Archives for category: Learning

This week’s interview is based on a panel of emerging arts practitioners in a round table discussion about their experiences of entering the arts industry. In the arts, there is a preconceived notion that internships only involve stuffing envelopes and coffee runs. This panel serves to break down this stereotype and discuss the value, as well as the positive and negative experiences, and how it can affect your career in the arts industry. Reflecting on past experience they examine ways in which we can provide more support and learning opportunities for emerging art practitioners. To allow openness and honesty in the interview, the participants have remained anonymous.

Interview by Georgina Sandercock

What do you see are the barriers to getting a successful foothold into the arts industry?

Panel Member 1: For me, education has had a huge impact on my career. I feel that in general, the arts management post-graduate degrees available are not providing the necessary practical skill set needed for success in the arts industry. These post-graduate degrees offer a wide variety of theoretical knowledge, but lack the means in which to execute this in a practical setting. Where else can we access valuable resources and networks if not through our education?

Panel Member 2:  In today’s arts climate, almost every person interested in the arts industry attains a relevant post-graduate degree, so each year at least 150 other graduating students with identical resumes will be applying for the same jobs. With these statistics and a lack of practical knowledge, looking for jobs can be daunting and in some cases seem hopeless.

Panel Member 3: I think it is virtually impossible to apply for a job without doing some kind of volunteering or unpaid internships. To other industries it may seem ludicrous to give long periods of our time to a project or organisation for no pay, but in the arts industry it is a necessity that allows you to gain the practical knowledge that we are not receiving through education and develop relationships and networks for the future. Reflecting on my experiences, I would not feel confident going straight into the arts industry without doing an internship. There needs to be more communication that volunteering and internships are essential barriers to overcome in order to gain practical knowledge to successfully enter the arts industry.

How have you found your first jobs or internships? 

Panel Member 1: From my experience as intern, I felt like I was treated as if I had no experience and was a novice to even the most remedial administrative tasks. I was not treated badly, however I felt very underappreciated and undervalued.

Panel Member 2: I actually shocked my organisation with my capability. They said their previous interns were completely incompetent. The organisation had obviously been tainted by this experience. Sadly, the preconceived idea that all interns are treated badly could actually have something to do with the ability of the intern.

If you are lucky enough to be offered a job after your internship, the transition from intern to paid employee is a difficult task. It is hard to balance the previous expectations as an intern with new responsibilities of an employee. You are not expected to do all the remedial tasks that had been assigned to you previously, but in a new role, especially a junior role, there is still an element of lower level tasks you will need to do in order to prove your value and responsibility.

Have your experiences at first jobs, volunteering and internships been valuable?

Panel Member 1: I think you can draw from both negative and positive experiences in first jobs and internships. I always felt valued at my internship which motivated me to work harder and I was fine with that. I think feeling valued really affects the experience you can have as an intern. Alternatively, I see the great value of actually doing an internship. It is essentially free learning and you gain a practical skill set that you can utilise for future roles. I have also developed an understanding of internal politics, which often plays an integral role in the arts industry.

Panel Member 3: Definitely. Without my internship I would not have gotten a job in the arts. I agree whether you have a good or bad experience, both can be beneficial to your future in the arts industry. My internship allowed me to experience a variety of different roles in an organisation and from this I could determine what really interested me and if I could actually do the job.

What could be done better to provide learning and support for new arts practitioners?

Panel Member 1: Communication and more opportunities for networking within and outside of university appear to be the areas that could vastly improve learning and support.  We have come to realise there is virtually no funding, such as grants and scholarships specifically for emerging arts practitioners. How can we fully invest our time in volunteer projects and internships when we can only afford to give one day a week due to other financial commitments?

Panel Member 2: Often you have to search high and low for career advice during and after university as there is nothing to support the transition between university and the arts industry. We need more information and advice and perhaps an organisation solely dedicated to emerging arts practitioners. Many of us have found ourselves lacking direction when faced with the next step in our career and it only dawned on me after the fact the effect my internship experience has had on my career.

Where else can you get information on learning in the arts:

In January 2006 The Australian Institute of Music (AIM)  entered into discussions with Sydney Opera House (SOH) to re-launch its Master of Arts Management program as a co-production. AIM was looking for an inspiring venue that would immerse the program in a real performing arts environment, bring a community of industry professionals closer and involve SOH staff as participants and occasional guest presenters so that the program had an authentic connection with the venue. Sydney Opera House also saw itself as a place for learning and education and there was interest in integrating it into their staff professional development programs.

Paul Saintilan, a Program Director of Master of Arts Management at Sydney Opera House at Australian Institute of Music, visiting lecturer at The Glion Institute of Higher Education and adjunct professor at Webster University Switzerland has shared with us his insights on the importance of learning in the professional workplace.

Interview by Natalia Ilyukevich

How important is being involved in industry for the learning process?

It is very important on a number of levels. Firstly, we would not admit a student into the program who did not have at least two years industry experience, because otherwise they have no ‘real world’ frame of reference to which they can relate the concepts and seminar discussion. Eighty percent of students enroll part-time (the average age is 34 – very mature) and are often working in the industry, often in good jobs,  so they can relate the seminar content to their industry experience and introduce this into the seminar discussion. Secondly, the post-seminar assignments provide an opportunity to apply the theory to their working life, or a hobby project, and in doing so students personalise the content and develop a deeper understanding. The ‘Major Project’ that students must undertake (either a Research Project or Business Plan)  which can be sponsored by an arts organisation, provides a deeper opportunity for industry related learning (the Major Project serves the same function as internships do in other programs).

 What were your decisions based on when choosing the lecturers for the Master of Arts Management program?

Generally, we were after enthusiastic, passionate lecturers with deep arts industry knowledge, who could bring theory to life in a practical, relevant and motivating way. We have often asked ourselves who is the best person to present a module, the modularised structure means they could come from anywhere and have flown internationally to present (like Tim Walker from London). For example, we chose Shane Simpson for the entertainment law modules because he ticks all the boxes; he has deep music law but also multi artform experience. He has extensive experience with both non-profit and commercial organisations. He has previously worked as a University law lecturer but is also a celebrated practitioner, having established the Arts Law Centre and Simpsons Solicitors. He is also a very entertaining presenter and so can bring it all to life in an engaging way. For highly theoretical subjects we have gone for academics with a PhD to ensure the academic integrity of the modules, for others we have skewed them more towards a practitioner focus. It is a question of balance.

What contribution do you hope this course will make to the industry?

We would like to see the course promoting and encouraging best practice, the pursuit of excellence and greater professionalism and thoughtfulness in the way we approach the challenges of managing arts and entertainment businesses. We want to ensure students who graduate have what they need to make the best possible contribution to Australia’s cultural life. We also want to help bridge the gap between theory and practice, academics and practitioners, and generic business school thinking and what works in the idiosyncratic environment of arts and entertainment.

 What measures of success will you use?

One measure would clearly be graduate outcomes in terms of the contribution students eventually do make, but as we re-launched this program in 2007, it is early days. There are some tremendously impressive people who have gone through the program who I hope go onto bigger careers than I have had. I am working on a PhD with Prof Ruth Rentschler at Deakin, and so lecturers in the program are involved in research and we would like to see this bridging the academic/practitioner gap. We naturally employ other metrics in the program to ensure we are offering a high quality educational experience such as student evaluation form feedback, which have been excellent and assessment metrics. The quality of work is high and getting higher.

Recommended further information on the subject of  learning:


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