british goverment cultural heritage blueprint

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The CulturalHeritage BlueprintA workorce development planor cultural heritage in the UK

December 2008


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Creative & Cultural Skills is the Sector Skills Council orAdvertising, Crat, Cultural Heritage, Design, Music, Perorming

Arts, Visual Arts and Literature. The cultural heritage sectorincludes built heritage, museums and galleries, conservationand archaeology.

There are 25 Sector Skills Councils in total, established in 2005as independent employer-led UK-wide organisations governedby the UK Commission or Employment and Skills.

Creative & Cultural Skills exists to bridge the gap betweenindustry, education and the government to give employers

real infuence over education and skills in the UK.

Creative & Cultural Skills vision is to make the UK the worlds creative hub.

Creative & Cultural Skills mission is to turn talent into productive skills and jobs, by:

Campaigningforamorediversesectorandraisingemployerambitionforskills

Helpingtobetterinformthecareerchoicespeoplemake

Ensuringqualicationsmeetrealemployerneeds

Developingskillssolutionsthatup-skilltheworkforce

Underpinningallthisworkwithhighquality

industry intelligence.

The Cultural Heritage Blueprint is part o the Creative Blueprint, Creative & Cultural Skills Sector

Skills Agreement with the UK Commission or Employment and Skills. The Creative Blueprintor England, Scotland, Northern Ireland and Wales is available at www.ccskills.org.uk.

www.ccskills.org.uk


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02

01

Foreword 3

1 Executive summary 5

1.1 Key actions or the uture 9

2 Context 11

2.1 The role and purpose 14

2.2 The contribution o the sector 15

2.3 The case or change 17

2.4 Where next? 17

2.5 The sector workorce 18

3 Challenges and actions 19

3.1 Entry into the workorce 23

3.2 Workorce diversity 26

3.3 Learning and development or sta and volunteers 293.4 Leadership and management 32

3.5 Business, enterprise and entrepreneurial skills 34

3.6 Sector-specicskills 35

4 Next steps 37

5 Useul links 43

6 Reerences and urther reading 47

Contents


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Creative & Cultural Skills Cultural Heritage

Foreword

The UK cultural heritage sector is a world leader. Along with the rest o the UKs

creative and cultural industries, cultural heritage plays a central role in shaping

our national identity, supporting the development and sustainability o local

and national economies and providing a source o inspiration and creativity.

To maintain its position as a world leader, and to ensure it can make

asignicantimpactontheprosperityandwell-beingoftheUK,thesector

has to develop, improve and evolve to meet the changing needs o society.

The workorce is central to the cultural heritage sector and it must evolve

and change to meet the new demands placed on it by the public it serves,

and the customers and businesses that use it.

The sectors workorce already operates at a high level; it draws on a pool

o talented and dedicated people, many o whom are volunteers. There

arehoweversignicantchallengesfacingtheworkforce:restrictiveentryroutes into the sector; a lack o diversity; a need or more sta development;

continuing improvement in leadership and management; a need or

more business, enterprise and entrepreneurial skills; and a need to

developsector-specicskills.

This action plan has been developed by Creative & Cultural Skills Cultural

Heritage Skills Advisory Panel supported by the Museums Association with

unding rom the Museums, Libraries and Archives Council. The development

o the plan has also included wider consultation with the sector, carried out by

the Museums Association. It sets out key priority actions or the next ten years,

and a number o additional ideas or action. The plan is aimed at employers,

proessional associations and individuals working in cultural heritage, as well

as related unders, investors and policy-makers across England, Wales,Northern Ireland and Scotland.

Our aim has been to identiy a series o actions and recommendations

which are prioritised and listed in the Executive Summary at the ront o the

plan. Our next step is to take this out widely to the cultural heritage sector

and those who und and infuence it across the UK nations, to ask which

aspects o the plan employers and others can take orward. Please contact

[email protected] to register your interest or to take part in one

o the proposed industry working groups.

This plan is an iterative process and will be available or comment online at

www.ccskills.org.uk. Please let us know what you think. Our aim is to drive upemployer-demand or skills in the UK the more you tell us, the more infuence

you can have over investment in skills or your sector.

Jane Glaister, OBE

Chair, Cultural Heritage Skills Advisory Panel


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01ExecutiveSummary


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Section 01 Executive Summary

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The Cultural Heritage Skills Advisory Panel, madeup o industry representatives rom across England,

Wales,ScotlandandNorthernIreland,hasidentiedkey actions to ensure that the cultural heritageworkorce is sustainable long-term. These actionswill be taken orward by UK-wide stakeholders inthe cultural heritage sector and Creative & CulturalSkills, in partnership with employers, proessionaland trade associations, sector bodies, unders,Further and Higher Education, relevant governmentdepartments and policy-makers across the UK.


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ExecutiveSummary

Museums Galleries

Scotland

Photo:


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The Cultural Heritage Skills Advisory Panel, made up o industryrepresentatives rom across England, Wales, Scotland and Northern Ireland,hasidentiedtheseactionstoensurethattheculturalheritageworkforceis

sustainable long-term.

This thinking was developed initially via Creative & Cultural Skills CreativeBlueprint research, which surveyed approximately 2,000 employers across thecreativeandculturalindustriesasawhole.Commonthemeswereidentiedinrelation to workorce development, including the importance o managementand leadership; accessibility o entry routes in to the sector and the diversityoftheworkforceasaconsequence;qualicationreform;andtheneedforappropriate labour market intelligence.

Executive SummaryThe Panels work was to approach and develop this research consideringthespecicneedsoftheculturalheritagesector.Thefollowingaimswere

identiedtodeveloptheculturalheritageworkforcesothatitis:

Responsiveto,andskilledtodeliveron,changingmacro and micro-environmental orces

Creative,innovativeandoutwardlooking Abletoleadeffectively CommittedtoContinuousProfessionalDevelopment

and promoting learning organisations Diverseandreectiveofthemarketitserves Accessibletoenter Strivingforexcellenceandsustainability Businessfocused,entrepreneurialandenterprising

and willing to take risks

Appropriatelypaid.

Theindustryandstakeholdersidentiedandagreedthefollowingkeyworkorce challenges which need to be addressed i the industry is to grow:

1.Removerestrictiveentrybarriersintothesector2. Diversiy the workorce3. Commit to Continuing Proessional Development (CPD) or sta4. Improve leadership and management5. Develop business, enterprise and entrepreneurial skills6.Developsector-specicskills.


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Action 1.1

Create more employer-led work-based entry

training opportunities; a UK-wide programme

o Apprenticeships and traineeships

Target

600 Apprenticeships across the UK by 2014

National Occupational Standards reviewed by 2009

Action 1.2

Develop a ramework and best practice

guidanceforhigh-qualityworkplacements and volunteering opportunities

Target

Guidance produced by 2010

Action 1.3

Establish a ramework to provide continuing

proessional development or recent entrants

(paid and voluntary) in their ormative years

Target

Complete scoping or a Continuing Proessional

Development (CPD) ramework by 2011

Action 2.1

Actively engage with the new Diplomas or 14-19

year olds in England and identiy similar opportunities

or engagement UK-wide; provide opportunities or

placements and educational visits

Target

Contribute to the development o the Diploma

in Humanities to be introduced in England in Sept 2011

Identiy alternative approaches in Scotland,

Northern Ireland and Wales by 2010

Action 2.2Increase the use o approaches such as positive action,

embedding them in to organisational working practice

to make them sustainable

TargetComprehensive guidance on a range o approaches

by 2010

500 participants in positive action initiatives by 2013

Action 3.1

Introduce a UK-wide programme o secondments

Target

Scope unding and develop the programme by 2011

Action 3.2

Develop the Creative Choices website to be a listing

service or development opportunities

Target

First opportunities to be available online by 2010

1.1 Key actions or the uture:TheseareactionstheCulturalHeritageSkillsAdvisoryPanelhasidentiedas priorities to-date. They will be taken orward by UK-wide stakeholders

in the cultural heritage sector and Creative & Cultural Skills, in partnershipwith employers, proessional and trade associations, sector bodies, unders,Further and Higher Education, relevant government departments and policy-makers across the UK.

Further ideas or action are discussed throughout the document.

This plan sets out a comprehensive and challenging programme o work. It isnow vital to raise awareness o it across the sector and its investors, and securecommitment to taking the actions orward. Creative & Cultural Skills will takea lead in identiying partners or the actions and, together with the MuseumsAssociation, will publish an implementation plan detailing the commitmentsandspecictimescalesin2009.

Aim 1 Remove restrictive entry barriers into the sector

Aim 2 Diversiy the workorce

Aim 3 Commit to sta development

Photo: The Manchester

Museum, photography

by Steve Devine


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Action 4.1

Employers to actively engage with the creative and

cultural leadership programmes across the UK and

support the continued development o fexible models

tottheneedsofthesector

Target

Increase variety o leadership development opportunities

available across the sector by 2011

Creative & Cultural Leadership programme in Scotland

to be launched in 2008

Action 4.2

Train and develop line managers to ensure that they

are able to nurture and develop sta and volunteers

Target

Training and development programme

or managers by 2012

Action 5.1

Create more opportunities to work in partnership

with the commercial sector

Target

Guidance and ideas or working with other sectors

to be available by 2010

Action 6.1

In-depth research to identiy the specialist skills

thatareinshortsupplyoratrisk,withidentied

action to strengthen them

Target

Researchtobeundertakenby2011

Aim 4 Improve leadership and management

Aim 5 Develop business, enterprise and entrepreneurial skills

Aim 6 Develop sector-specic skills


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02Context


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Section 02 Context

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The workorce is central to the cultural heritagesector and it must evolve and change to meet the

new demands placed on it by the public it serves.


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Context

Dunblane Museum

Photo:


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Section 02 Context

2.1 The role and purposeThe cultural heritage sector includes museums, galleries with collections,built heritage, conservation, heritage landscape, archaeology, and related

member organisations. The sector contributes 1.01 billion to the UK economy1,an increase rom 952 million in 20062.

Cultural heritage is the legacy o past generations that is preserved and sharedwith todays society and kept or uture generations. Cultural heritage helps usto understand how society has evolved and contributes to shaping the uture.It is broad, encompassing historic buildings, landscapes and collections romtowns, cities and rural spaces in the UK, to collections rom across the world. Itstretches beyond the tangible to languages, customs and practices.

Cultural heritage is owned and held in trust on behal o the public. The publicarecentraltodeningwhatconstitutestheUKsculturalheritagebythevaluethattheyplaceonit.Thesectorsuniquerolehasensureditspositionasakey

driver or regeneration. It supports the development o cohesive communitiesandcontributestoshapingtheculturalidentityofspecicplaces.

The sector comprises all those who collect, preserve, study and communicatethe past, present and uture in order to develop and promote understandingand curiosity. It consists o a variety o organisations, institutions, sector bodiesand individuals. They operate at a national level across the UK, or devolvednations or at a regional and grass-roots level. A core part o the sector ispublicly unded.

The cultural heritage sector: Collects,preservesandinterpretsthepast Developsandsharesknowledgeandideas

Providesopportunitiesforlearningandengagement Enrichespeopleslivesandcreatesasenseofplaceandidentity Providescreativity,inspiration,andenjoyment.

There are 1,510 businesses in the cultural heritage sector in the UK in20083, which has increased rom 1,430 in 20064;9%haveaturnoverequalto or more than 1 million. In 2006, the sector employed 53,810 peoplein the UK. It employs 57,350 in 2008. Higher numbers are deployed ina voluntary capacity. Museums account or 59% o the total workorce.

Out o these businesses, 30% employ 20 or more people. 4% o the sectoris sel-employed. 13% o jobs are temporary and 44% o these are seasonal.10% o the sector is located in Scotland, 3% in Northern Ireland and 4% inWales. In England, 27% o the workorce is based in London, and 14% in theSouth East. While many creative and cultural industries have a location-biastowards London and the South East, cultural heritage organisations aremore evenly spread across the UK. For example, 10% o the sector is basedin the South West5.

1 Creative & Cultural Skills, (2008). The Creative and Cultural Industries:

Impact and Footprint 2008. Creative & Cultural Skills.2 Creative & Cultural Skills, (2007). The Creative Blueprint:

The Sector Skills Agreement or the Creative and Cultural Industries The Skills Needs Assessment.

Creative & Cultural Skills.

3 Creative & Cultural Skills, (2008). The Creative and Cultural Industries:Impact and Footprint 2008. Creative & Cultural Skills.

4 Creative & Cultural Skills, (2007). The Creative Blueprint:

The Sector Skills Agreement or the Creative and Cultural Industries The Skills Needs Assessment.

Creative & Cultural Skills.5 Creative & Cultural Skills, (2008). The Creative and Cultural Industries:

Impact and Footprint 2008. Creative & Cultural Skills.


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Context

There is a small majority (52%) o emale workers in the sector; 93% o theworkorce is white, which is reduced rom 95% in 20066 54% o the workorceis aged over 407.

The cultural heritage sector is predominantly unded by the public sector.Asignicantproportionoftheworkforceisvoluntarybychoice.Therecanbe atendencytooverlookthevoluntaryworkforcebuttheystillrequireskillsdevelopment in order or the sector to thrive and develop. Separate to this,thereisalsoacultureofunpaidworkexperienceasaprerequisitetogettinga job in the sector, which is contributing to a narrowing o entry routes andcontributing to a lack o diversity in the sectors workorce.

2.2 The contribution o the sectorThe UKs cultural heritage is internationally celebrated. The sector makesasignicantcontributiontotheeconomicandsocialwell-beingoftheUK 8 andto its development as a central player in the international arts and culture arena:

87%ofpeoplethinkthehistoricenvironmentplaysanimportantpartin the cultural lie o the country9

2.5millionschoolchildrenvisitedhistoricsitesin200610

TheeconomicbenetsoftheUKsmajormuseumsandgalleriesareestimated to be 1.5 billion per annum taking into account turnoverand visitor expenditure11

TheannualturnoverofBritainsmajormuseumsandgalleriesexceeds900million. Broadly 1 in every 1,000 in the UK economy can be directly relatedto the museum and gallery sector. The major museums and galleries spendover 650 million a year12

Itisestimatedthatdevelopersinvestedapproximately135millioninarchaeological investigations through the planning process in 2007/813

Newmuseumsandgallerieshavecontributedtotheeconomicandsocialregeneration o industrial cities14

Thereareover42millionvisitseachyeartomajormuseumsandgalleries 15 SevenofthetoptenvisitorattractionsintheUKaremuseums.Museums

andgalleriesareasignicantfactorinattractingvisitorstotheUK16 Privately-ownedhistorichousesgenerateaneconomiccontribution

o over 1.6 billion17 Therewere62.8millionvisitsmadetohistoricenvironmentattractions

in 200618 HeritageOpenDays,organisedbyvolunteersforlocalpeople,arethe

biggest mass participation event in England with over 3,500 propertiesand over one million people taking part.19

6 Creative & Cultural Skills, (2007). The Creative Blueprint: The Sector Skills Agreement or the Creative

and Cultural Industries The Skills Needs Assessment. Creative & Cultural Skills.7 Creative & Cultural Skills, (2008). The Creative and Cultural Industries: Impact and Footprint 2008.

Creative & Cultural Skills.8 National Museums Directors Conerence, (2006). Values and Vision: the Contribution o Culture.

National Museum Directors Conerence.9 English Heritage, (2007). Heritage Counts 2007. English Heritage.10 English Heritage, (2007). Heritage Counts 2007. English Heritage.11 Travers, T. (2006). Museums and Galleries in Britain: Economic, Social and Creative Impacts.

London School o Economics.12 Travers, T. (2006). Museums and Galleries in Britain: Economic, Social and Creative Impacts.

London School o Economics.13 English Heritage, (2008). Heritage Counts 2008. English Heritage.14 Travers, T. (2006). Museums and Galleries in Britain: Economic, Social and Creative Impacts.

London School o Economics.

15 Travers, T. (2006). Museums and Galleries in Britain: Economic, Social and Creative Impacts.London School o Economics.

16 Travers, T. (2006). Museums and Galleries in Britain: Economic, Social and Creative Impacts.

London School o Economics.17 English Heritage, (2007). Valuing our Heritage. English Heritage.18 English Heritage, (2007). Valuing our Heritage. English Heritage.19 English Heritage, (2007). Valuing our Heritage. English Heritage.


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Section 02 Context

Culture and heritage are the biggest drivers o the UKs tourism industry,which was estimated to be worth approximately 85.6 billion in 2006, withover 32.6 million overseas visitors in 200720. While the value o the UKs tourism

industry is impressive and ranked sixth in the world, competition rom othercountriesisgrowingandsothereisaneedtoensureitisequippedtocompetein this global market.

Inrecentyearstheculturalheritagesectorhasbenetedfromsignicantinvestment through the establishment o the Heritage Lottery Fund. The undhas given substantial grants to projects across the UK ranging rom largecapital builds to local voluntary run heritage initiatives and programmestargeted at supporting workorce development.

In England regional museums and galleries have received around 300 millionoffundingthroughtheMuseums,LibrariesandArchivesCouncilsRenaissanceintheRegionsprogramme.InScotlandtheScottishGovernmentsRegional

Development Challenge Fund has provided over 1 million or museum projects.

An emphasis on social inclusion and other policy drivers infuences the roleand provision o cultural heritage. Legislative changes, such as those governingthe designation and protection o heritage sites and buildings, have also had animpact on the sector. In England, the local government improvement agenda,as detailed in A Passion or Excellence, will have a particular impact on localauthority cultural heritage services21.

The development o technology has transormed and improved the way thesector operates and engages with the public. Collections and resources areincreasingly now available online to access remotely, and valuable assetssuch as the National Archives can now be opened up to a wide audience.

Public engagement with personal histories, whether local or amily, hasboomed in recent years. Society is more mobile and people are able to engagewith and enjoy cultural heritage across the world. Developments in media andtechnology have brought new worlds into homes, or example with the 24 HourMuseum. Initiatives such as the UNESCO designated World Heritage sites haveheightened the sense o global cultural heritage.

Thecreativeandculturalsectorshaveexperiencedsignicantgrowthincomparison to the economy as a whole and this is projected to continue overthe next ten years. The projected employment growth or the UK economy is0.39% per annum between 2007 and 2014 whereas the comparable growth rateor the creative and cultural sector is 1.05% per annum three times higher 22.

20 OfceofNationalStatisticsandVisitBritain,(2007).InternationalPassengerSurvey.OfceofNational

Statistics.21 Local Government Association, (2008). A Passion or Excellence: An Improvement Strategy or Culture and

Sport. Local Government Association, Department o Culture, Media and Sport, Sport England, Arts Council

England, Museums, Libraries and Archives Council, English Heritage, and the Improvement and Development

Agency.22 Creative & Cultural Skills, (2008). An Independent Assessment o the Growth Potential o Apprenticeships with

SpecicRegardtotheCreativeandCulturalIndustries.Creative&CulturalSkills.

Photo: ICON-HLF National

Museums Liverpool


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Context

2.3 The case or changeResearchidentiedthefollowingkeychallengesforthesector:

Thestructureofthesectorinhibitsinnovationandcareerprogression(cross-sector working and organisational collaboration needs to improve)

Thereisaneedtodiversifytheworkforceandremovebarrierstoentryor business success

Thereisaneedtoimprovemanagementandleadershipabilitiesofthoseworking in the sector

Increasingandstrengtheningspecialistknowledgecombinedwiththeskillsneeded to apply and communicate this knowledge is essential or continuedand uture industry success

Thereisadecitofbusinessandentrepreneurialskillsinthesectorinhibiting the sectors ability to respond and adapt to changing markets

Therearesignicantgapsinwork-basedtechnicalandspecialistskillsprovision and training.

2.4 Where next?Understanding o cultural heritage changes and evolves over time; whatcounts as cultural heritage, what role should cultural heritage play and whatshouldwecollectandpreserveareallquestionsthatwillcontinuetobediscussed. The sector needs to be able to adapt and respond to the changingneeds o society and the communities it serves.

Key to its uture is sustainability, in its broadest sense. We need to protectcultural heritage rom environmental threats and any resulting erosion ordestruction. There is also a need to ensure the economic and socialsustainability o the sector.

One o the sectors strengths is its growing commitment to engaging with newand diverse audiences as well as maintaining current users. This is increasinglyimportant as society continues to become more diverse. The sector needs toensure that its provision is universal and accessible to all i it wants to continueto be relevant, attract visitors and secure continued public unding.

Thesectorhasrisentothechallengeofndingwaysthatculturalheritagecancontribute to local, regional and national agendas. Cultural heritage and thecreativeindustriesareincreasinglybeingcalledontoplayasignicantroleincontributing to the development o sustainable and cohesive communities andother government priorities and strategies. This will continue to be a challengeand an opportunity or the sector. The local government improvement agendaas outlined in A Passion or Excellence23, which particularly aects localauthority cultural heritage services in England, will have an impact on howthe sector measures and develops itsel.

Hosting the Olympics in London in 2012, and the Commonwealth Games inGlasgow in 2014, has the potential to contribute to the development o thesector. It is estimated that the London 2012 Olympic and Paralympic Games willattractupto300,000overseasvisitors,onemillionfromtheUKandvemillionrom London24aswellas50,000athletes,pressandofcials25. The CulturalOlympiad leading up to the 2012 games should provide opportunities ororganisations across the cultural heritage sector to participate.

23 Local Government Association,(2008). A Passion or Excellence: An Improvement Strategy or Cultureand Sport. Local Government Association, Department o Culture, Media and Sport, Sport England,

Arts Council England, Museums, Libraries and Archives Council, English Heritage, and the Improvement

and Development Agency.24 Pricewaterhousecoopers, (2005). Olympic Games Impact Study. Department or Culture, Media and Sport.25 Experian,(2006).EmploymentandSkillsforthe2012Games:ResearchandEvidence.LearningandSkills

Council and the London Development Agency.

Photo:

Glasgow City Council


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Section 02 Context

Like so many areas that are heavily reliant on public unding, money or culturalheritage provision will continue to be limited. The pressures on both centralgovernment unding and that o local authorities across the UK will impact

onthesector.TherewillalsobeasignicantreductioninfundingfromtheHeritage Lottery Fund as money is diverted to the London 2012 Olympicsand Paralympic Games. Against this backdrop, the sector needs to developanentrepreneurialapproachtoincomegenerationandensurenancialsustainability. It also needs to continue to demonstrate its value i it wantsto secure unds.

2.5 The sector workorceTheworkforceistheculturalheritagesectorsmostsignicantasset.Itencompassespaidandvoluntarystaffandgoverningbodiesthatcurrentlydeliverhigh-qualityservicestothepublic.RecentgurescollectedbyCreative&CulturalSkillsputthe number o people working in the sector at 57,35026.

Keyjobrolesintheculturalheritagesector:Front o house sta; those working in exhibitions, interpretation,display and design; curatorial and collections sta; conservators; artisans;cratspeople; marketing and communication; site management; planningand surveying; education; audience development; researchers; eldarchaeologists; archaeological resource managers; ICT; and managementand administrative roles.

Likeothercreativeandculturalindustriesasignicantproportionoftheworkorce is voluntary and the sector would not be able to survive withouttheir contribution. The National Trust alone has over 43,000 volunteers, whichprovideaneconomicvalueof16.3millionperyear,equivalentto1,300extraull-time sta. Their skills development must also be accounted or.

The majority o sta work in public sector organisations or charities, butasignicantminorityworkinthecommercialsector,eitherself-employedor in commercial organisations. This is particularly true or those workingin archaeology and conservation. There is also a growing trend or peopleto move into consultancy roles. Approximately 4% o the workorce issel-employed and 1% o the sector is reelance27. Seasonal workers alsomake up a key part o the workorce.

The workorce is predominantly white with a small majority o emale workers.Theworkforceishighlyqualied,with50%educatedtomastersdegreelevelor above28. The sector is reasonably small and the number o job vacanciesislimited.Thismeansgettingintothesectorcanbedifcult,especiallyastheturnover o sta is relatively low, although short-term contracts have increasedthis. The sector suers rom low levels o pay.

26 Creative & Cultural Skills, (2008). The Creative and Cultural Industries: Impact and Footprint 2008.

Creative&CulturalSkills.Thisguredoesnotincludevolunteers.27 Creative & Cultural Skills, (2008). The Creative and Cultural Industries: Impact and Footprint 2008.

Creative & Cultural Skills.28 Creative & Cultural Skills, (2008). The Creative and Cultural Industries: Impact and Footprint 2008.


Photo: The Manchester

Museum, photography

by Steve Devine


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Challengesand Actions

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Section 03 Challenges and Actions

The sectors workorce already operates at ahigh level. It draws on a pool o talented and

dedicated people, many o whom are volunteers.Therearehoweversignicantchallengesfacingthe workorce, particularly in a changing economicclimate; restrictive entry routes in to the sector, alack o diversity, a need or more sta development,a need or continuing improvement in leadershipand management, a need or more businessand entrepreneurial skills, and a need to developsector-specicskills.


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Museums Galleries

Scotland

Photo:


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The cultural heritage sector is comprised o a broad group o sub-sectorsdelivering a diverse range o services and unctions. Due to its ragmentarynature producing a completely uniorm list o issues aecting the workorce is

not straightorward. The majority o the issues outlined are common across allthe sub-sectors; conservation, archaeology, built heritage and museums andgalleries. Some may be less relevant to some sub-sectors.

The issues and actions contained in this document are intended to relateto all those working in the cultural heritage sector paid and voluntary sta,sel-employed and reelance individuals and governing bodies.

The key issues aecting the cultural heritage sector workorce are: Entryintotheworkforce Workforcediversity Staffdevelopment Leadershipandmanagement

Businessskills,enterpriseandentrepreneurship Sector-specicskills.

To develop and change the workorce a number o key challenges needto be addressed. In summary:

Removerestrictiveentrybarriersintothesector Create more ways o entering the workorce. Currently, entry routes

are narrow and potentially discriminatory. Diversifytheworkforce

Increase the socio-economic, ethnic, gender and disability diversityo the workorce. The lack o diversity extends to all areas o theworkorce, including governing bodies and volunteers.

Developtheworkforce Nurture sta and volunteers and train them appropriately, especially

where there are skills needs and gaps. Improveleadershipandmanagement

Improve the leadership and management abilities o those in the sector,particularly the skills o new leaders and those at governance level.

Developbusiness,enterpriseandentrepreneurialskills Address the growing need or business and entrepreneurial skills.

Developsector-specicskills Developsector-specicknowledgeandskillssothattheworkforce

can understand, communicate, preserve and develop the UKs culturalheritage. The sector is at risk o losing expertise in some areas, andailing to keep up-to-date in others.

The Cultural Heritage Skills Advisory Panel have spent time identiyingand discussing the key issues these challenges present, and in the ollowingpageshaveidentiedactionswhichshouldbeprioritised.ThePanelhavealso agreed a set o recommended urther activity, and some additional ideas orconsideration by partners. The priorities and recommendations will be takenorward in an Implementation Plan which will ollow this document in 2009.


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3.1 Entry into the workorce

Summary o the issues:

Therearenotenoughentryroutesintothesectorandsomeentrylevelpositionsmaydemandunnecessaryrequirementsintermsofqualicationsand experience

Thereneedstobemoreentry-leveltrainingprovidedonthejobbyemployers, and more entry posts or traineeships and Apprenticeships

Thereisnotenoughprovisionorsectorbuy-inforNationalVocationalQualications,ScottishVocationalQualicationsandFoundationDegreesthat can support workplace training and development. Getting work-basedtrainingaccreditedcanbedifcult

Transferableskillsfromothersectorsarenotalwaysvalued Workexperience(particularlyinmuseums)isoftenarequirementso

volunteering is commonplace. However work experience opportunities canbe hard to access and badly planned or unstructured. The act that it is

unpaidisanancialbarrierformany Someformalentry-leveltrainingdoesnotprovideentrantswiththeskills

andexperiencerequiredtoobtainajob Thecostofuniversity-basedtrainingcanbeabarrier.

In a marketplace where employers can pick and choose rom a large pool oreely available talent, young people are required to develop their own skillsthroughunpaidworkandtondtheirownjobs 29.

Enteringtheculturalheritagesectorworkforceisdifcult;manyoftheissueslink closely to those relating to diversity covered later in this document. Issuesaecting peoples ability to enter the workorce include ew entry routes withanover-emphasisonacademicqualications;54%oftheworkforceholdatleast

adegreeastheirhighestqualication,and50%holdatleastapostgraduatedegree or higher. Other barriers to entry include the high cost o training anda lack o on-the-job training as well as the competition or jobs and an over-supply o graduates.

Over the past twenty years organisations have moved away rom training theirown entry-level sta to relying on Higher Education providers, but there isgrowing consensus that many o the skills needed can only be learned on thejob. The sector needs to do more entry-level training itsel and develop closercollaboration with Higher Education Institutions, not only on an organisation-to-organisation basis, but also in a nationally or regionally co-ordinated way.

TheLeitchReviewin200630 called on employers to take more responsibility orskilling up their workorce, and proposed closer collaboration and partnershipsbetween employers and education providers, such as employer co-undedplaces. The report also called or publicly-unded training courses to be moreresponsive to employer needs.

Sometimes organisations within the sector can set unnecessarily high entryrequirementsandfailtorecognisetransferableskillsandcompetencies.Inaddition to this, as a result o an oversupply o graduates in some sub-sectorssuchasmuseums,peoplewhoareacademicallyover-qualiedarebeingrecruitedtopoststhatcouldeasilybelledbynon-graduates.

Photography by Ben King

29 Parker, S. Tims, C. and Wright, S. (2006). Inclusion, Innovation and Democracy:

Growing Talent or the Creative and Cultural Industries.Demos.30 Leitch,S.(2006).ProsperityforAllintheGlobalEconomy:WorldClassSkillsFinalReport.

London:StationeryOfce.


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The sector does not always value or provide enough alternative training modelsto Higher Education, such as vocational courses National VocationalQualications(NVQs),ScottishVocationalQualications(SVQs)orFoundation

Degrees. Only a small proportion o museums use NVQs and SVQs to developand train their workorce. There are some exceptions such as a new NVQ inarchaeological practice, developed by the sector, but this has yet to be pickedup by many employers. A number o Foundation Degrees relevant to the sectorare emerging, or example the new Foundation Degree in Cultural Services inthe East o England. Foundation Degrees have the potential to complimentother alternative entry routes such as Apprenticeships.

The need or employers to play a more active role in training and developingsta is an important actor in improving entry to the workorce. Currentlyemployersdonotprovideenoughtrainingforpeopletogaintherequiredskills.There are very ew opportunities through recognised Apprenticeships,traineeships or internships or people to train on the job.

Some progress is being made; there are several established programmeslike the National Trust Careership programme and schemes includingCreative & Cultural Skills Creative Apprenticeship programme launched in2007. The Heritage Lottery Fund provides unding or training bursaries andrecentlynancedseveralinconservationandarchaeology.Asmallnumbero organisations are beginning to oer traineeships but these need to increasesignicantly.

Some organisations, like the National Trust, have transormed lower grade jobssuch as conservation assistants into training and development roles. Thesehaveadenedprogrammeofdevelopmentandanopportunitytoprogress to a higher grade. I more organisations were able to do this then the impact

could be considerable.

For many, entry into the sector is dependent on gaining extensive workexperience, mostly unpaid, which can discriminate against those who cantaffordtodoso.Therearealsoissuesaroundthequalityandaccessibilityo work experience in the sector. While some come away with a positive,fulllingexperiencemanycanndthemselvesexploitedandstilllackingskills.Aswithpaidwork,thesectorwouldbenetifworkexperiencebecame more transparent in its recruitment and structured in its approach.

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Key priority actions: Createmoreemployer-ledwork-basedentrytrainingopportunities;

a UK-wide programme o Apprenticeships and traineeships.

Developaframeworkandbestpracticeguidanceforhigh-qualityworkplacements and volunteering opportunities.

Establishaframeworktoprovidecontinuingprofessionaldevelopment or recent entrants (paid and voluntary) in their ormative years.

Recommended urther activity: WorkwithCreative&CulturalSkillsandFurtherEducationtodevelopand

hostApprenticeshipsacrossthesectorandensuretheyaretforpurpose Expandtheareasofworkwithintheculturalheritagesectorwhichcanbe

addressed through Apprenticeships e.g. conservation, curatorial, education,archaeology roles

RevisetheNationalOccupationalStandards(NOS)whereneeded,tosupportthe development o Apprenticeships and other entry models

IncreasethetakeupofFoundationDegreesandotherwork-basedentryleveltraining models

Buildonexistingmodelsofbursariesandtraineeships(HeritageLotteryFund bursaries, Museums Association Diversiy scheme) to develop modelsthat can be sustained by the sector without outside unding

Developtraineeshipsthatcanbehostedbyorganisationsworkinginpartnership

ContinuetoadvocatetheneedfortraineeshipsandApprenticeshipstounders

SupportstaffthroughHigherEducationandFurtherEducationcourses,including Foundation Degrees

Developtheskillsofvolunteermanagerstodeveloptheircolleagues Buildonexistingsourcestocreatebestpracticeguidanceforvoluntarywork

Deviseawaytoopenlyadvertisevoluntarywork(throughCreativeChoicesand other web sources)

Createmoregenuinelystructuredentry-levelpoststhatprovideastrongelement o training and development.

Additional ideas or action: WorkwithorganisationsandHigherEducationandFurtherEducation

training providers to develop a range o entry routes into the sector (ordierent stages in an individuals career)

Establishin-housetrainingschemesand,whereappropriate,dothisincollaboration with higher education providers

Movetowardsmorecompetency-basedjobdescriptionsthatrecognisetranserable skills and aptitudes

Workwithorganisationstodevelopaframeworkforreassessingjobdescriptionsandentryrequirements

WorkwithCreative&CulturalSkillsontheongoingprogrammeofqualicationsreform.

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3.2 Workorce diversity


Weakcommitmentandleadershipfromemployerstotakeactiontodiversifytheir workorce; the moral and business case or diversity is not ully understood

Patchyknowledgeandunderstandingofpracticalwaystoaddressworkforcediversity such as through positive action schemes and changes torecruitment practices

Narrowandinhibitingentryroutes Alackofgoodcareersinformationdemonstratingtherangeandscope

o jobs within the sector Apoorimageofthesectorandalackofdiverserolemodels,which

is exacerbated by limited contact with under-represented groups Lowpay,oftennotcommensuratewiththequalicationsandskillsrequired Alackofaccuratedataonthemakeupoftheculturalheritagesectorworkforce.

In order to attract the greatest range o talent and to respond to and growits market, the sector needs to be diverse in all it does: in what it collects,in how it interprets and how it provides access. It also needs to have a diverseworkforce,butthesectorhasalongwaytogotoachievethis.Recentguresput the workorce at 93% white31.

The creative industries have come to symbolize diversity in Britain: a signalo a tolerant and open society. But access to livelihoods in the creative andcultural industries, like most other sectors, remains easier i you are white,middle class and male32.

Recruitingadiverseworkforcepaidandvoluntaryhasdirectbusinessbenets;itensuresthatorganisationshaveaworkforcethatreectsthe

communities they serve, helping them to understand their customers betterso they can ensure their services meet the needs o the whole community.A ailure to develop a workorce that refects society may well in time leadto organisations limiting the number o potential users. Organisations withdiverse workorces are able to draw on a wider range o skills and resourcesand bring in new ideas and perspectives.

Itstandstoreasonthatbusinesseswithadiverseworkforcearemorelikelyto attract a more diverse customer base and to provide a better, more tailoredservice to them. The development o new technologies and the need to provideservices seven days a week have put additional demands on business.33

Despitealackofdiversitybeingregularlyidentiedasasignicantissue,the sector has been slow to address it. There have been some notableexceptions to encourage people rom diverse backgrounds to work in thesector, such as limited use o positive action in museums and galleries throughschemes such as the Arts Councils Inspire Programme and the MuseumsAssociations Museums, Libraries and Archives Council-unded Diversiyscheme. To date, these have only resulted in just over 100 people rom BMEbackgrounds joining the workorce. The pace o change needs to increase.

Not only is the sector not ethnically diverse; anecdotal evidence stronglysuggests people rom working-class backgrounds and disabled people are alsosignicantlyunderrepresented.Thelackofdiversitycontinuesuptoboardlevel.

31 Creative & Cultural Skills, (2008). The Creative and Cultural Industries: Impact and Footprint 2008.

Creative & Cultural Skills.32 Parker, S. Tims, C. and Wright, S. (2006). Inclusion, Innovation and Democracy:

Growing Talent or the Creative and Cultural Industries. Demos.33 DepartmentofTradeandIndustry,(2003).BusinessCaseforDiversityandEquality.

Department o Trade and Industry.

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The reasons behind the sectors lack o workorce diversity are numerous andrequirevariedapproaches.Onekeybarriertothedevelopmentofadiverseworkorce can be a lack o commitment and leadership rom employers.

A lack o action on diversity is most commonly the result o organisationsbeingunsureoruncondentaboutmakingthecasefordiversity,especiallythe business case. A change in organisational culture, which prioritises theneedfordiversity,hastooccur.Thedifcultlyinenteringthesectoralsohasa considerable impact on workorce diversity.

Reportssuchas Barriers to Entering Museums and Archives34 demonstratethat many under-represented groups do not see themselves as being parto, or refected in, the cultural heritage sector and its work. The image o thesector is poor; people do not identiy with the workorce and oten have littleunderstanding o the range o work on oer.

The museums sector has made considerable progress in developing and

increasing the work it does with diverse and under-represented audiencesthrough new programmes o work and outreach projects. It now needs to domore to translate these experiences and contacts into a desire to work in thecultural heritage sector. In particular, it needs to reach young people when theyare making decisions about their careers.

Low pay continues to be an issue, especially as poor pay oten ollows on romexpensive training.

The extent to which low pay aects the diversity o the workorce is asubject o some debate, but it is probably the case that it acts as a barrierto some entering the sector, especially as poor pay oten ollows on romexpensive training. Even though proessional bodies including the Institute

o Conservation, the Institute or Archaeologists and the Museums Associationall oer guidance on pay, more proactive work needs to be done i salaries areto improve.

In order to monitor progress, the sector needs to regularly collect and publishaccurateguresonthemake-upoftheworkforce.Untilnowthishasbeenadhocwithinadequatecentralcoordination.Itishopedthatthedevelopmento Creative Choices35, which will publish labour market intelligence online,will allow progress to be monitored.

Approaches to address the lack o diversity need to be broad in ocus, lookingat all aspects o the issue, rom attracting secondary school students to thesector to increasing the diversity o middle and senior managers and boardmembers. Individual organisations can begin to identiy the diversity issuesaecting them and put appropriate strategies in place. Although sometimesseen as controversial, it may be the time or organisations to begin to setthemselves targets in this area.

Key priority actions: ActivelyengagewiththenewDiplomasfor14-19yearoldsinEngland

and identiy similar opportunities or engagement UK-wide; provideopportunities or placements and educational visits.

Increasetheuseofapproachessuchaspositiveactionschemes,embeddingthem in to organisational working practice to make them sustainable.

34 ZebraSquareLtd,(2005).BarrierstoEnteringMuseumsandArchives.Museums,LibrariesandArchives

Council.35 www.creative-choices.co.uk

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Recommended urther activity: Makethebusinesscasefordiversity Demonstrateleadershipandcommitmenttodiversityatalllevelswithin

organisations including boards Ensurethediversityagendaisseenasimportantacrosstheworkforce,

including volunteers and placements Developworkforcediversityplanswithspecicgoalsandplannedactivities Fundpositive-actionandotherdiversicationprogrammes ContributetothedevelopmentoftheDiplomainHumanitiesthrough

consultation, and support Diploma Delivery Partnership led byCreative & Cultural Skills

Createearlyawarenessofculturalheritagecareersthroughmoreopportunities or dierent groups to engage with the sector: Increase number o school age work placements oered in the sector,

look at ways o expanding current models Developaprogrammeoftasteropportunities

Increase the number o activities aimed at school children; especially14 to 16 year olds, to utilise existing contact with schools to promotejobs within the sector.

Additional ideas or action: Regularlycollectandpublishaccuratedataonworkforcecomposition Trainfromwithindevelopinternalprogressionroutesthatallowindividuals

to advance through the organisation Disseminateinformationondifferentapproachestodiversifyingtheworkforce ExploreanddevelopDiversityChampionsandidentifyrolemodelsfor

the sector Developnewcareersinformationandresourcesforthesectorincrease

the use o web resources such as Creative & Cultural Skills Creative Choices

Campaignactivelyforappropriatesalaries.

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3.3 Learning and development or sta and volunteers


Thedevelopmentofskillscanoftenbereactiveandnotstrategicallyplanned Thedevelopmentofstaffcanbeundervaluedandnotinvestedinappropriately,

and individuals can be passive in taking up development opportunities Developmentopportunitiesareharderforsometoaccess,especiallythose

on short-term contracts and lone practitioners NotenoughpeopleinthesectorareactivelyundertakingContinuing

Proessional Development (CPD) Developmentopportunitiesareoftennotwellsignpostedandlessformal

development tools such as mentoring, shadowing, and learning sets arenot always valued

Thesectorcanbeinwardlookinganddoesnotdoenoughtoseekalternativedevelopment opportunities

Withoutopportunitiestodevelop,individualsdonotalwayspossess

the skills and knowledge to progress Thereareveryfewinternalprogressionschemeswithinorganisations Thedevelopmentneedsofvolunteersareoftenoverlooked NationalOccupationalStandardsneedtoberegularlyreviewedtoensure

that they are relevant to the sector.Theculturalheritagesectorrequirescontinuingdevelopmentoftheworkforceto ensure sustainability and growth. Skills gaps must be addressed, anditisessentialtoensurethatstaffandvolunteersareequippedtodealwiththe changing nature o their work. However, there is an under-investmentin training and development and the sector is missing out on opportunitiesto nurture and develop its sta. Twenty-seven per cent o cultural heritageorganisations report that all their sta have either undertaken or been oered

training, and this includes health and saety and ICT training36. In someorganisations, the workorce is entirely made up o volunteers, makinginvestmentintrainingparticularlydifcult.

Recognitionoftheneedtodeveloplearningorganisationsisfundamental tomakingasignicantchangeinthisarea.ADemosreport 37 or the Museums,LibrariesandArchivesCouncilin2003identiedanegativeorreluctantworkforcedevelopmentculturewithintheculturalheritagesector.Signicantprogress could be made here through the development o people managementskillssothatlinemanagersarecondentandequippedtotakeontherole o nurturing their teams.

Opportunities or training and development are oten haphazard and reactive.Patchy use o proper appraisals and personal development plans contributeto this. There is an element o short-termism in development opportunities,wheretheemphasisisonimmediateskillsrequiredforprojectsandnot on potential uture development needs. The growth in short-term contractshas exacerbated the problem, as there is oten even less investment in thedevelopment o people who are not permanent members o sta. Not enoughvalue and commitment is placed on the development o voluntary sta.

36 Creative & Cultural Skills, (2007). The Creative Blueprint: The Se ctor Skills Agreement or the Creative

and Cultural Industries Understanding Supply. Creative & Cultural Skills.37 Demos, (2003). Towards a Strategy or Workorce Development. Museums, Libraries and Archives Council.


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The cost and availability o training opportunities is an issue or some.However,inmanyareasthereareadequateopportunitiesbuttheyarepoorlysignposted. Individuals can oten lack the initiative and drive to seek them out.

Furthermore, support or volunteer managers is also lacking. A minority oprofessionals,oftenworkinginlargerorganisations,areemployedspecicallyto recruit, manage and support volunteers. Elsewhere, volunteer managementmay be an aside to a particular role, and training and direction or suchindividuals is ad hoc, i present at all. When surveyed, 4% o organisationsintheculturalheritagesectorspecicallymentionedtrainingvolunteers38.Initiatives such as the Museums Galleries Scotland Volunteer ManagersNetwork seek to address this gap by oering anyone responsible or volunteersin the cultural heritage sector support, guidance and a orum or good practice.

One o the results o not developing the sectors workorce is that, while thereislittledifcultyrecruitingentry-levelposts,thereareproblemsrecruitingtomany middle-management jobs. The culture o under-investing in training and

development continues into mid and senior posts. There can be an assumptionthat the majority o training and development is done in the initial stageso a career and once people reach a certain level o responsibility they haveall the skills needed. The number o people actively doing ormal ContinuingProessional Development (CPD) can diminish or those in senior posts39.

Proessional development schemes like the Associateship and Fellowship o theMuseumsAssociationandtheProfessionalAccreditationofConservator-Restorers(PACR)schemefromtheInstituteofConservationprovideagoodframeworkor people to plan or their own development. These schemes can haveasignicantimpactontheindividualandthewidersector,butthetakeup o these and other CPD opportunities needs to increase. Archaeology is takinga lead here and the Institute or Archaeologists is seeking to make CPD

compulsory or all o its members.

The sector can take a narrow view o what constitutes development activities,with an over-reliance on ormal training opportunities such as courses.There are ew alternative developmental opportunities such as secondments,shadowing and mentoring.

The lack o any clear, structured career pathway is another relevant eature.It can lead to people leaving the sector, unable to see where the next logicalcareer move should be, or demoralised by the lack o jobs that oer someorm o progression. The small number o vacancies exacerbates this.Some organisations have developed internal progression schemesto counter this trend.

There are many organisations that provide comprehensive training anddevelopment or their sta, but these examples o good practice are notreplicated across the sector. The development o learning organisationsis central to this.

38 Creative & Cultural Skills, (2007). The Creative Blueprint: The Se ctor Skills Agreement or the Creative

and Cultural Industries Understanding Supply. Creative & Cultural Skills.39 Davies, M. (2007). The Tomorrow People. Museums Association. Millman, A. Murch, A. (2004).

Workplace Matters. Museums Association.

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Key priority actions: IntroduceaUK-wideprogrammeofsecondments DeveloptheCreativeChoiceswebsitetobealistingservicefor

development opportunities

Recommended urther activity: Supportandencouragestaffandvolunteerstoundertakeprofessional

development, particularly in response to skills gaps and shortages Createmoredevelopmentopportunitiessuchassecondmentsandshadowing Encouragestafftocontributetothedevelopmentofknowledgeandskills

o others in the sector Developaprogrammeoftasterdaysforstafftoexperiencedifferentareas

o work across organisations Increasethecommitmenttostaffdevelopmentrequiredinfunding

applications and in national schemes such as Museum Accreditation.

Additional ideas or action: UsetheNationalOccupationalStandards(NOS)tosetoutcurrentskills

setsrequiredbythesector IncreasethetakeupofschemessuchasInvestorsinPeopleandInvestors

in Volunteers, which encourage the development o learning organisations Includeaclearidenticationofworkforcedevelopmentneedsinforward

plans Improveandincreasetheuseoftrainingneedsanalysistoolsandappraisals Introducemoreinternalprogressionschemesinmediumandlargesized

organisations Ensuredevelopmentopportunitiesareincludedintoshort-termcontracts Createamechanismtocollectandshareinformationoncurrentjobroles/

job descriptions

Improve,andlookatwaysofformalisingifdesirable,thedialoguebetweenemployers and education providers to ensure the provision o training meetsskills needs o the sector

Raisetheproleandarticulatemoreclearlythebenetsofmentoringto support personal development in a range o areas

Professionalbodies(andorganisations)toactivelypromotementoring and Continued Proessional Development (CPD)

DeveloptheuseofonlinelearningtodeliverCPD.


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3.4 Leadership and management


Opportunitiestodevelopleadershipskillscanoftenbecostly,andthereforebeyond the reach o many

Somesub-sectorsdonotappreciateortakeupleadershipdevelopmentopportunities available to them

Thereneedstobemoreleadershipdevelopmentforboards,trusteesandelected members

Theroleofamanagercansometimesbeundervaluedormisunderstood;many do it reluctantly and with little training

Poorline-managementskillsareaparticularproblem.Manystafflackthe people management skills to develop their colleagues and this impactson sta development.

Comparedtothesituationtenyearsago,thesectorhasmadesignicant

progress in improving leadership and management skills, but this needsto be maintained and expanded. As the sector evolves, so do its managementand leadership needs; or example, there is a growing need or more business,advocacy and entrepreneurial skills.

The sector has been developing its leaders through programmes suchas the Clore Leadership Programme and the Cultural Leadership Programme,the Museums Libraries and Archives Councils Leading Museums and ArchivesProgramme, the Museums Galleries Scotlands Leadership Programme,the University o East Anglias Museum Leadership Programme and in-houseschemes such as those run by the V&A Museum or provided by local authorities.These opportunities need to continue, and increase i necessary, as it is clearthat leadership development is in demand.

Greater institutional commitment needs to be made to spotting leadershippotential in sta and supporting people to take up the developmentopportunities available. Organisations could be helped to do this i there wasmore choice in the way this training is delivered. The cost and time commitmentsare problematic or many. It has been encouraging that a growing numbero leadership development opportunities are available and targetedat emerging and new leaders.

In the area o management, one o the key issues to be addressed is the lacko value placed on management by some individuals and organisations.Manyorganisationsnditdifcultrecruitingformanagementpositions,with many candidates lacking the relevant skills and knowledge.

Individualsfrequentlyndthemselvesinmanagementpositionswithoutaclearideaofwhattherolerequiresorthepracticalskillsandknowledgetosupportthem. Formal training (or indeed inormal development through mentoring andshadowing) is oten not automatically oered to people in management roles.This is particularly important in the area o people management and can haveasignicantimpactonthedevelopmentofstaffacrossthesector.

Fundamental to any progress is the need to develop the leadership skillso boards, trustees and elected members. The Clore and Cultural LeadershipProgrammes have made this a priority and the sector needs to work withthese Programmes to help shape and take orward initiatives and approachesto tackle this issue.

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Key priority actions: Employerstoactivelyengagewiththecreativeandculturalleadership

programmes across the UK and support the continued development

o fexible models to t the needs o the sector Trainanddeveloplinemanagerstoensurethattheyareabletonurture

and develop sta and volunteers .

Recommended urther activity: SupportthedevelopmentoftheCreativeandCulturalLeadership

Programme in Scotland Identifywaystocreateanddevelopnetworksforemergingleaders

supported by mentoring programmes link up with existing networkswhere possible, such as the Women Leaders in Museums Network(Cultural Leadership Programme)

DevelopmoreopportunitiesforplacementssimilartothePeachplacementscurrently being oered through the Cultural Leadership Programme

Providehigh-qualityinformation,onlinelearningandleadershipdevelopmentopportunities through the Cultural Leadership Programme and CreativeChoices website

BuildoninitialworkdonebytheCulturalLeadershipProgrammeto increase leadership development opportunities and resources availableor board members

Lookatthedevelopmentofspecicpeoplemanagementtrainingto support nurturing o sta to be delivered across the sector

Developarangeofmanagementdevelopmentopportunities: ormal training mentoring and coaching learning sets or discussion orums.

Additional ideas or action: ImprovethepotentialofexistingCPDschemestosupportmanagement

and leadership development Explorethepossibilityofextendingin-housemanagementtrainingprovision

in large organisations and local authorities to others in the sector Workwithgovernmentandotherorganisationstopromoteboarddevelopment- draw on existing models such as the Kings Fund development programme

or National Health Service board members and Arts & Business Scotlandsboard development programme and, i eective, adapt and apply them

- work with organisations such as National Centre or Voluntary Organisationsand the Charity Commission to explore mechanisms or increasing the takeup o board development opportunities

Buildonandexpandexistingsuccessfulmodelsofleadershipdevelopmentprogrammes to create more fexible leadership development opportunities.

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3.5 Business, enterprise and entrepreneurial skills


Therecanbelittleenthusiasmfor,andinadequateknowledgeofthebusinessenvironment and the orces impacting on the cultural heritage sector

Thereareinadequatebusinessskillstrainingwithincurrentculturalheritageeducational and training courses

Therearesomestructuralbarrierstodeployingenterprisingandentrepreneurial approaches

Organisationalcultureoftendoesnotsupporttakingtherisksneededto be entrepreneurial

Thereareinadequatetaxandbusinessincentivesforcommercialsectorinvestment in the cultural sector.

It is clear that i the sector is going to thrive and develop in the uture it needsto increase the business and commercial skills o its workorce. The sector

is growing and there are a number o sole traders and small businesses(especially in certain sub-sectors such as archaeology and conservation)that need to be enterprising and entrepreneurial. As unds will continue to belimiteditisessentialthatthesectorcanndwaystoincreaseanddiversifyitsincome.Itneedstondwaysofengagingwithandrespondingtothepressuresand opportunities o a market economy.

Financial skills and business knowledge are central to achieving this, togetherwith a more entrepreneurial approach. To do this the sector needs to developabetterunderstandingofentrepreneurship.Itcouldbenetfrombeinglessinward-looking, seeking out opportunities to learn rom and actively engagewith organisations and individuals outside the sector, in particular rom thecommercial sector. More eective working relationships and partnerships with

the business community could provide excellent opportunities or developingskills, as could secondments to commercial organisations and mentoring withindividuals outside the sector.

Key priority actions: Createmoreopportunitiestoworkinpartnershipwiththecommercialsector.

Recommended urther activity: Developlinksandpartnershipswiththecommercialsectorandlocal

businesses Prioritiseprovidingstaffwithopportunitiestodevelopbusinessskills Encouragemoretrainingproviderstoincludebusinessandnancial

management training.

Additional ideas or action: Encouragedevelopmentopportunitieswherestaffwillincreasetheircontact

with and understanding o the commercial sector Addresswaysofdevelopinganenvironmentwherestaffcanbecreative

and are supported to take risks where appropriate Ensuretraininginnancialandbusinessskillsisprioritisedinforwardplanning Workwithorganisationstoraiseawarenessandunderstandingof

entrepreneurship Highlightexistingexamplesofentrepreneurialapproachesand

enterprising practice.

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3.6 Sector-specic skills


Somesector-specicskillsandknowledgeareindecline,thislackofexpertise aects the sectors ability to ully exploit the potential o its assets.

Thesectordoesnotalwaysprioritisethedevelopmentofsector-specicskills and knowledge

Thesectorneedstodevelopabetterunderstandingofthespecialistskillsthat are at risk (traditional crat skills, technical skills, collections care skills)

Thesectorisnotdevelopingnewkindsofexpertiseneededtoensureitdevelops and thrives in the uture

Betterprocessesneedtobeinplacetoensuresubject-specicknowledgeand skills can be captured and transerred

Alackofsuccessionplanningimpactssignicantlyontheretentionofskillsand knowledge

Thesectorneedstoworkmorecollaborativelywithothersectorstodevelop

sector-specicskillsandknowledge.

Therearecertainskillsandknowledgeuniquetothissectorthatcouldbeclassiedasfragileoratrisk.Thisincludesthespecialistknowledgeo collections and buildings and the technical, conservation and traditionalskills needed to maintain our heritage and bring it to lie.

Therearevariedreasonsforthedeclineinsector-specicskillsandknowledge;poor entry-level training and lack o proessional development are contributoryactors. It can also be the case that some o the better paid jobs that oer morecareer progression mean moving away rom a specialism into a managerialrole, leading to a loss o knowledge and experience.

The workorce has increasing demands on its time and the developmento specialist skills and knowledge is not always prioritised, or valued as highlyas developing skills in other areas. It is also the case that there is little emphasison applied learning in specialist education courses the emphasis is on theacquisition,ratherthanboththeacquisitionandapplication,ofknowledge.

Employers do not always acknowledge their role and responsibility in ensuringthe continuance o many specialist skills. Organisations increasingly outsourceskills to reelancers and consultants so in-house knowledge and skills can dwindle.

As well as needing to retain and develop specialist skills and knowledge thesector needs to ensure it develops specialist skills in all areas o its work including new technology, community engagement, interpretation andparticipation amongst others to ensure that the sector remains relevantand accessible.

Whileitiscrucialtodevelopsector-specicskillsandndbetterwaysofcapturing knowledge, realistically the sector can not hold all o these in-house.As well as developing itsel and its sta, the sector needs to look at the rolethat other industries and organisations, such as Higher and Further EducationInstitutions, can play in contributing skills and knowledge.

Improvingsuccessionplanningacrossthesectorwouldhaveasignicantimpact on the development o skills and knowledge. It is oten the case thatexperienced sta leave organisations with much o the knowledge and skillsrelating to their work leaving with them.


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A more strategic approach is needed here. The British Library recentlyestablished a course in paper conservation in response to the imminentretirement o the majority o their paper conservators. Museums Galleries

Scotland has also begun a succession planning project in partnershipwith South Lanarkshire Council, to orward plan or the departure o oneoftheCouncilslongestservingmuseumofcers.Moreproactiveandcreative approaches like these are needed to tackle this issue.

Key priority actions: In-depthresearchtoidentifythespecialistskillsthatareinshortsupply

or at risk, with identied action to strengthen them.

Additional ideas or action: Developsuccessionplanninginitiatives:

create more opportunities or junior sta to shadow senior/ longer-servingsta to promote the transer o knowledge and skills

encourage succession planning to become part o the every day throughthe use o robust recording methods and practices

learn rom evolving succession planning schemes (such as the MonumentTrustRetiringFellowsProgramme)andestablishsimilarmodelsacross the sector

Increasetheuseofmentoringinthedevelopmentofspecialistskillsand knowledge

IncreaseandimprovelinksandrelationshipswithHigherEducationInstitutions oering specialist training

Establishsubject-specictraineeships Developbestpracticewaysofcapturingknowledge,andmakeitakey

element o an individuals proessional development or terms o employment Continuetoworkwiththesectortodevelopsubject-specialistnetworks

Identifyandencourageleadersinspecialistareas Explorethepotentialforprofessionaldevelopmentschemestosupport

the development o specialist skills Developbettermechanismsforcollectingtheknowledgeandexperience

held by volunteers and other stakeholders Improvemechanismsandformalisewaysofsharingaccesstoexisting

skills and knowledge between organisations Recognisethespecicthreattoconservationtrainingandworkwith

the sector to develop new approaches.


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The NextSteps

04


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Section 04 The Next Steps

The Cultural Heritage Blueprint will now be taken outwidely to the cultural heritage sector and those who

und and infuence it across the UK nations to identiywhich aspects o the plan employers and others cantake orward.


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The NextSteps

Museums Galleries

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PartnersThis plan lays out an ambitious programme o work or the cultural heritagesector. It aims to build on good practice and ensure sustainability, while also

looking at new programmes and initiatives. It will only be successul i thesector adopts it and takes it orward collectively. Potential partners include:

Employersfromarchaeology,conservation,builtheritageandmuseums and galleries

ProfessionalassociationsincludingtheInstituteofConservation,theInstituteor Archaeologists and the Museums Association, amongst others

ScottishGovernment;WelshAssemblyGovernment;DepartmentforCulture, Media and Sport in England; and the Department or Culture,Arts and Leisure in Northern Ireland

Sectordevelopmentagencies,fundersandpublicbodiesincludingCyMAL(Museums Archives and Libraries Wales); Cadw; the Museums, Libraries andArchives Council in England; English Heritage; Museums Galleries Scotland;

Historic Scotland; the Northern Ireland Museums Council; and the HeritageLottery Fund

UKCommissionforEmploymentandSkillsandtheAllianceofSector Skills Councils

TradeunionsincludingProspect,PCSandUnison RegionalDevelopmentAgenciesinEngland,andtheirregionalCreative

Economy Programme partnerships Theeducationsectoranditsregulatorsandfunders,includingthe

Department or Innovation, Universities and Skills in England; theuture iterations o the Learning and Skills Council and new NationalApprenticeshipsServiceinEngland;QualicationsandCurriculumAuthorityin England; Higher Education Funding Council England; Department orChildren, Education, Lielong Learning and Skills in Wales; Higher Education

FundingCouncilWales;ScottishGovernment;ScottishQualicationsAuthority; Scottish Enterprise; Scottish Funding Council; Departmentor Employment and Learning Northern Ireland and the Council or theCurriculum, Examinations and Assessment in Northern Ireland, togetherwith Awarding Organisations and Further and Higher Education Institutionsacross the UK.


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ImplementationThe Cultural Heritage Blueprint will now be taken out widely to the culturalheritage sector and those who und and infuence it across the UK nations

to identiy which aspects o the plan employers and others can take orward.Please contact [email protected] to register your interest.

The Blueprint is an iterative process and will be available or comment onlineat www.ccskills.org.uk.

To begin delivery Creative & Cultural Skills will work in partnership withthe Museums Association to produce an implementation plan, which willidentiy lead partners and detailed timescales. This will be published in 2009,ollowing a series o sector working groups which will develop the key actions.

Thefollowingactivityisalreadyunderwayandopenforpartnerstojoin:

Creative&CulturalSkillshasaprogrammeofworktopromoteApprenticeships across the cultural heritage sector in England, and shortlyacross all UK nations

CreativeChoicesisanonlineresourcefeaturingcareerdevelopmentinormation or the sector, being developed by the Digital Services Unitat Creative & Cultural Skills

TheCreativeandCulturalLeadershipProgrammehasjustbeenlaunchedin Scotland with support rom the Scottish Arts Council and is in the earlystages o development

Over2008-09Creative&CulturalSkillsisreviewingtheNationalOccupational Standards in cultural heritage in consultation with the sector,which will inorm uture qualication reorm.

To get involved please contact [email protected].

There are also a number o actions highlighted in this plan that employers cantake orward now. Here are 10 things that employers could begin todo immediately:

1. Host an Apprentice2. Develop and host a traineeship (in partnership with another organisation

i more appropriate)3. Develop workorce diversity plans with specic goals and planned activities4. Improve and increase the use o appraisals and training needs analysis tools5. Identiy more development opportunities such as secondments and shadowing6. Ensure voluntary sta are oered development opportunities7. Ensure development opportunities are included in short term contracts8. Prioritise and provide sta with opportunities to develop business skills9. Look at ways o developing an environment where sta can be creative

and are supported to take risks where appropriate10. Increase the use o mentoring in the development o specialist skills

and knowledge.

The NextSteps

Photo:

Museums Association,

photography by

Joel Chester-Fildes


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For urther inormation about skills and workorce development in the culturalheritage sector please contact Creative & Cultural Skills:

England OceCreative & Cultural SkillsLaone HouseThe LeathermarketWeston StreetLondonSE1 3HN

T: 020 7015 1800E: [email protected]

Scotland and Northern Ireland OceCreative & Cultural Skills

28 Castle StreetEdinburghEH2 3HT


Wales OceCreative & Cultural SkillsCreative Business Wales33-35 Bute StreetCardi BayCF10 5LH


www.ccskills.org.uk



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UseulLinks

05


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Section 05 Useul Links


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UseulLinks

Stewartry Museum

Photo:


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Section 05 Useul Links

Creative & Cultural Skillswww.ccskills.org.uk

Museums, Libraries andArchives Councilwww.mla.gov.uk

CyMALwww.new.wales.gov.uk

Scottish Governmentwww.scotland.gov.uk

Department or Culture,Media and Sportwww.dcms.gov.uk

Welsh AssemblyGovernmentwww.wales.gov.uk

Learning and SkillsCouncilwww.lsc.gov.uk

The MuseumsAssociationwww.museumsassocition.org

Museums GalleriesScotlandwww.scottishmuseums.org.uk

Department or Culture,Arts and Leisure,Northern Irelandwww.dcalni.gov.uk

English Heritagewww.englishheritage.gov.uk

The National Trustwww.nationaltrust.org.uk

The National Trust orScotlandwww.nationaltrustscotland.org.uk

Historic Scotlandwww.historic-scotland.gov.uk

Institute orArchaeologistswww.archaeologist.net

Institute o Conservationwww.icon.org.uk

Cadwwww.cadw.wales.gov.uk

Northern IrelandMuseums Councilwww.nimc.org.uk

Department orInnovation, Universitiesand Skillswww.dius.gov.uk

Qualicationsand

Curriculum Authoritywww.qca.org.uk

The Association oIndependent Museumswww.aim.org.uk

Arts Council Englandwww.artscouncil.org.uk

Clore LeadershipProgrammewww.cloreleadership.org

The Cultural LeadershipProgrammewww.culturalleadership.org.uk

University o East Anglia,Sainsbury Centre orVisual Artswww.scva.org.uk

Kings Fundwww.kingsund.org.uk

Arts & Businesswww.aandb.org.uk

National Council orVoluntary Organisationswww.ncvo-vol.org.uk

Charity Commissionwww.charitycommision.gov.uk

Intelligent Naivetywww.intelligentnaivety.co.uk

British Librarywww.bl.uk

Historic Scotlandwww.historic-scotland.gov.uk

Heritage Lottery Fundwww.hl.org.uk

UK Commission orEmployment and Skillswww.ukces.org.uk

Alliance o Sector SkillsCouncilswww.sscalliance.org

Prospectwww.prospect.org.uk

PCSwww.pcs.org.uk

Unisonwww.unison.org.uk

Higher EducationFunding Council Englandwww.hece.ac.uk

Higher EducationFunding Council Waleswww.hecw.ac.uk

ScottishQualicationsAuthoritywww.sqa.org.uk

Scottish Enterprisewww.scottish-enterprise.com

Scottish Funding Councilwww.sc.ac.uk

Department orEmployment andLearning NorthernIrelandwww.delni.gov.uk

EnglandsRegionalDevelopment Agencieswww.englandsrdas.com


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Reerencesand FurtherReading

06


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Section 06 ReferencesandFurtherReading


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Reerences andFurther Reading

Aitchison, K. and Edwards, R.

(2008). Archaeology Labour Market

Intelligence: Profling the Proession

2007/8. Institute o Field

Archaeologists.

Creative & Cultural Skills, (2007).

The Creative Blueprint: The Sector

Skills Agreement or the Creative

and Cultural Industries

Skills Needs Assessment.



The Creative Blueprint: The Sector

Skills Agreement or the Creative

and Cultural Industries

Understanding Supply.



An Independent Assessment o the

Growth Potential o Apprenticeshipswith Specifc Regard to the Creative

and Cultural Industries. Creative &

Cultural Skills.


Creative Blueprint England.

The Sector Skills Agreement or

the Creative and Cultural Industries.



Creative Blueprint Northern Ireland.

The Sector Skills Agreement or the

Creative and Cultural Industries.



Creative Blueprint Scotland.The Sector Skills Agreement or




Creative Blueprint Wales.

The Sector Skills Agreement or




The Creative and Cultural Industries:

Impact and Footprint 2008.



Sector Qualifcations Strategy.


Davies, M. (2007). The Tomorrow

People. Museums Association.

Demos, (2003). Towards a Strategy

or Workorce Development.

Museums, Libraries and Archives

Council.

Department or Culture, Media and

Sport, (2008). Creative Britain:

New Talents or the New Economy.

Department or Culture, Media

and Sport.

Department or Employment and

Learning, (2004). Skills Strategy or

Northern Ireland. Department or

Employment and Learning.

Department or Innovation,

Universities and Skills, (2007).

World Class Skills: Implementing

the Leitch Report. Department or

Innovation, Universities and Skills.



Innovation Nation. Department or

Innovation, Universities and Skills.



World Class Apprenticeships:

Unlocking Talent, Building Skills

or All. Department or Innovation,

Universities and Skills, Department

or Children, Schools and Families.

English Heritage, (2007). Heritage

Counts 2007. English Heritage.

English Heritage, (2007). Valuing

our Heritage. English Heritage.

English Heritage, (2008). Heritage

Counts 2008. English Heritage.

Experian, (2006). Employment and

Skills or the 2012 Games: Research

and Evidence. Learning and Skills

Council, London Development

Agency.

Heritage Link, (2003). Volunteers

and the Historic Environment.Heritage Link.

HM Treasury, (2005). Cox Review o

Creativity in Business. HM Treasury.

HM Treasury, (2007). Review o Sub-

National Economic Development

and Regeneration. HM Treasury.

Holden, J. (2004). Capturing Cultural

Value: How Culture Has Become a

Tool o Government Policy. Demos.

Leitch, S. (2006). Prosperity or All in

the Global Economy: World Class

Skills Final Report. London:

StationeryOfce.

Local Government Association,

(2008). A Passion or Excellence: An

Improvement Strategy or Culture

and Sport. Local Government

Association, Department o Culture,

Media and Sport, Sport England,

Arts Council England, Museums

Libraries and Archives Council,

English Heritage, the Improvement

and Development Agency.

McMaster, B. (2008)Supporting

Excellence in the Arts. Department

or Culture, Media and Sport.

Millman, A. and Murch, A. (2004).

Workplace Matters. Museums

Association.


Council, (2005). Volunteering in

Museums, Libraries and Archives.


Council.

National Museums Directors

Conerence, (2006). Values and

Vision: the contribution o culture.

National Museum Directors

Conerence.

Parker, S. Tims, C. and Wright, S.

(2006). Inclusion, Innovation and

Democracy: Growing Talent or theCreative and Cultural Industries.

Demos.

Pricewaterhousecoopers, (2005).

Olympic Games Impact Study.

Department or Culture, Media

and Sport.

Scottish Executive, (2006).

Scotlands Culture Cultar na h-Alba.

Scottish Executive.

Scottish Government, (2007). Skills

or Scotland: A Lielong Skills

Strategy. Scottish Government.

Scottish Museums Council, (2006).

National Workorce DevelopmentStrategy or Scotlands Museums.

Scottish Museums Council.

Tims, C. and Wright, S. (2007)

So, What Do

british goverment cultural heritage blueprint

Documents