I’m preparing to deliver a training workshop at the Artlands conference in Dubbo later this month. It’s a workshop I’ve now delivered many times called ‘Making Money Business’ and it covers business skills for Indigenous artists running creative enterprises. It’s a workshop I’ve gained a lot from and have blogged about it before, on what these Indigenous artists can teach other businesses about sales.
I’m in the middle of redesigning the workshop for its next iteration, so was intrigued to come across this journal article which details the results of “a survey of small creative firms … in the south west UK”. The survey indicated:
…the majority of firms are interested in a lifestyle based on fulfilling creative aspirations. Very few respondents exhibit any interest in participating in training schemes aimed at enhancing business performance.
So that was little discouraging.
This is a space I’ve inhabited for many years. I’ve both organised and delivered training activities for creatives covering a variety of topics. Generally, the feedback from those sessions has been very positive. And usually, these activities are well attended, which would indicate some level of interest in participating.
But as I read through the article, I realised the assertion that creatives aren’t so keen on undertaking business skills training is not the guts of the article. It’s a conclusion drawn from the piece’s central analysis about the motivation driving the owners of creative firms. (Interestingly, he uses an established quantitative model for measuring entrepreneurship.)
The author’s survey tested the how strongly the participants leant towards creative satisfaction or financial gain from their work. The results were mapped on the matrix above. He finds that the participants value the creative benefits more highly than monetary ones and so…
… it seems rather unlikely that one could persuade them to dramatically alter their artistic
philosophy to the point where they now wish to participate in business growth support
For the creatives I’ve worked with, and for the participants in the Making Money Business workshops, I’d argue that this is not a binary choice. Most creatives I engage with want to be creatively fulfilled and financially successful. Sometimes the dream of making a living out a creative passion is unfeasible – an insurmountable mismatch between an artist’s labour of love and the market demand for that work.
But where there is a market demand to be met (and Indigenous art is a good example here) and an artist can tread the line between making fulfilling art and art that fulfils a customer’s order, then there’s a mutually beneficial transaction to be made. Which can be useful if you want to both make art and pay the rent. For me, it’s not so much about dramatically altering an artistic philosophy, but about seeking to improve the chances of being able to do both those things.