Life in the garret - art work in NI

The penniless artist is a centuries-old cliché.

Worn pockets, fingerless gloves and limitless dreams – all much nicer to talk about than live with but, here in the present day, local arts workers are struggling to make a living.

A 2010 report commissioned by the Arts Council found that, in 2008/09, the mean yearly personal income as an artist was £7,419, rising to £14,546 when considering all sources of income.

The median equivalents were £4,191 and £11,746 respectively – perhaps indicating the mean figures are significantly affected by a relatively small number of high earners within the sector.

The report also noted that 25% of artists had total personal income of £7,000 or less, while 75% were living on less than £19,346.

Assuming this situation has not changed remarkably in the past five years, we find that artists earn significantly less than the average worker.

The latest results from DETI’s Annual Survey of Hours and Earnings were published last week and found the Northern Ireland median annual income (for someone who had been in the same job for at least the previous year) is £18,800, a figure that grows to £24,000 when only considering full-time workers.

But moves are being made to consolidate earnings in the arts through the trade union movement.

Payment, please

Claire Kelly, general manager for children’s group Young at Art, has struck up a deal with Unite and hopes greater co-operation and communication can drive up standards – and maybe change a few misconceptions.

She said: “The basic idea is that artists are doing a job so, please, pay them for it.

“There is an issue about trying to get people within communities and other sectors to understand that we are professionals. People love to see the fruits of our labour but don’t appreciate that it’s labour in the first place.”

Short-term contracts, not having a contract, low pay, no pay, unemployment – Claire paints a picture of unregulated chaos leaving artists short-changed.

She has collected testimonials from some artists, detailing experiences of poor behaviour by employers – last minute cancellations without reimbursement, personal attacks and also a lack of proper remuneration from one group “which claims to have an inclusive ethos”.

She speaks further about one visual artist who was forced to pawn belongings and use a food bank because of a payment being delayed for several months.

These conditions would not be tolerated in other professions, says Claire, so why is it so common in the arts?

The art of collective bargaining

Currently she has a small number of members, under the banner of Unite, within the union’s community and not-for-profit sector.

This is not an ideal fit and, ultimately, Claire wants to have her own sector within Unite – but for that, and more persuasive action, she needs members.

 “On one hand, there’s been a battle trying to explain to trade unions that we are worth getting behind, and also that we are not a traditional industrial sector – I can’t go to the factory floor and address everyone – and instead have a different structure.

“That makes it much harder to communicate. There are hundreds of organisations, and there’s no simple way of keeping in touch with everyone – and it can already be difficult to explain to people in the arts sector how they could benefit from a trade union.”

Her desire is to make the whole sector sustainable, and to aim for minimum standards for everyone working within – not just artists, but associated administration staff, venue workers, and so on.

There have been successes so far – she has reached an agreement with the Lyric Theatre over minimum standards for everyone who works there, from box office staff to anyone behind the bar – and Claire points to the strength of Equity, the performers’ union, saying that shows what can be achieved.

She makes the point that greater communication could also benefit many organisations that benefit artists, such as through administrative co-operation to raise efficiency, suggesting the various Belfast festivals could share a central office and staff, which would also lead to more sustainable employment – and therefore greater incentive to invest in skills and ultimately increase productivity.

When it is put to her that this could mean less people overall would work in the sector, Claire says she cannot say that for certain, adding that people are leaving anyway, driven away by the poor conditions.

If workers in the sector want to improve their lot – and perhaps have a say in the direction taken by arts in NI – then Claire says they should sign up and make their opinions heard.

As it builds a base of members, Claire says the growing artists union within Unite will also lobby more effectively for the sector.

“I’m getting further with the Arts Council on negotiations regarding pay and conditions. Ultimately it’s not their responsibility but they need to be aware of this issue, and put measures in place with organisations who get public funding to make sure people are getting paid properly.”