Performing Arts. 78 Performing Arts. Skills Active Workforce Scan 2017 Performing Arts 79

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1 Performing Arts The performing arts industry comprises a small segment of the New Zealand labour force, but it is nonetheless a complex industry. The industry makes a significant contribution to the economic, social and cultural life of our communities. Customers and participants alike are challenged, moved and energised through their engagement with this vibrant industry. 78 Skills Active Workforce Scan 2017 Skills Active Workforce Scan

2 Industry Snapshot 5% 10% 15% Employment by Age Employment by Gender Economic Contribution Male 49.9% ,088M $ Female 50.1% 1.0% of New Zealand s GDP in 2015 Male 53% Female 47% Average Earnings Demographics of Employees $100k $50k $51,417 $56,030 $0k Customers and participants alike are challenged, moved and energised through their engagement with performing arts. 80 Skills Active Workforce Scan % 70% Percent Full-Time in 2013 Skills Active Workforce Scan

3 Industry Profile The industry can be broken down into five distinct areas: dance, drama, music, audio and performance technology. There is already a synergy between the recreation sector and the arts. Culture, performing arts, sport and recreation are frequently clustered together, as seen in the Ministry for Culture and Heritage which includes sport and recreation in its remit. Given the overlap with sport and recreation, Skills Active is working with the performing arts industry to extend its gazetted coverage to include this workforce within its scope. Government and Funding Organisations The broader arts and culture sector is made up of 31,392 businesses, which in 2015 employed some 116,515 people. Skills Active is engaging with a specific subset of that broader sector, made up of the following workforce areas: Production (entertainment technicians, stage managers) Ministry of Culture and Heritage Creative NZ Charitable Trusts Commissions MoE Community Trusts TEC Education (performing arts instructors), venues and facilities (stadia, theatres, arenas) Creation (artists, choreographers, writers) Performance (dancers, musicians, actors, producers) National Organisations This subset, which is referred to in this report as the performing arts industry, employed 25,523 people in Skills Active is working with the performing arts industry to extend its gazetted coverage to include this workforce within its scope. and cultural industry organisations ETNZ DANZ RIANZ APRA Playmarket THE INDUSTRY HAS FOUR DISTINCT GROUPS ENTERTAINMENT VENUES, FACILITIES Council-run programmes Commercial providers Freelancers Performers National organisations: Strategic direction for the industry is driven by the Ministry for Culture and Heritage, and the national arts development agency, Creative New Zealand. A number of performing arts and cultural organisations service the industry, as well as specialist industry bodies that advocate for specific segments (not necessarily employers) such as Dance New Zealand (DANZ); Entertainment Venues Association of NZ (EVANZ); Entertainment Technology of NZ (ETNZ); Recording Industry Association of New Zealand (RIANZ); Australasian Performing Right Association (APRA); and Playmarket. LOCAL AUTHORITIES (COUNCILS) VOLUNTEERS Freelancers Performers Staff Local authorities: Local authorities are the major owners and managers of residential and event spaces and studios in New Zealand, many of which service both sport and recreation and the arts. Employers and providers: Included in this group are recording studios, event venues, music industry organisations and private teachers of performing arts (e.g. dance studios and music teachers). Participants Volunteers: The workforce includes a high proportion of freelancers, contractors and volunteers. In a report commissioned by the Ministry of Cultural Heritage, 6% of organisations surveyed were entirely staffed by volunteers. Between 65% and 80% of organisations in the industry employ freelancers or contractors. 70 In 2015, there were 8,757 business units operating in the performing arts industry, up from 8,142 five years earlier. Between 2010 and 2015, total business units grew by an average of 1.2% per annum significantly faster than the business unit growth seen in the total economy over that same period of 0.2% per annum. However, in 2015 the situation was reversed and business unit growth slowed down to 1.1%, while business unit growth for the total economy jumped by 1.8%. Performing arts businesses employed an average of 2.9 people in 2015, fewer than the average of 4.3 people employees per business unit in the total economy. 70 ACNielsen, Skills and Training Needs in the Cultural Sector, Skills Active Workforce Scan 2017 Skills Active Workforce Scan

4 Workforce Profile Regional Employment TOP FIVE JOBS IN THE PERFORMING ARTS SECTOR Job Change Conference and Event Organiser 2,563 3,586 1,023 Music Teacher (Private Tuition) 2,712 3, Painter (Visual Arts) 2,231 2, Photographer 1,831 2, Facilities Manager 1,060 1, In 2015, there were 25,523 people employed in the performing arts industry, which equates to 1.1% of the New Zealand workforce. Since 2000, employment growth in the industry has averaged 2.8% each year, compared with growth in the total economy of 1.7%. Between 2010 and 2015, jobs grew by an average of 1.2% each year a stronger rise than the total economy, which saw average annual growth of 0.8%. Growth in performing arts employment is expected to continue to outpace the wider economy up to 2019, with employment expected to reach 28,652 in Auckland 10,515 Waikato 1, % 6.3 % North Island 78 % Between 2010 and 2015, performing arts employment grew by an average of 1.2% each year, compared to a figure of 0.8% for the total economy. Wellington Region 3, % South Island 22 % 12 % Canterbury 2,972 Of the 25,523 people working in performing arts in 2015, some 10,515 or 41% of all working performing arts professionals were based in the Auckland region. Performing arts jobs in Auckland grew faster than the rate of employment nationally. By contrast, 16% of the industry was based in the Wellington region, and 12% in Canterbury. Total Employment , , Skills Active Workforce Scan 2017 Skills Active Workforce Scan

5 Workforce Makeup GENDER ETHNICITY The performing arts industry has good gender balance. In 2015, 49.9% of those employed in the industry were male and 50.1% female. While there was a slight drop in the number of women employed in the industry between 2012 and 2015, the ratio of women employed in the industry remains higher than that of the total workforce (47% women to 53% men). Male 49.9% Female 50.1% In 2013, there were more people working in performing arts who identified as Pakeha/NZ European than in the total workforce. Meanwhile, the proportion of performing arts professionals who identify as Asian has not grown as fast as it has in the national labour force, rising only 1.9% between 2006 and 2013 for performing arts, compared with a 3.1% increase in the total workforce. EARNINGS 100% 50% 0% PAKEHA/NZ EUROPEAN Arts and Culture MĀORI PASIFIKA ASIAN OTHER TYPE OF EMPLOYMENT Many performing arts professionals are in part-time, project or portfolio employment, including periods of self-employment. In 2015, 32.2% of performing arts professionals were selfemployed. This is almost double the share of self-employed workers as in the total economy (16.6%). Over the past five years, the self-employment rate in the industry has increased, while self-employment within the national labour force has declined. In 2013, there were fewer people in performing arts who worked more than 40 hours a week, compared to the total workforce (36.7% and 43.1% respectively). There were also more people in the industry working fewer than 30 hours a week, than in the total workforce (27.5% and 21.3% respectively). These figures reflect the high incidence of part-time and casual employment in the performing arts workforce. AGE Many performing arts professionals are in part-time, project or portfolio employment, including periods of self-employment. Average annual performing arts earnings have grown at a slower rate than the total workforce over the past decade, with the average annual earnings in the sector for 2015 sitting at $51,417, compared to average annual earnings for the total workforce of $56,030. SKILL AND QUALIFICATION LEVEL Many people enter performing arts with post-school qualifications, while others achieve direct entry as a result of clearly evident talent. Some 31% of people working in the industry have a bachelor s degree or higher. In 2013, the industry had considerably fewer low-skilled workers (8.7%) and more highly-skilled workers (63.2%) than the total workforce, where 38.7% workers were low-skilled and 37.9% Average Earnings 2015 $100k $50k $0k $51,417 $56,030 highly-skilled in that same year. Only 8.8% of those working in the industry had no qualification at all in 2013, which is lower than the figure for the total workforce of 13.6%. Some 52% of performing arts professionals had a level 4 qualification or higher, compared to 45.7% of those employed in the wider workforce. Performing arts has the most even spread of age demographics of any industry that Skills Active works with although the industry did have more people in the 15 to 40 age group in 2013, than did the total economy. Between 2006 and 2013, the rise in the average age of the industry was smaller than the corresponding age rise in the total workforce. Employment by Age 5% 10% 15% Skills Active Workforce Scan 2017 Skills Active Workforce Scan

6 Impact PARTICIPATION A 2014 Creative New Zealand survey found that 65% of New Zealand adults had attended a performing arts event or location in the past 12 months, and 20% had been actively involved in the creation or production of such an event in the same period. 71 Performing arts was more popular than any other form of arts activity during that period, including visual arts, craft and object arts, and literature. 72 The growth in performing arts attendance has come mainly from the range of other performing arts, such as kapa haka and comedy shows, rather than growth in theatre, dance or concerts, the survey said. The survey found that the demographics most likely to be active participants in arts events were 15- to 29-year olds, and Māori. 73 A sport and recreation survey found that 324,000 New Zealand adults participated in dance in , making it the 8th most popular activity during that period. Of those, 243,000 were women, or 14.1% of all women. 74 Meanwhile, 55.9% of all New Zealand girls (5- to 18-year-olds) participated in dance in , making it the 4th most popular activity for girls. 75 ECONOMIC In 2015, the performing arts industry contributed $2.088 billion to New Zealand GDP, or 1% of the total. This reflects an average of 2.9% per annum growth over the last five years, compared with GDP growth of 2.5% per annum in the total economy. A regional survey found that Wellington arts and culture organisations, including theatres, dance companies and venues, convention centres and stadia, injected some $141.5 million in spending into the local economy in Economic Contribution 2,088M 1.0% of New Zealand s GDP in 2015 $ GDP TOURISM While there is no national data available regarding the industry s overall contribution to New Zealand tourism, local studies in Auckland and Wellington have demonstrated the positive contribution of arts and events to both tourism and local economies. In 2015, council-owned venue manager Auckland Live secured a diverse range of world-class concerts and shows, attracting more than 1.02 million people to 2,096 events up from 1,400 events in the previous year. 77 Performances by the Rolling Stones, Foo Fighters and the Eagles attracted more than 232,000 people and generated 101,740 visitor nights alone. These three events generated $19.3 million in visitor spending. In total, out-of-town concert-goers spent approximately $23 million while visiting Auckland. 78 Major events in Wellington over summer were also a significant tourism driver. In the 121 days of November to February, the region had over 960,000 visitor nights, up by more than 8% on the previous summer, which itself grew by 5.6% compared with 2013/14. The Royal Edinburgh Military Tattoo was a highlight, bringing an estimated 45,000 people to the region. 79 HEALTH A meta-study carried out in New Zealand by primary health organisation Pegasus Health found that a range of qualitative and quantitative studies supported the argument that participation in creative arts could lead to improved psychological and social health, better self-esteem, and better overall quality of life. 80 The research also indicated that there was some, though limited, evidence that participation in singing and dance was associated with better physical health, including pain management. 81 Further meta-research published by the Ministry for Culture and Heritage in 2016 found that those participating in post-disaster artistic and creative initiatives in Christchurch reported physical and mental health benefits as a result Creative NZ, New Zealanders and the Arts, 2014 Creative NZ, New Zealanders and the Arts, 2014 Creative NZ, New Zealanders and the Arts, 2014 Sport NZ, Active NZ Survey, 2013/14 Sport NZ, Young People s Survey, 2010/ Arts Wellington, Economic Impact Survey, 2010 Regional Facilities Auckland, Annual Report, 2015 Regional Facilities Auckland, Annual Report, Westpac Stadium press release, Wellington Events Bring Record Visitors, 2016 Pegasus Health, The Arts in Health, 2014 Pegasus Health, The Arts in Health, 2014 Ministry for Culture and Heritage, Gauging the Impacts of Post-Disaster Arts and Culture Initiatives in Christchurch, Skills Active Workforce Scan 2017 Skills Active Workforce Scan

7 Trends / Issues / Risks Training Environment POLITICAL Overlap with public health: The government is looking at a range of responses to increases in obesity and other inactivityrelated conditions, and there is scope to grow participation in dance among both men and women. This may drive demand for qualified instructors who can plan and lead classes appropriate to the health constraints of their participants. Changes in local government priorities: Recent changes to ECONOMIC Reduced investment in the arts: Any drop in arts investment will lead to a reduction in the number of events and productions delivered by performing arts professionals, and therefore a contraction in the performing arts job market. Overreliance on gaming funding: Creative New Zealand is warning arts organisations of a potential 10% decline in arts funding for , due to a decline in lotteries revenue. 83 SOCIAL Other distractions: Arts and culture is only one of many competing opportunities available to fill people s leisure time. Digital disruption: Growing numbers of people, especially young New Zealanders, are consuming arts and culture in non-traditional ways, including online. This could see reduced TECHNOLOGICAL Online learning/assessment: This provides an opportunity for more cost-effective training and better monitoring and assessment. Mobile technology: The proliferation of tablets and smartphones creates an opening for forward-thinking performing arts organisations to reach attendees and participants in new ways. New technology and equipment: Automation and the fast pace of technological change could drive job losses or changes in technical skillsets. the Local Government Act have already seen a shift in priorities that focuses more investment into core council business. To date, most councils still see the economic value in continued investment in event venues, but with ageing venues and the increased financial burden of earthquake strengthening, this may change. Sport New Zealand has not recognised performing arts as an active recreation until recently. Increased investment in health: More health investment may lead to increased opportunities for the industry to address health issues, particularly for Māori and Pasifika. Greater economic focus on Auckland: This could scale back the available capital for investment in performing arts in other regions. demand for live performances and events. Changing demographics: An ageing and diversifying population may see a call for more age-appropriate and culturally appropriate dance activities. Tania Kopytko Arts and dance freelancer No industry training framework was developed for performing arts through the original unit standard process of the 1990s. Consequently, the arts and culture sector is one of the least serviced in the NZ qualification framework, in terms of on-job training. Specialist training in some disciplines is provided by public universities and polytechnics, as well as by private institutions. The bulk of activity and training for young people and adults in the BARRIERS TO INDUSTRY TRAINING AND QUALIFICATION COMPLETION With more than 30% of the performing arts industry being self-employed, and many working less than full-time hours, the biggest barriers to training and qualification completion are likely to be: High numbers of contractors, freelances and volunteers CURRENT AND FUTURE SKILL NEEDS With a diverse set of occupations and roles in the industry, a key skills development issue is striking the right balance between certain skillsets These include: Technical and practical skills. Communication skills across all levels. Customer management skills. Creative ability with applications in leadership and management. arts happens at community level, through arts businesses (dance, drama or music studios, both private businesses and sole traders) or community projects (circus, drama, dance or music projects, or special training and events for youth, adults or older people). Because so much of this activity occurs outside the tertiary sector, there is an argument for an arts ITO that could strengthen the upskilling capacity of the performing arts industry. Irregular hours of work and project-based employment Lack of availability for and access to training. Lack of relevant training. Cost of training and assessment. Digital skills will also be essential to capitalise on increased business development opportunities in the performing arts industry. Innovation and entrepreneurship capacity of the workforce needs to be developed for the industry to continue to grow in New Zealand. Working in performing arts is creative and challenging. You re always having to think about what s around you and develop something new. It s wonderful, positive work, but it s not a workforce where the jobs are out there waiting for you. It s an entrepreneurial industry where you ve got to go out and make work for yourself. So it takes a passion for performing arts, but also that business side, and that dogged determination without that you re never going to go anywhere. 83 NZME, Falling Lotto Spend Cuts Deeply into Art Funding, Alison Viskovic, Stage One Needs Analysis Report for for the Targeted Review of Qualifications, ACNielsen, Skills and Training Needs in the Cultural Sector, Skills Active Workforce Scan 2017 Skills Active Workforce Scan