training and development opportunities open to writers across the UK. The site is updated daily.

Source: Information provided by Creative and Cultural Skills 2008

There are no structured routes into the advertising industry.  Advertising agencies place a great deal of value on attitudinal characteristics rather than specific qualifications (although qualifications per se are important).  There is a lack of information about what is needed to succeed in the industry, often being attributed to a creative spark, or a way of thinking. 

Recruitment strategies in the industry are also often informal and ad hoc.  Actual barriers to entry are few, however, it is common place for new recruits to undertake placements that are paid poorly, and can last upwards of two years.

Occupational pathways are opaque and routes into specific jobs can be very similar, while the jobs very different.

The industry tends to recruit most of its employees from Higher Education.  For key roles, such as account management, planning and creative, entry routes tend to be very much focused on graduates.

The industry does employ non-graduates (e.g. school leavers or FE) in areas such as creative services and administration, but there are few instances of non-graduates becoming high achievers.  The availability of graduates (and the appeal of the industry) has meant that they often apply for lower skilled jobs as a way of getting their foot in the door (e.g. receptionist, account coordinator).

Sources: Understanding Supply 2007 and Gap Analysis and Market Testing 2007

The following table shows the advertising graduates are most likely to have studied business studies or marketing at university before entering the sector:

There is a need to encourage and sustain a range of routes into the sector including apprenticeships and informal routes.

Foundation degrees are increasingly popular and the combination of technical, theoretical and vocational experience meeting the sector needs suggests that they may become the preferred route of entry to the sector.

Employers and makers in craft tend to use external provision in order to fill gaps in the skills base of their workforce, which creates a natural route into this sub-sector.

There has been a significant decline in adult education funding and courses, which has a potential impact on this route into the sector.

Sources: Understanding Supply 2007 and Gap Analysis and Market Testing 2007

Occupational pathways in the industry are either non existent, unclear or complicated.

There is a lack of career structures or paths to support progression in the industry.  Individuals can be propelled into management positions from a variety of different roles.

Experience is valued and at entry level this leads to volunteering. 

There is an oversupply of courses, providers and learners studying for a qualification in the sector for very few new jobs.

In the performing arts, gaining experience and learning through action is a fundamental.  No occupations in the sub-sector are entered with a complete portfolio of skills, so work-based learning is valued. 

There is a lack information about the relevance and value of courses.

Sources: Understanding Supply 2007 and Gap Analysis and Market Testing 2007

There is a lack of proper career structures and progression routes in the sector.  Qualification levels are high in the sector, but there is a lack of knowledge about the relevance of particular courses and that courses lack the relevant content.

Gaining educational qualifications, and then undertaking some unpaid work in order to gain the experience required for employment has long been a standard route of entry across the sector (although archaeology no longer considers it to be a representative entry route for their profession).

Graduates are common in the sector, often at all levels of the organisation. 

There is a growing trend for organisations to recruit graduates to occupations that do not require graduate qualifications.

A postgraduate qualification is common amongst the workforce, although for some this will be gained once they have secured employment in the sector.

Information on non-graduate routes into the sector is limited, although it is recognised that there is a need to widen the scope and basis of entry-level training. 

Vocational qualifications are currently being rolled out by archaeology as an alternative to graduate entry. 

Foundation degrees are also being established for both the museum sector and archaeology.

50% of the workforce taking entry level jobs in museums have museums studies degrees.

Sources: Understanding Supply 2007 and Gap Analysis and Market Testing 2007

The design industry tends to employ people that have taken specific educational routes, based on courses that develop artistic and design creativity (i.e. the ‘art school’ tradition).

Degree subject studied is very important, as it can determine the next career step.  There is a strong correlation between the nature and subject matter of the higher education qualification and the role entered into.

There are significant overlaps between the provision that lies on the route to becoming a designer and other industries, but more so with graphic and communications design than other areas.

Not all design graduates enter the industry on graduation.  The destinations of graduates are much more diverse, which indicates that the supply of graduates in related areas far outweighs demand.

Nearly 10% of design graduates go straight into a retail/sales job, and only 15% of design graduates go directly into a design or other related creative occupation.  It suggests that although the subject studied and roles are more closely related in design, this should not be over emphasised.

Sources: Understanding Supply 2007 and Gap Analysis and Market Testing 2007

In England, the music industry employs approximately 90,000 people with a skills gap of around 15% across a range of entry points.

An equal number of entrants come from graduate and non-graduate sources.

There are colleges that provide practitioner development for performers in contemporary music.  This is concern that there are a high number of individuals following these routes in relation to the limited opportunities that exist for career development.

Most music graduates do not take-up careers in music and that approximately 70% fall into uncategorized occupations.

Sources: Skills Needs Assessment 2007, Understanding Supply 2007 and Gap Analysis and Market Testing 2007

• DCMS (2001) Creative Industries Mapping Document.  London: Department of Culture, Media and Sports. Sections of the Mapping document which may be of interest include:
  Advertising 
  Arts and Antiques Markets
  Crafts
  Design
  Music
  Performing Arts
  Publishing
• Galloway, S., Lindley, R., Davies, R. and Scheibl, F.  (2002)  A Balancing Act: Artists’ Labour Markets and the Tax and Benefit Systems.  The Arts Council of England: Research Report 29.
• IER (2003) Skills in England 2002 (Volume 1). Coventry: LSC.  For the lastest Skills in England report go to the LSC website.
• Metier(2002) Arts and Diversity in the Labour Market. Metier/EQUAL.
  A baseline study of research into the training and development needs of Black, disabled and female arts practitioners, managers and technicians in England.
• Metier (2001) Arts and Entertainment Sector Workforce Development Plan (Research Report number 3). London: Metier.