Who’s the boss?
By Grace Okereke
When you work as an Independent Arts Manger, you are typically a freelancer moving from project-to-project. Sometimes you work for others, whether they are independent artists or companies, regularly funded organisations or large institutions. At other times, you may focus on your own projects or activities.
The average Independent Arts Manager often has a varied portfolio of work as we navigate our careers and determine our trajectories while trying to earn enough money to survive. In my opinion, being a freelancer is not for the risk averse because there can be moments when you may not know where next month’s income is coming from.
This uncertainty often leads many of us to juggle multiple projects simultaneously to ensure some semblance of financial security. Nonetheless, it is the career path many of us choose and, for the most part, are happy with. However, I often feel there can be a disconnect between how Independent Arts Managers are viewed and treated compared to other freelance creatives in the performing arts. My observations are based on my experience primarily in dance and theatre within the subsidised funding sector.
The disconnect I notice revolves around industry support and sometimes camaraderie among other independent workers who I believe operate within the same sphere. I observe that certain groups (especially artists) receive protectionism and empathy regarding the difficulties they face in sustaining a career.
While I fully support this empathy toward artists, I feel that it does not always extend to freelance Independent Arts Managers. Our challenges may not be identical, but there are many intersectional points and similarities that should unite us in our efforts to strengthen the sector and enhance the value of our collective work.
As I think about why I feel this way—and whether my feelings are accurate—I reflect on experiences and influences that have shaped my perspective. To fellow independent workers, Independent Arts Managers might appear to occupy positions of power since part of our role often involves “employing” them for projects.
However, I resist this perception because instead of being seen as “the boss”, I want to be perceived as the lone wolf striving to feed the five thousand people with less than five loaves of bread and only one fish! This is not to suggest that I have a Jesus complex, rather, I want recognition for the hard work that I and other Independent Arts Managers do when pulling together a production from scratch.
We also invest our time—much of it unpaid—and even our own money or resources, just to bring projects over the finish line. Fortunately, the Uprise family is full of amazing people who work extremely hard and understand the sector well. However, every now and then, when working with others outside this group, I come across this issue. Although I understand how others might perceive me and other Independent Arts Managers, it frustrates me that I am not also seen as “one of them”.
This makes me wonder if I am trying to have my cake and eat it too, and whether I should simply accept my position in this in-between space, and ensure that through Uprise, I continue to advocate for all of us within the independent eco-sphere.