We have divided this page into four sections of FAQs: Fellowships, Hosts, Funder-specific Criteria, and Language.
You can download these as a PDF document here.
Cliciwch yma i lawrlwytho PDF Cymraeg.
We will be looking to support a mix of full- and part-time models based on what each organisation believes will work best in the context of their work. Our evaluation has shown that Fellows benefit most when their roles match the majority working patterns in an organisation, and that different patterns suit different art forms and types of roles better. We aim to be as flexible and open to different models as possible, including flexible hours, and encourage organisations to set out why their proposed Fellowship makes most sense to them.
Our evaluation has shown that less than four days per week (28h) does not always provide enough time for the Fellow to fully benefit from the programme, including participating in the training elements which will require them to take time out of their day-to-day work. We therefore ask Host applicants to make a separate case for Fellowships of three days per week (21h) so we can understand their specific context. We will not fund any Fellowships of less than three days per week
The Fellow has to be put onto your payroll. This is to ensure that each participant in the programme is treated the same. It also means the Fellow has security of the placement throughout the programme and the knowledge that their hours or pay won’t be cut half way through
The Fellowship you propose might be a new role or an additional role, or it might be replacing an existing early-career role in your organisational structure. Each organisation’s context will be different, and we aim to be as flexible and open to different models as possible, and encourage organisations to set out why their proposed Fellowship makes most sense to them. At the heart of a strong Fellowship proposal will be a role that connects meaningfully with the artistic and cultural programming of the organisation.
The most recent edition of the programme pegged Fellows’ salaries to Living Wage Foundation minimum wage salaries nationally, with a London weighting. Feedback from Fellows suggested the salary was challenging, particularly for the third who relocated to take up a role, and there were wide variations in the level of responsibility offered to Fellows by their Hosts on the same salary. Hosts fed back that the salary was not always reflective of the level of responsibility they wanted to offer.
The programme has always been about elevating standards of pay, rather than benchmarking against poor pay practice. In response therefore, we have increased the salary level significantly for 2020-2022.
Hosts should pay the minimum salary to Fellows as set out in the guidance, plus employer’s National Insurance and workplace pension contributions, however we are open to Hosts offering to ‘top up’ their Fellows’ salary where this makes sense in the context of their work. We ask that Hosts bear in mind that peer learning as part of a national cohort is a key feature of the programme and that any ‘top up’ is not so significant as to undermine the sense of a shared journey that the programme creates between Fellows. Please get in touch with us for advice on this where required.
In focusing on artistic and creative roles, we want to make sure that the salary level sends a clear message that these Fellowships are not traineeships, and should not be paid at same level as other training or apprenticeship rates. They are intended to be early-career, rather than entry-level, roles.
We researched industry minimum rates for artistic and creative roles from a variety of sources to inform a new salary rate. This research reinforced that the Fellowships should provide fair recognition for artistic and creative training and skill, equivalent or greater to administrative roles.
Recent research into arts and creative industries shows how precarious artistic and creative roles remain, and the opportunity to enjoy the stability of a salaried position can be hugely significant, even where overall ambitions are to forge a freelance, portfolio career path. The programme recognises that this is particularly acute for those from lower socio-economic backgrounds, who are unlikely to have the collateral, cultural capital, resources and financial safety net that others from higher socio-economic backgrounds have. A higher wage will allow them to fully embrace the opportunities the programme has to offer.
We have set Fellows’ salary at £19,500 (£22,425 in London, weighted +15% in line with Living Wage Foundation differentiation). The programme is able to fund between 65% – 75% of Fellow’s salaries, and we will ask Host Organisations to match our contribution with the remaining amount between 25%-35%, plus employer’s National Insurance and workplace pension contributions.
This approach is a pilot for us and there are not many examples to draw on, with most programmes setting fixed financial parameters up front, so we will be learning as we go.
Our experience of running the programme since 2010 has shown that it is important for the Hosts to be financially invested in supporting the Fellow to ensure that the role has been fully considered and is embedded into the organisation, and to commit to working with the programme on the shared mission of increasing the socio-economic diversity and inclusiveness of the sector.
We anticipate, for example, asking larger organisations with stable reserves based in major cities to contribute up to 35% of the Fellow’s salary, whereas smaller organisations in rural locations with less stable reserves would be more likely to be asked to contribute 25% towards the role. The rationale for this is that larger organisations in major cities have greater capacity in their resources and fundraising potential than smaller, rural ones. Art form context and specific organisational circumstances will also be taken into account, and we will recognise exceptional circumstances and treat each organisation on its own terms.
We are aware that the wider public funding landscape is currently unpredictable, with next major funding rounds set to take place in England, Wales and Scotland in 2021 to determine funding from 2022 onwards, and future settlements for the UK’s arts councils and local authorities unknown.
You may propose a Fellowship across any area of your artistic or cultural work. We do not have a fixed definition of artistic and creative roles, and are using the phrase to encourage the widest possible range of early-career roles that may or may not be an existing feature of the UK’s literary, musical, performing, visual and contemporary arts and museum sector.
This includes those focused around more traditional “artistic” skills and expertise (such as a director, performer, dancer, writer, visual artist); curatorial, producing and programming roles, and those within engagement and learning practices such as facilitators and socially-engaged practitioners, as long as their work contributes to the organisation’s artistic and cultural programmes. One of the strengths of the programme has been the very broad range of roles suited to the specific needs and context of the Host organisation and we encourage organisations to think creatively about what a transformative early-career year-long role might look like.
The programme recognises that career progression relies on acquiring a wide range of skills, and the ability to gain insights into day to day running and operations of a leading arts or cultural organisation is a major benefit of the programme. We therefore expect most Fellowships will also include administrative tasks and welcome “blended” roles that include administrative tasks alongside more “creative” elements of their job description.
Proposals have in the past included innovative job-shares as well as ways of supporting freelance-style roles (such as Resident Associate Directors in theatres) through consortia of organisations. All Fellowships need to be salaried and paid through PAYE. Please see separate FAQ about applying as a consortia and the rationale for salaried roles.
The programme is focused on supporting the next generation of outstanding talent from lower socio-economic backgrounds to progress their careers in the arts, and you may propose a Fellowship across any area of your work as long as it is meaningfully connected to your artistic or cultural programme.
This stronger focus on artistic and creative roles is based on a range of considerations. Financially, such posts are harder for organisations to make the case for. While stand-alone administrative, fundraising and marketing posts pay their way relatively quickly for organisations, artistic and creative roles need subsidy. In the wake of standstill funding and cuts across the sector for the past decade, artistic roles have seen significant reductions and changes across the sector. These include curatorial posts being cut, creative roles being moved into freelance ‘associate’ roles, and the loss of literary manager positions in theatres.
We also believe greater socio-economic diversity at early-career level among artistic and creative roles will have the strongest potential long-term impact on the sector in terms of diversifying the voices and leadership within it.
Finally, Jerwood Arts’ expertise is around support for early-career artists, and the focus on artistic and creative roles will allow us to provide the highest level of support, advice and guidance based on our experience to date.
By ‘meaningfully connected to the artistic or cultural leadership’, we mean the Fellowship should have some links through to the artistic and cultural leaders of your organisation. What this means in practice will vary hugely depending on the size, type and artform specialisms of your organisation and we expect to see a wide range of approaches.
For example, it may mean having access to the leaders at key moments during the year, being invited to observe artistic processes or have a voice in programming.
For this edition we are expanding to support museum Host organisations. In recognition of the range of creative roles which will sit within these organisations, we have included roles in creative facilitation, interpretation and learning and community engagement.
We recognise the value of all the roles listed below and no art form, focus or approach will be privileged over another.
Digital Content Creation
Human History (Museum)
Natural History (Museum)
New Media and Digital
Science and Technology (Museum)
Socially Engaged Practices
We welcome applications from consortia of Hosts to support a Fellowship across a range of organisations. For some artforms and contexts we recognise this can provide an outstanding opportunity for a Fellow to engage with a range of artistic and cultural programmes across the 12 months.
To apply as a consortium, we ask that one organisation takes on the role of Lead Host organisation, and the application is submitted by them. Consortia applications should also pay particular attention to how the Fellow’s role will be structured, to ensure that they are fully supported, engaged and are learning throughout the year. You will also need to show how the lead organisation will coordinate the other organisations in the programme to ensure the consistency of the offer. Based on our experience with the programme so far, we ask that the Lead Host provides consistent Line Management for the Fellow and is the organisation that will take part in the Organisational Change programme.
We welcome applications from festivals, recognising that the structure and context of festivals can present particular challenges and opportunities to hosting a Fellow. If you are a festival, please consider first and foremost whether the timeframe of the Fellowships from September 2020 to September 2021 will work for you. How would you ensure the Fellow can have a substantial role in the development and delivery of the festival programme, and post-festival? Our experience has shown that Fellowships at festivals need to carefully consider the post-festival role to continue to engage their Fellow at an appropriate level.
The programme is funded by a range of public and private funders whose wider remit is to work with not-for-profit organisations to support the arts and cultural sector to thrive. The programme is therefore designed to benefit charitable and not-for-profit organisations and cannot support commercial arts spaces and organisations.
If you can provide your Fellow with everything the programme sets out to offer, then a permanent fixed place of work may not be an issue. As a minimum, we expect Hosts to provide Fellows with an appropriate place to work and the equipment to do their role. This may include a desk-space, a laptop, materials or any other resources required to deliver the role.
Our experience is that regular, consistent contact with the Fellow and the ability to learn from colleagues and immerse themselves in an organisational culture is a key benefit of the programme, so please set out how you feel your set-up can provide these if your organisational model doesn’t rely on being building-based
Host organisations will take part in an 18 month Organisational Change programme to support them as they embark upon a period of development relating to inclusion and diversity. The training they receive will be tailored to the needs and objectives of the organisations taking part, with a strong focus on co-design and peer learning. The programme will comprise four one-day workshops (including the Induction workshop in April 2020) taking place at a range of locations across the UK. Three individuals from each organisation will take part in the workshops including one Trustee or member of your governing body or local authority leader (depending on the structure of your organisation), one member of the Executive and the Line Manager of the Fellow. One of these participants must be a senior artistic or cultural lead.
Once selected, Hosts will each have a 1-1 phone conversation with the Jerwood team to find out more about what they hope to gain from the programme and what challenges they want to overcome. There will be a strong focus on building a peer network of support with digital tools to support shared learning throughout. Please see Find Out More section on Hosts’ Organisational Change programme for further details.
We ask all Hosts to commit a Trustee or member of their governing body or local authority leader (depending on the structure of your organisation), a member of the Executive and the Fellow’s Line Manager to taking an active part in the programme. Either the Executive or the Line Manager should be a senior artistic or cultural lead and have a core role in developing and delivering the artistic or cultural programme of your organisation. Together, these three will work together to support their Fellow, be responsible for ensuring that change happens at an Executive and governance level, and enable all staff across the organisation to benefit from learning through the programme.
Based on available research and our own experience, these three roles are the most critical ones to ensuring that the both the Fellow is provided with appropriate support to thrive, and the organisation is provided with the senior buy in and support to make change possible.
We are keen to be flexible to ensure the programme’s impact is proportionate: the smallest organisations can commit just two participants, if they can demonstrate how those two can commit to making change happen. Likewise, larger organisations that have an HR team will be expected to commit up to four people to take part, including the Head of HR, to reflect the programme’s focus on recruitment practices. There is space in the application form for you to detail your specific circumstances.
A variety of language is used to refer to the various ways in which early-career artists can be professionally supported by an organisation to progress their career. We are open to examples from applicants that make sense in their art form and specific context. In our experience, such development includes, but is by no means limited to, providing financial, physical, material and human resources to encourage the development of new skills, practices, networks and relationships. Development opportunities that include periods of paid time for research, reflection, and a high degree of trust in an individual to interrogate their practice and make work on their own terms, are valued particularly highly by the artists Jerwood Arts has recently supported.
Artist Advisers are individuals with the skills and expertise to contribute to identifying talent, and support selection and decision-making processes with their specific art form and discipline knowledge. They are our ears and eyes across the UK, providing a current perspective on artists, artistic groups and arts organisations and help us to deepen our impact across our work.
You can find out more about them here.
With support from Arts Council of Wales, we will be supporting six Fellowships ring-fenced for Fellows based in Wales. We can also support Fellowships NOT ring-fenced specifically for Fellows based in Wales via our other funders so if you want your Fellowship to be open to Fellows based anywhere in the UK, please state that in your application.
Once selected, we will work with all Hosts and Fellows based in Wales to ensure we provide translation of materials into the Welsh language, as required and as requested.
Creative Scotland have identified a number of art-form specific needs which they would like to address through this programme. You will be asked to indicate on the application form if you think your organisation and chosen Fellowship will fit one of these areas. Please note that you don’t NEED to meet any of these to apply to the programme.
In addition, Creative Scotland will be supporting an opportunity for a Theatre Fellowship for a Scotland-based design practitioner (eg but not limited to lighting/sound/stage) for a role anywhere in the UK (preference not in Scotland).
Through funding from Garfield Weston Foundation, PRS Foundation and Art Fund, there are likely to be more than the four specific Hosts and Fellowships based in Scotland.
No. The programme will be supporting approximately 27 Fellowships across England, with approximately eight within London.
No. Funding from Garfield Weston Foundation, PRS Foundation and Art Fund will support approximately two Fellowships in NI.
According to the PRS Foundation’s definition, a music creator is a songwriter, composer or an artist, member of a band, producer or performer who is writing their own music or commissioning other songwriters or composers.
Art Fund are keen to support a significant number of curatorial-focused Fellowships in leading museums and galleries across the UK. The programme has a strong track record of roles in galleries, but Art Fund will allow the programme to expand its reach into the museum sector fully. There is limited evidence of socio-economic background of curatorial and creative staff in galleries and museum, but research suggests as few as 21% of workforce are from lower socio-economic backgrounds. We expect that curatorial-focused Fellowships will most likely be part of the curatorial, engagement and learning teams, and have an element of their role contributing to the core cultural programme as part of their year.
The programme has been thinking carefully about language since it started in 2010, and most recently worked with the Bridge Group to produce a Toolkit for Socio-economic Diversity and Inclusion which included a Glossary which sets out some of the challenges around language and words in this area.
We have decided to use ‘lower socio-economic’ throughout this guidance as this most accurately reflects the wider discourse the programme is currently part of, and we will evolve this language as the programme progresses, particularly when it comes to appealing to a wider range of potential Fellows. We know we will continue to learn about the power of language and we will support all those involved in the programme to work out what works in their context.
We believe language has the power to narrow the social gaps between people and foster productive and inclusive organisational cultures.
Intersectionality refers to the interconnected nature of categorisations such as race, class, and gender as they apply to a given individual or group, regarded as creating overlapping and interdependent systems of discrimination or disadvantage. The programme actively recognises and supports the intersections of socio-economic background with under-represented protected characteristics, such as gender, disability and race.
The Weston Jerwood Creative Bursaries 2020-2022 programme is designed and produced by Jerwood Arts. It is funded and supported by Arts Council England’s Transforming Leadership Fund, Garfield Weston Foundation, Art Fund, Arts Council of Wales, Creative Scotland, British Council, Jerwood Arts and PRS Foundation.