An unemployed arts graduate. Not exactly a shocker, amirite?
Being one myself for almost 4 months now, I got a VIP look into the experience. So sitting on my couch, doom-scrolling LinkedIn and all other job-searching platforms, bombarding people and institutions with emails, I started wondering how hard it really is to land a job in the Cultural and Creative Industries (CCIs).
Say you are a hotshot grad who got a decent education and naturally, you figure getting a job in your field would be relatively easier. As a recent graduate of Art and Culture Management, my thoughts were more or less the same until I realized that the situation was not quite so.
One soon understands that entering the workforce in these industries is not so much dependent on how successful, determined, and talented you are, but rather many factors, be it social or economic, play a vital role. And it seems equally to be the case that these factors create certain inequalities and challenges for those trying to make their way.
In fact, a study (2015) shows that those who are most convinced that the creative industries operate on meritocratic values are mostly white men in high-paying and senior roles (Brook et al. 7). But how is the experience of new graduates, trying to push their way into the CCIs, without certain privileges?
This article draws on my personal experience and a range of academic resources aiming to bring attention to the accessibility issues present in creative occupations. It discusses the demographics of the CCIs, existing barriers, and the informal characteristics that contribute to inequalities within these industries, especially for the young.
RECRUITMENT IN THE CCIs: WHAT AND ‘WHO’ YOU NEED TO KNOW
In Turkey, cultural employment corresponds to about 2% of all employment in the country (Culture Statistics, 65). Of those employed in the CCIs (i.e., 642.000), a large part of the employment is made up of handicraft workers, architects, and designers, and only 8.4% are art professionals and cultural workers (Kültür Ekonomisi).
Meaning, if you’re a graduate of arts and culture management or related departments, you’re already trying to make your way in a very small section of the sector, corresponding to only 8.4% of all the employment in the CCIs. Additionally, there are approximately 10.000 students graduating from the bachelor and master programs related to the CCIs every year, but not enough job openings in the market to provide for all (Kiger, 9). In addition to these already extremely limited opportunities for employment and a competitive environment is the prevalence of informal recruitment practices that contributes to the struggles of young people.
Research shows that the project-based model of the CCIs leads to informal recruitment practices. According to Caves (qtd. in Eikhof et al. 408), the typically tight budgets and schedules of projects result in recruitment practices that leave no room for errors. Consequently, recruitment in the CCIs often occurs through personal connections rather than formal processes (499), ultimately giving way to a hierarchy where those with a network in the industry hold an advantage over those who are just starting their careers.
Indeed, Skillset (qtd. in Eikhof et al 499) underscores that the majority of creative workers, around 80%, are hired informally, with their current employers contacting them directly or through someone they had previously worked with.
This puts new graduates in a particularly vulnerable position, where, without social capital, entering the creative industries seems like a long shot. The disproportion in employment based on age seem to be supporting this point: in Turkey, of those employed in the CCIs, only 28.8% are aged 15–29, while 63,1% are aged 30–54, and 7,9% are aged over 55 (Kültür Ekonomisi).
In general, based on 2020 statistics, in Turkey, a noteworthy proportion of unemployed young people consist of “new graduates, those who have just completed their military service, those living with their families, and those seeking employment for the first time due to similar circumstances” (Ulusal Genç, 17). Significantly, the Ministry of Labor and Social Security identifies one of the causes of high unemployment rates as the absence of new job opportunities for university graduates and limited employment prospects (17). The size of the CCIs and the informal hiring practices only exacerbate the situation.
But again, why the employment of the youth is important?
The most important roles of youth in the CCIs can be summarized in three points (but of course not limited to): firstly, young people are generally seen as a force that adds innovation to social structures, and secondly, they are viewed as “a group whose members are linked by their common experience”, contributing to a specific subculture (Wardzała, 43 qtd. in Budziewicz-Guźlecka, 230), hence adding to cultural diversity.
In addition, with the ongoing digital shift in the CCIs, it is essential to involve the younger generation in the workforce to ensure the future growth of creative occupations.
WHAT’S UP WITH THE YOUNG PEOPLE THESE DAYS: BARRIERS EDITION
“It seems like nobody wants to work these days”.
-Kim Kardashian
Is it really the case that youth unemployment is the direct consequence of laziness, indecisiveness, and incompetency of the young?
This view overlooks the inequalities in the system and puts the blame on the individual. When in fact, young people encounter various financial, social, and geographical obstacles when trying to access opportunities in the creative industries.
These barriers more specifically include the following:
- with the rising rents and the cost of living, major cities and urban centers are becoming less accessible to many from less well-off backgrounds (Self-Made, 36),
- usually, initial opportunities in the CCIs are unpaid and thus not accessible by all (Cullinane, Montacute),
- there is prevalent exploitation of workers with “low pay, extremely demanding working conditions, and precarious employment” (Haunschild and Eikhof qtd. in Self-Made, 40),
- over-reliance on personal connections for recruitment is a common practice (Cullinane, Montacute, 34).
On location
Typically creative industries concentrate in the major cities and provide a larger portion of employment opportunities. However, this is not to say that these urban centers are free of barriers. The rising cost of living often leads to individuals having to make difficult choices, such as moving to the outskirts of the city, moving back in with family, or, in the absence of financial resources, leaving the city altogether (or not being able to come to these centers in the first place).
Moving back in with family and avoiding rent payments is a common practice among those pursuing creative jobs (Self-Made, 36), but for those without family or friends to rely on, this can greatly hinder their access to work and internship opportunities, while others with access to resources get a head start. It is also the case that in order to find more affordable housing, people had to move to the outskirts of the city, but this comes with several downsides. These include additional transportation costs, long commutes, and difficulty attending evening events that continue after public transportation stops running.
In my case, I had to temporarily move out of the city until I find a permanent job due to rent prices exceeding what I can afford with my freelance work. However, this is not a unique experience. The cost of living in Istanbul has increased by 101% and then by 86% in the last two years. According to IPA’s 2022 report, while rents in the city increased by 45.48% annually for existing tenants, this rate rose to 161.4% for new tenants. The average rent for new rental housing in Istanbul was 6,360 TL in 2022, and by 2023 this has become an even greater crisis for all, especially young people who have come to Istanbul for education and/or work (İstanbul’da Yaşam).
It quickly becomes apparent that your chances of finding a job in the creative industries are very low if you do not live in Istanbul (in the case of Turkey). So I took a look at the data: according to 2019 data from the Social Security Institution (SGK), of those employed in creative professions in Turkey, more than 40% were employed in Istanbul (Türkiye’de Yaratıcı, 87), and approximately 70% of those working in creative professions in Turkey work in five regions, within which Istanbul is included. Specifically, %42,4 of creative employment is in Istanbul, %9,5 in Ankara, and %6,7 in Bursa and Eskişehir, %5,8 in İzmir, and %5 in TR 42 region (i.e., Kocaeli, Sakarya, Düzce, Bolu) (87).
The disproportionate distribution of creative employment creates a dilemma: either stay in the city despite -to put it mildly- unfavorable conditions, or take the risk of statistically lowering your chances of employment by moving to another city.
Sounds a bit like a catch-22 situation, doesn’t it?
On unpaid work
Several studies on employment patterns in creative industries have identified unpaid work as a common characteristic (Cullinane et al; Siebert et al; Eikhof et al). While there appears to be no extensive research on this topic in Turkey, it is a well-known practice across different creative sectors in the country. Currently, unpaid internships are widely viewed as the primary means of gaining a foothold in certain industries. However, they are not always accessible to everyone and may not be as valuable as commonly believed.
Unpaid work or internships are not only a prevalent practice, but they can also be substantial in terms of their length, ranging from four weeks to over six months (Cullinane, Montacute 26). Given the concentration in urban areas with high living costs, it is extremely expensive for many to take on these internships.
Moreover, research conducted as part of PANIC! project shows that people from more advantaged, middle-class backgrounds may view working for free as advantageous and choose to do so voluntarily. However, for younger or less experienced workers from less advantaged, working-class backgrounds, working for free is typically a form of exploitation (Brook et al, 21). This suggests that individuals with access to funds have some advantage in the labor market, especially in terms of networking. That being said, due to the institutionalization of unpaid work as the primary means of entering the labor market, many graduates undertake multiple internships to ensure a transition into paid work (Cullinane, Montacute, 25).
This suggests the presence of a certain mentality toward employment in creative occupations. Research conducted in London, for example, indicates that young people are not only aware of the adverse conditions but also consider them normal, accepting them as the “way it is.”(Siebert, Wilson, 4). This is concerning because it increases tolerance for free work and insecure employment. I doubt it is any different in Turkey, if not worse.
And on top of everything, interestingly enough, data shows that undergoing additional internships does not necessarily increase the possibility of being compensated on subsequent placements. Moreover, there are signs indicating that many young individuals are becoming caught in a cycle of unpaid opportunities (Cullinane, Montacute, 24).
Hence, it seems that internships primarily benefit the employer in terms of completing necessary tasks, rather than providing much benefit to the intern and yet, it is still the case that internships are promoted as the only viable option available. There appears to be an urgent need to address these issues because, given the conditions, it seems that viewing creative occupations as viable career paths getting harder and harder.
On informal practices
Over-reliance on personal networks for recruitment also appears as a barrier to entry to the CCIs that needs to be pointed out.
To provide a general understanding of the issue, we must mention a local study that was conducted. In 2016, Istanbul Bilgi University, Esas Sosyal, and İpsos conducted a focus group research that revealed young unemployed individuals identify having strong contacts as the most important criterion for landing a job (Gençlik ve İstihdam, 5). Knowing the right people is seen as more important than attending a prestigious university or majoring in a specific department.
Similarly, a 2018 survey focusing on the UK shows that a total of 46% of interns found their job “through connections, word of mouth and unsolicited approaches” and only 17% reported that they found it via advertisement (Cullinane, Montacute, 31).
This informal practice shows that employers tend to fill positions via social networks and references. Research by Grugulis & Stoyanova (2012) and Nelligan (2015) has shown that social networks, particularly those in privileged circles, can significantly advance cultural careers (qtd. in Self-Made, 34). This is troubling as it suggests that the most qualified candidates may not necessarily get the job, while less qualified candidates who have connections may (as the saying goes “It’s not what you know, it’s who you know,”). This creates an atmosphere of uncertainty and can be demotivating. Hence, for a graduate seeking employment in a competitive sector with limited opportunities, publicly advertised job openings and formal evaluation processes can be important in contributing to equality among job seekers.
WHAT YOU ENDED UP WITH
So, this article tried to discuss how tough it can be for young people to break into creative jobs because of accessibility issues. I did not attempt to suggest solutions to the problem, as I believe I am not in a position to do so. My goal, however, was to share my perspective on a topic that directly impacts my life. That being said, these issues are affecting a significant portion of the population and therefore are not isolated experiences.
I believe that most people in the CCIs have ideas about how to address these issues. Of course, the government, universities, and NGOs can all play significant roles in this regard. Of course, local administrations can create opportunities for young people by promoting entrepreneurship, providing facilities, and making the city more attractive to businesses. Of course, universities can offer more internships and training programs that are accessible to all students, ensuring that internships are paid and provide valuable experience. Of course, NGOs can provide mentorship and networking opportunities to young people, especially those from disadvantaged backgrounds.
However, understanding the nature of the issue is the first step before even considering a solution. Therefore, it is important to emphasize that these issues are indeed ongoing problems that have profound effects on a large portion of the population.
It is imperative to devote more attention to this topic and make the CCIs more accessible to young people, regardless of their social and economic background to guarantee a diverse and innovative creative industry in the future.
REFERENCES
Budziewicz-Guźlecka, Agnieszka. “The role of youth in the development of the creative industry”. 2018. Management 2018 Vol. 22, №1. Web. 25 Apr 2023.
Brook, Dr. Orian; O’Brien, Dr. David; Taylor, Dr. Mark. “Panic! Social Class, Taste and Inequalities in the Creative Industries”. 2018. Web. 15 Apr 2023.
Cullinane, Carl; Montacute, Rebecca. “Pay As You Go? Internship pay, quality and access in the graduate jobs market”. Nov. 2018. Web. 15 Apr 2023.
“Culture Statistics”. EUROSTAT 2019. Web. 10 Apr 2023.
Eikhof, Doris Ruth; Warhurst, Chris. “The promised land? Why social inequalities are systemic in the creative industries”. Employee Relations Vol. 35 №5, 2013 pp. 495–508. Web. 10 Apr 2023.
“Gençlik ve İstihdam Araştırmaları Özeti”. Esas Sosyal, 2016. Web. 30 Apr 2023.
“İstanbulda Yaşam Maliyeti Araştırması”. İstanbul Planlama Ajansı (IPA) 2023. Web. 25 Apr 2023.
Kiger, Rumeysa. “Kültürel Beceriler Araştırması Özet Rapor”. n.p. Web. 23 Apr 2023.
“Kültür Ekonomisi ve Kültürel İstihdam İstatistikleri 2021”. TÜİK 1 Dec 2022. Web. 10 Apr 2023.
“Self-Made Sector”. Roundhouse 2019. Web. 15 Apr 2023.
Siebert, S., and Wilson, F. (2013) “All work and no pay: consequences of unpaid work experience in the creative industries”. 2013. Work, Employment and Society, 27 (4). pp. 711–721. Web. 28 Apr 2023.
“Türkiye’de Yaratıcı Endüstrilerin İBBS-2 Bölgeleri Düzeyinde Analizi: İzmir’e Bir Bakış”. Ministry of Industry and Technology of the Republic of Turkey. n.p. Web. 28 Apr 2023.
“Ulusal Genç İstihdam Stratejisi 2021–2023”. Ministry of Labor and Social Security of the Republic of Turkey. n.p. Web. 10 Apr 2023.
