↑ katherine ellis
@theleapbd
tell us a little bit about yourself!
Hi, I’m Kate and I’m Museums Project Officer at Bradford District Museums and Galleries and a Consortium member of The Leap. I’ve worked in the cultural sector across the UK (in theatre, orchestras, art galleries, and museums – as well as for Arts Council England) for nearly 15 years and have an MA in Arts Management. I have a real interest in research and how this can impact and help change the cultural sector for the better. I was born in Bradford and now live in Keighley with my husband, son, and dog Puffin
what qualities do you most admire in other women?
I’ve been lucky in my career to have worked with some incredibly inspiring women. The qualities that I most admire in them and aspire to are, firstly, the care and compassion they show for their colleagues – an essential quality to help a workforce feel supported and valued. Secondly, the deep commitment to and pride in their organisation and/or place. Finally, above all, they have a drive to make a difference and bring about meaningful change.
what steps can arts organisations take to create more opportunities for women in leadership roles?
In the Bradford District, there are many cultural and heritage organisations that are women-led – Bloomin’ Buds, Bradford Producing Hub, Brontë Parsonage, Common Wealth, and the National Science and Media Museum, to name just a few. This is a real strength for the district, and it provides a solid foundation for us to look towards these organisations as examples of what’s possible.
With this in mind, we have a unique opportunity to work collaboratively, supporting and nurturing other women in the sector. Through mentoring, training, and ongoing support, we can help women develop the skills they need to become leaders themselves.
Yet, the wider picture in the UK cultural sector remains a challenge. Statistics from the Department for Culture, Media and Sport (DCMS), published in April 2024, show that the gender pay gap is still at 15.2%, and it has actually increased since 2023 (Arts Professional, 2024). Additionally, middle-class, white men continue to be overrepresented in the cultural sector, at the detriment of women, people of colour, and those from working-class backgrounds (Culture is Bad for You, O’Brien et al., 2020).
Looking back to Bradford, the Bradford Cultural Voice Forum (also chaired by women) is another valuable platform that could help open up discussions around women and leadership in the sector, providing an opportunity for networking and exchange.
References
www.artsprofessional.co.uk/news/gender-pay-gap-within-culture-sector-increases
Culture is Bad for You: Inequality in the Cultural and Creative Industries, O’Brien et al., 2020
do you think the structure of the arts industry (e.g., freelancing, short contracts) poses any specific obstacles for women with caring responsibilities? what changes would you like to see in how the industry supports care givers?
Without a doubt there are structural barriers for women with parental and caring responsibilities working in the cultural sector. As a Mum, I’ve had to make difficult choices about my career so that I can balance work, financial, and childcare responsibilities. Many of my colleagues and friends in the sector who have parental and caring responsibilities talk of the same challenges and barriers. Particularly the need for more flexible working, financial stability, costly and inflexible childcare, and the balancing act of being a working Mum.
I think these barriers are felt hardest by freelancers and those on short and fixed-term contracts (PIPA, 2024) who do not have the same statutory protections as employees (e.g. maternity/parental/carers leave). Also, the unpredictability of work, including often long and unsociable hours, can result in financial instability. Freelancers also feel additional pressure to perform well to secure future work, which then affects their work life balance. This can complicate already inflexible childcare and can ultimately result in poor mental health or women having to leave the sector all together.
If women are being forced to choose between working in the cultural sector and their parental and caring responsibilities, is it any wonder they are underrepresented in leadership positions?
As well as academic research on the topic (O’Brien et al., 2020), there are some great organisations working to raise awareness of these issues - PIPA (Parents and Carers in Performing Arts) and Pregnant then Screwed - in the hope of bringing about meaningful change.
In the short term, let’s raise awareness and ensure leaders in cultural sector workplaces take responsibility for fostering cultures of understanding and flexibility. In the longer term, we need to give freelancers the same statutory protections (e.g. maternity/parental/carers leave) as full- and part-time employees.
References
pipacampaign.org/research/balancing_act_2024?referrer=/research
Culture is Bad for You: Inequality in the Cultural and Creative Industries, O’Brien et al., 2020
