Since the programme began, Alumni have been reaching leadership roles across the arts both as freelancers and artists creating their own work and within organisations as:
- Curator at the Whitworth Gallery in Manchester
- Director of Chisenhale Dance Space in Tower Hamlets
- Artistic Director of Birmingham’s Fierce Festival
- Producer with the English Touring Theatre
- Classical Music Programme Manager for the British Council
Impact on participants
A total of 124 participants have taken part.
- Bespoke nature of Jerwood’s support for the participants ensure a very high retention rate averaging 95% across the 3 editions completing their placements and on-going informal support well beyond the official end of the programme – they are still in touch with approximately 50% of Edition 1, 70% of Edition 2 and 95% of Edition 3.
- A recent survey of alumni indicated that all but 3 are not working in the arts and only 1 was unemployed at the time.
- This survey also showed that over 2/3 of participants are still in touch with others in their cohort, meaning that the networks established during the programme are continuing for the longer term.
- 95% of respondents said that the programme helped them progress in their career, most stating this strongly.
- 90% of Fellows said the programme raised their aspirations and increases their confidence.
Impact on Hosts
A total of 110 arts organisations have been part of the programme.
- 60% of employers extended contracts with placements, or made them permanent, once the year-long placement ended.
- 98% of Hosts are considering ways in which they can target future job opportunities towards graduates from lower socio-economic backgrounds.
- The programme’s commitment to paying Living Wage Foundation salaries is encouraging Host organisations to increase the salaries of existing staff to ensure fairness across the board.
- 100% of Hosts would recommend the programme to others.
Key stats about inequality of access
Social Mobility Commission’s State of the Nation Report 2019:
- Social mobility in the UK has been 'virtually stagnant' since 2014, and entry into professional jobs is still largely dependent on parents’ careers. Those from working class backgrounds earn 24% less a year than those from professional backgrounds, and even if they get a professional job they earn 17% less than more privileged peers. And the evidence is all the more damning when you consider the ‘double disadvantages’ of class, disability, ethnicity and gender.
- This lack of progress in the general state of social mobility is reflected in the arts sector too. In the 2018 report Panic! Social Class, Taste and Inequalities in the Creative Industries, analysis of the Office for National Statistics’ Labour Force Survey (LFS) was used to understand class origins of creative occupations, and found people of working class origin to be underrepresented in specific cultural and creative jobs – fewer than 13% in both publishing and the film and TV industries, and only marginally better in the arts, at 18%. This is in stark contrast to the 35% of people of working class origins in the workforce overall, according to LFS data.