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Crafts CouncilAboutResearch and policyPolicy brief

October 2020


    Find out about

    • Biomimetics and our new research partnership
    • Arts teacher hours and numbers and how to oppose the loss of training bursaries
    • New evidence about craft and creative jobs in the economy, plus the latest on Brexit prep
    • An all new all parliamentary group on museums
    • The role of arts and cultural heritage after the pandemic
    • Open call for contracting a study on the economic impact of the craft sector in Europe

    Stem Vases - Woodland Wonders Series, Rowena Gilbert. Artist, Designer, Maker

    Involving craft in a new Bioinspired Textiles project

    We’re delighted to be key research partners in Bioinspired Textiles, which aims to introduce nature-inspired design to sustainable and circular textile practice.

    The project aims to advance biomimetics – the opportunities for innovation as a result of studying and interpreting the way in which materials, mechanisms and systems operate in biology – to design for the benefit of the fashion and textile sector. Currently one third of microplastic pollution in our oceans is directly attributed to synthetic textiles. This is of the many challenges facing an increasingly resource intensive fashion and textile sector and an insatiable culture of consumption. Yet nature offers abundant examples of fibrous materials and structures made from simple materials that are capable of extraordinary behaviours.

    The Arts and Humanities Research Council (AHRC) funded project, led by Dr Veronika Kapsali at University of the Arts London, will use an integrated approach that addresses the disconnect between biomimetic research and stakeholders from the textile and fashion communities. A trans-disciplinary approach that includes the creative sectors is needed to advance knowledge. The Crafts Council will be advising and involving the wider craft community next year.

    Arts teaching hours, teacher numbers – and opposing the loss of teacher training bursaries

    The number of arts teaching hours and arts teachers in England’s secondary schools are stable but still not recovering after years of decline, according to evidence from the Department for Education (DfE) analysed by the Cultural Learning Alliance. Art & Design teaching hours have increased by 1% and teacher numbers by 3% in the last two years. Design & Technology is experiencing the greatest falls -19% in teacher numbers and 17% in hours taught. The number of children in England’s secondary schools went up by 5% over the same period.

    It’s very disappointing to see that DfE has withdrawn subject bursaries for PGCE Art & Design trainees in 2021-22 (see DfE’s funding announcement.) We’ve joined with NSEAD and others in writing to the Nick Gibb MP, Minister of State for School Standards, to oppose this move. Back in 2019-20, the subject was able only to recruit 69% of its teacher supply target without a bursary and there was a 31% shortfall in Art & Design newly qualified teachers (NQTs). (See NSEAD for more details and how to oppose the move.)

    Barriers and practice in metal arts education

    A survey metal arts educators worldwide (mostly from the US and UK) shows that social media works best for promotion of classes. The most comfortable class size for face to face and online workshops in metalwork is 7-12 participants and group chat was the most common way of engaging students. The biggest barriers to teaching were students’ access to tools.

    Tackling inequalities (with differences in craft)

    PEC research highlights widespread and persistent class imbalances across all the creative industries, with the exception of craft. Those from privileged backgrounds are more than twice as likely to land a job in a creative occupation in other creative industries. Getting in and getting on: Class, participation and job quality in the UK Creative Industries found that people from working class origins comprise about a third of the UK's population, but just 16% of the creative industries' workforce. However, about one-third of the craft sector is working class compared to 28% who are more privileged.

    Culture is bad for you: Inequality in the cultural and creative industries, by Orian Brook, Dave O'Brien and Mark Taylor, examines the intersections between race, class, and gender in exclusion from cultural occupations. Exclusion from culture begins at an early age, the authors argue, and despite claims by cultural institutions and businesses that they hire talented and hardworking individuals, women, people of colour, and those from working class backgrounds are systematically disbarred.

    A new DCMS/ University College London Evidence Summary for Policy synthesises the findings from over 3,500 studies on the role of the arts in the prevention of ill health, promotion of health, and management and treatment of illness. It shows how participating in crafts activities is associated with enhanced wellbeing in adults (see page 11).

    The economy

    CEBR’s The Impact of the Culture Recovery Fund on the arts and culture sector predicts that around one third of arts businesses won't survive, another third won’t need financial support, and the rest will start contributing to the economy again in 2021 if supported by the Cultural Recovery Fund.

    The report predicts a decline of 8% for craft (compared to 23% for the arts and culture sector), but this is only based on part of the data (mostly jewellery) and therefore shows us only part of the craft story. The Crafts Council will be surveying maker businesses again shortly to understand the specific impact on the craft sector at this point in the pandemic.


    .

    CEBR found the sector has lost an estimated £3.3bn of its GVA due to Covid-19. The hardest hit subsectors are music, performing and visual arts, which together have lost £2.2bn, equivalent to a fall of 26% if performance had continued in the pre-pandemic trajectory.

    Two other pieces of research from CEBR found that arts and culture is worth £700m to the South West economy and £1.9bn in the North.

    The role of second jobs in the creative economy

    In a blog, the Policy and Evidence Centre (PEC) summarises research findings on second jobs and portfolio working in the creative economy. Around 4% of people with a main creative job are said to have a second job of some sort. While this proportion is similar to the proportion of people with more than one job in the whole workforce, the figure doubles when looking specifically at people with a main job in artistic, literary and media occupations. These “core cultural occupations” are among the occupations that have been hit the hardest during the lockdown. Only a minority of people with second jobs have a portfolio of creative jobs, with less than a third (30%) of creative workers’ second jobs being creative work. For the most part, second jobs are related to non-professional types of occupation instead (60%). This suggests, at least for core cultural workers, having a second job is almost an economic necessity.

    Contribute to research into the future of freelancers in London

    The Centre for London is launching a study to understand how London can best support its self-employed workers and entrepreneurs to develop stable, rewarding and fulfilling careers.

    Coding and counting craft

    For those interested in the coding of craft to represent it accurately in the economy, the Office for National Statistics has published a draft of the SOC 2020 extended framework. The Standard Occupational Classification (SOC) is a coding framework used to classify occupations, enabling comparisons of occupations across different datasets. After some SOC users (including the Crafts Council) highlighted that the structure is not detailed enough for our needs, ONS launched a project to develop a more detailed version of the classification: The SOC Extension Project (SOC EXT). Building on this, we continue conversations with ONS to seek publication of an aggregated figure for craft occupations. We will keep you posted!

    Brexit

    The Creative Industries Federation (we’re members) has again called for a no-deal Brexit to be avoided in a joint press statement with other trade associations. DCMS has issued updated guidance for the EU transition period and after January 2021.

    All parliamentary groups’ insights

    The APPG for Creative Diversity has published its latest insights from a roundtable series on works to support diversity in arts and culture.

    A new All Party Parliamentary Group will "highlight and promote the interests of museums across the UK". The chair is Chris Skidmore, Conservative MP for Kingswood and a former Minister of State for Universities. Over 60 parliamentarians have expressed interest in joining the group.

    Cultural heritage after the pandemic

    The 2020 RSA Heritage Index brings together data to help understand the role of UK heritage beyond the pandemic. The main focus of the report is on physical heritage but it also looks at the role of arts and culture.

    Heritage, Health and Wellbeing explores the positive impact heritage can have on individual and community wellbeing. The report includes examples such as Gloucester Cathedral Christmas Craft fair and the All Churches Trust Craft Skills Programme in Sunderland which enhances skills and understanding of traditional crafts and connects craftspeople.

    Open call for contracting a study on the economic impact of the craft sector in Europe

    The Crafts Council is a partner in a Creative Europe programme to develop a transnational toolkit on digital fabrication to share with design and craft community practitioners engaging in starting up their own business. The invitation to tender sets out how to bid to undertake the study.


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