The 16%: The upper-class’ refusal to move further up the map and why our arts are suffering because of it

Tuesday 29 November 2022



Money talks. It’s something we’ve heard time and time again, and it couldn’t be more prevalent than in the arts industry, where just 16% of creatives are from working-class backgrounds.

In the capital, over 96% of creative economy jobs are taken by people with more advantaged socio-economic backgrounds, leaving barely a slice of wiggle room for anyone else to get through the door. To those of us who are working-class, this sadly isn't news. But what you may not know is that back in the 80s, the creative industry was dominated by work-class forces. By 2011, the numbers told a very different story. It begs a very important question: Why does the arts dig its heels in at the notion of class diversity? What would be so bad about that?

The recent news earlier this month that the ENO (English National Opera) may be pushed into relocating to Manchester due to funding issues was met with widespread backlash, with boss Stuart Murphy turning his nose up at the prospect of the institution moving up north. If you’ve been following the story, you may have also seen national headlines describing the potential move as ‘absurd’ and 'insane', among other things. But I can’t help but feel like this directly contradicts the values underpinning why the ENO began in the first place - to make opera more accessible to all.  It could also mean talented people up north may not have to pack up their life and flock down to London, with opportunities arising on their doorstep. 




Following the heat, a spokesperson for the institution later claimed that they aren't against moving to Manchester, but rather against 'plucking a location without any consultation'. While concerns about funding and job losses are completely valid, all the London-centric who-ha has left me wondering: why does a move up the map seem to infuriate people so much?

This, of course, makes up just one thread of the larger tapestry surrounding the arts’ class problem, which some have gone as far as to call a class crisis. Whether it’s in fashion, music or the silver screen, it almost feels like a silent scandal. While painfully obvious to anyone trying to break into the industry, it still feels somewhat invisible to others sleepwalking their way in. This makes sense, especially since recent statistics have shown 80% of people in journalism come from an upper-class background. The press - who we turn to for our news and information - has the exact same problem, so of course we barely hear about it. How can you be the mouthpiece for the many, when you largely live in an echo chamber of the minority? It’s easy to turn a blind eye, especially if you have reaped the benefits of class privilege, but it’s a hugely vicious cycle, and to really unpick it we need to begin in the classroom…

Opera? In Manchester? God forbid. Credit: Wikimedia Commons


Let's start at the beginning: education inequality

As London’s Deputy Mayor for Culture & the Creative Industries Justine Simmons previously pointed out in an article for GQ, the problem can be traced back to our national curriculum in schools, which has taken a major hit due to government cutbacks.

What happens when state schools have money stripped away? Well, extracurricular activities and creative subjects take a back seat. In 2018, a study found that the uptake of core creative subjects for GCSE level at state schools had declined by 30% from 2010, in turn dampening the value of the arts and adding a whole other layer of privilege to those who do study them. I know that I personally felt like creativity wasn't nurtured at school, and was even discouraged to take up more than one creative subject for my year 9 options. I felt backed into a corner and even chose to study science further, despite having no real interest in it. After all, if you studied GCSE fine art, you just wanted 10 hours off timetable to doss around, right?

It all starts in the classroom. Credit: Unsplash

 
Again, being pushed into illusions of 'security' throughout education only ends up perpetuating the idea that the arts are 'not for people like us' and keeps the industry stagnant, remaining as a place only for the 1%.

Many of these kids suffer from chronic imposter syndrome as a result, with little to no understanding of how to break into the industry, and limited access to materials and resources. Not to mention that kick in the gut when they come across people more well-connected than themselves. How is it fair to limit people's imaginations so much? Well, if you don't fit the mould, it seems anything goes...



'It's not what you know, it's who you know'

It may be a trendy buzzword that’s found its way onto your TikTok algorithm, but nepotism is a big player in the arts. If, like me, you’re someone who is in the creative industry or trying to break into it, you’ll have probably been told you needed to work for free, get an internship or sat through a conversation where someone talks at you about how it’s all ‘who you know’. They aren’t wrong, though. Those who have the luxury of financial security have the freedom to explore their creative talents much more easily, and thus are able to get recognised a lot quicker. They can afford the best schools, drama clubs or instruments that nurture their creative endeavours, and have no financial barrier when it comes to taking up that lucrative fashion internship that offers no liveable salary. For the rest of us, there's no denying you have to work harder to get noticed and push your way through a door that's been firmly slammed in your face.


@tiffbaira Not all models start from the same place but we should be honest about the journey! #fyp #modeling #celebs #nepotismbaby #lilyrosedepp #famousmodels #modelingtiktok ♬ Elevator Music - Bohoman

Then there are the people who step into jobs that have been waiting for them for as long as they can remember, romanticised under the illusion of the humble 'family business'. In some cases, the industry celebrates these instances as inspiring case studies. 

Nepotism in the arts may be part of the silent scandal, but it's plainly obvious to anyone who wants to open their eyes. 

Fixated while disenchanted 

If we turn our heads to fashion specifically, there's something really interesting going on. On one hand, the industry almost fetishises working-class culture, on the other, it snubs it entirely. From big-budget editorials, models draped in four-figure garments posing in front of a council estate to the explosion of the work-wear trend (if you're willing to foot the three-figure bill) and even a pair of Gucci trainers designed to purposely look worn in and 'dirty' - whether it's an attempt to call out to a wider range of people, or capitalise on some kind of interpretation of an urban, street-style aesthetic, I have to say it's gone down like a lead balloon. If they think illustrating the so-called culture as bleak, sombre and, well, 'dirty', it goes beyond missing the mark, only serving to alienate people more.

They'll set you back over 700 quid. Credit: Gucci

Strangely, this seeming fixation - and if we're being honest, appropriation and outdated stereotypes - seems to exist as a paradox to the wider picture of the industry. We're going to take elements of your 'culture', but you ain't buying it.

Like many other parts of the creative industry, fashion is plagued with elitism, because by being working-class, you're instantly at a disadvantage. Sadly, being an exclusive, 'high culture' playground hinges on keeping people out.


Putting a plaster over the problem

Succumbing to box-ticking culture can be equally as damaging, with some working-class creatives speaking out over allegedly being kept on lower wages for longer than their middle or upper-class counterparts. By the same token, advertising yourself as an equal opportunities employer but still expecting people to march down to one of the most affluent parts of central London for a minimum wage internship, again, is not the same as actual inclusion. We need to be so careful to avoid performative change - remember, empty words result in empty actions. It's not about just clearing your conscience. 

Many of these institutions seem to just be chucking in a few people for diversity so they can toot their own horn about how they're for 'everyone'. We need to move beyond tokenism and box-ticking to create real, equal opportunities and accessibility for the arts. Has anyone thought about just asking what working-class creatives need?

All is not lost

It’s so important we create an environment in which everyone is welcome and diversity of voice is championed. That way, the arts will thrive; more people will turn up, invest and ultimately enjoy it as it’s relatable and accessible for the majority. Hammering down the structure, reformation, acknowledging the privileges you have, and uplifting all voices is the new door we have to carve out for ourselves. Of course, there are already organisations out there aiming to empower all voices like the British Fashion Council, for instance, but there's no doubt we need to see more. 
Right now, in an attempt to preserve itself, the arts industry is facilitating its own suffering. We can no longer look the other way.

It's important not to forget that some of the industry's best creative souls have come from working-class backgrounds. Inclusion won't water anything down, it'll make the industry richer, fresher, and quite frankly, more interesting.
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