4/15/2023 0 Comments Seattle opera internship![]() It’s little wonder that so many culture professionals have considered retraining. The impact on live events will be felt for months to come. And Omicron has added to the havoc: a nightmarish deja-vu of theatre and gallery closures, festival cancellations and delays. If these estimates are right then, as 2022 begins, fewer people are working in Britain’s creative sector than at any time since 2016. Music-specific figures are on a similar scale. Perhaps 95,000 of those are freelance roles, and the people doing them may never return. The most recent estimate by industry body Creative UK last summer calculated that over 110,000 jobs were likely to go in the UK by the end of 2021. Still, the overall picture is grim, particularly in visitor-reliant sectors such as theatre, live music, festivals, cultural heritage and museums. ![]() And not every part of the creative economy has been the same: once Covid protocols were in place, TV and film swiftly rebounded, in fact boomed – so much so that there is currently a skills shortage. ![]() Everyone has felt the shockwaves, from laid-off front-of-house staff (some of whom were then rehired for less pay) to musicians thrown out of work and artistic directors scrambling to keep major institutions from imploding.Įarly fears that more than 400,000 creatives might see their livelihoods disappear in the UK turned out, mercifully, to be pessimistic (thanks largely to government interventions such as the furlough and self-employed support schemes, and the recently expanded culture recovery fund). ![]() While no sector has been immune from the effects of Covid, the arts have been experiencing an earthquake that has been rumbling on for the best part of two years. She is, of course, far from alone in deciding that it’s time to get out. Photograph: Courtesy: Libby Zietsman-Brodie ‘You have to keep moving’ … Libby Zietsman-Brodie in her new career in the wine industry.
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