Partner Meetings - Freelancer Views - Ishi Khan

Written by Ishi Khan - 4th December 2024

99 Matters

Is was a real honour to be invited along to be part of In Good Company (IGC) partners meeting.

I have a deep fondness for IGC. I can’t remember how I stumbled upon it, but I remember the vibe the moment I first walked into the the IGC festival called Departure Lounge. It was the first time I walked into Derby Theatre. Also the first time I’d seen a theatre in a shopping centre. The festival’s hang out space was upstairs outside the main performance area. Maybe it was the colourful bean bags, or the porthole-like windows made me imagine being inside a kaleidoscope or the images on the wall or the way creatives were hanging out, chatting, connecting, relaxing with each other that made me feel so welcome. A vibe that made connecting easy.

Writing this blog for IGC has prompted me to reflect on that moment. Since that day I I’ve been to other arts & comedy festivals. In comparison to other festivals, there was a lovely outdoor type, relaxed festival atmosphere. There was a sense of community and easy communication without the feel of someone trying to sell their services or shows to you. I ended up staying all day, watched some shows, chatted with creatives, soaked up the love and returned the following day. I love how IGC continues to provide a space to meet, connect, learn and grow together.

It’s one of the few spaces in the creative industry where hidden agendas and ruthless competitiveness can be left outside at the door. As an artist you can just turn up as you are without having done any previous research on other attendees; without the pressure of expectations and possibilities of disappointment. Over the years I have learnt of how artists are expected to research, research, research before they approach potential collaborators like venues and organisations. Research that is so time and energy consuming and doesn’t take into account how time-poor freelancers really are. I have always loved the way IGC create the optic fibre connections between freelancers & theatres making theatres easier for freelancers like me to access. IGC has a beautiful sense of community at its heart.

I have a quick chat with the IGC producer beforehand to check in about my purpose, role and any expectations around attending this partner meeting. I feel a bubbling, tingling rising within at being included and being seen as an artist and valued enough to be invited along. There is also a self imposed sense of responsibility to not mess “it” up- whatever “it” is. Perhaps that comes from being a migrant, or entering the theatre world unconventionally and organically and not through the academic route. The first time I watched a theatre show was in my late teens, months after migrating to the UK. I am now very aware that most creatives have been exposed to theatre much earlier in their lives. I’m still learning how this industry works the unwritten rules of engagement and so value the brief pre-meeting check in.

There are some familiar faces in the zoom room and a quiet, subdued energy. We go around the zoom room and everyone introduces themselves, any news and what projects they are working on. It is all pretty factual. There’s a sense of a brave front perhaps a mask for standing on trembling ground, reflecting the industry’s uncertainty. This meeting is taking place weeks before a general election and maybe the industry has suffered too much damage to recover or hope.

The conversations get very engaging when a discussion starts around the low attendance numbers of artists at free workshops and the possible causes for this. The discussions include whether value is being attached to the workshops because they are being offered free or will they be valued more if these had a ticket price. This discussion around freelance artists is timely as it’s hours after a major report reveals artists’ working conditions and the continued strain freelancers are under, including mental health. to survive in the arts sector.

With much of theatre industry close to burn out, this is where the discussions really start. I learn how theatres expect artists to form a relationship with them to be considered in programming. This seems to be the way things have always been done. This relationship building could take several years and in the mean time the artist has to rely on other ways to survive before the doors are opened. Artists time and energy is unpaid during this period of relationship building, however the theatre personnel are being recompensed for their time. I tried explaining ‘the relationship building timeline” to the Universal Credit work coach. His suggestion was to move to London where artists are getting work and being paid well. Of course he is completely unaware of the trend of artists moving out of London because of the cost of living. A trend that began years before lockdown. Just as lockdown lifted, the UC staff also said,’ if tickets aren’t selling people are saying they don’t want this, so don’t do it!” All I could manage was to respond with a deep sigh to mask my frustration. The UC staff’s attitude seemed to echo the government’s towards the arts sector. It has led to a fragile industry continuing through mere passion and a love for community. I can’t work out if the attitude is born out of ignorance of the huge long term benefits of the arts on society or a desperation / greed for instant and huge profit margins.

Either way, the attitude has resulted in eating away at and stifling the heart of a nation. This heart when valued and treated with respect could be the answer to prevention of further exponential increases in mental health problems.

The discussion expands to partners sharing the challenges around ticket sales engaging artists and the mass exodus of artists from the industry. My contribution comes out from a place of passion as I refer to the report by Freelancers make theatre work. I mention how much I value the free workshops and sometimes it can be a simple thing like simplifying the booking systems. I was kicked out the booking system several times. Most people won’t be so persistent or patient when it comes to booking a free ticket. I explain how I eventually called the booking office for a ticket. Again most people wouldn’t have the time, energy or persistence. Swept up by my passion, I didn’t manage to articulate that I felt deep down inside I want to be able to continue to access the workshops and training. If these become ticketed, freelancers like me would have to add the cost of the workshop ticket to travel and time they aren’t working. These workshops wouldn’t then be accessible for people like me who are persistently pursuing a creative practice despite the financial instability. I often get asked how I manage. My faith, a sense of purpose, determination, affirmations, hope and gratitude for the present moment keep me going!

There is no doubt that buyer behaviour has changed since the pandemic. While people are even more grateful for life and valuing experiences over stuff, they are also not booking in advance as much as they had done. This is possibly because of the uncertainty that surrounds us all! The uncertainty as an artist, not knowing where this months bills would come from: as a venue where redundancies have to be made because of crumbling concrete issues where shows have to be cancelled and revenue affected; uncertainty as a nation with an ever increasing cost of living being assigned to one world leader invading it’s neighbour: uncertainty as a world and it’s existence where the screams of our mother Earth aren’t being given the space She deserves.

The quiet subdued start to the meeting held within it the increased uncertainty that perhaps venues haven’t experienced to this degree before. I wonder if this degree of uncertainty has ever been experienced by freelancers. I do know that the degree of uncertainty, experienced by most migrants is huge in comparison. Maybe that’s what helps me manage and regularly return to optimism in whichever way I can. One day many moons ago while sniffing for optimism I wandered into a space called the departure lounge. It aligned with my value of keeping good company.

The second partners meeting took place four months later, October 2024. This time, I have a better idea of what takes place at one of these. The energy is definitely lighter than the previous meeting.

There is an air of optimism, stability and even some banter between Jen Sullivan and Rafia Hussain who co-lead the meeting. Y theatre, Leicester is welcomed as a new partner. IGC announce it’s received Arts Council Funding for another year. Is this financial security behind the lighter vibes?

There is a Labour Government in place possibly giving a sense of optimism and stability for the future. It’s a bit late for places like Deda Dance centre in Derby which went into liquidation in August In July, another Arts hub in Derby, The Quad, stated it was experiencing severe financial difficulties. Audience numbers continue to be an issue nationally perhaps related to continued rising costs of living.

My optimism has been wearing thin as I received yet another rejection of financial support. “We thank you…… we are sorry………can’t give feedback due to the number of applications………” etc etc…. The most recent rejection outlines there were 900 applications for 20 bursaries. As an associate artist with New perspectives theatre, I realise I am fortunate to receive the heads up on the opportunities and have certainly tried to make the most of them even though each application has made greater demands on already stretched capacity. At times it’s felt like my energies were all being sucked into a black hole in space-possibly the same hole that is home to insurance payments and lost socks! There must be another way forward that breaks away from the set paradigms of competition to survive. A way where everyone thrives together.

A call with a cousin soon reminds me how much harder life still is in my birth country, Zambia. Increased poverty and power cuts leaving people without electricity for huge parts of the day. I remember many childhood days of blackouts, using candlelight to brush my teeth. Water shortages where we stored water in buckets to flush the loo and hoped the tap water would be back before we ran out of what was in the buckets.

I come off the phone thankful to have the opportunity to have left those days behind.

Somehow I must find something to be thankful for with the stack of rejections. The rejection with the most impact though was the planned racist riots of 7 August where 30 locations across England were targeted. I was strongly advised to not go out, which triggered the forced isolation of lockdown and resurrected the fear of falling prey to lockdown imposed depression. I withdrew from some comedy gigs. My freedom of movement was being taken away again and a sadness of feeling unwanted because of my skin colour reminded me of the anxiety when I learned that over 14% of voters voted for Reform UK, who continue to spread an anti-migration and anti-muslim rhetoric. I was anxious about the implication of increased hate towards the global majority. It’s felt hard to want to put myself out there as every artist loves to do and must do to survive. I am conscious of not over sharing when asked, “how are you?” as many people feel so uncomfortable by my true response. I’m often met with a standard, “there’s more of us than them” as a consolation. It has been exhausting! Rejections in any form are! Each rejection is getting closer to that YES we want you! When one door closes, it keeps the cold outside. I am thankful for doors to knock on.

The partner meeting continues with a discussion around the planning and content of a press release to announce the success of IGC’s Arts Council Funding. I am especially delighted to hear that IGC have received a grant of over £99 k. It means they can continue the work of artist development, community building and bridging relationships between partners and artists, making the partner venues more accessible.

Amongst several agenda items, IGC announced the artists who’ve been successful with IGC grants & bursaries and debrief about a pilot programme, Industry pathways, bridging the gap between university and employment.

There was much discussion around the results of a focus group consultation with artists. This included the information to be included in a midlands touring guide. This discussion highlighted the important role IGC play in improving communication between venues and freelancers.

An update of the associate artist scheme was given. The plans to support and bolster touring Midlands artists was shared.

A discussion around the collaborative support for writers in the region and what that may look like.

The meeting comes to a close with partners sharing what’s coming up next.

It’s left me feeling optimistic listening, watching and learning how IGC supports collaborations between the community they are building. A community of partner venues, artists/creatives/ freelancers. It’s great to hear of future plans to further support the development artists in the Midlands. Most of all to develop and retain Midlands artists and not just ship them off to London in line with the Universal Credit desires.

In IGC’s contagious breeze of optimism, I decide to put funding applications on hold and focus my energies on joy- performing, rehearsing, traveling to venues and meeting wonderful people where ever I go. Luckily I had a show to share the following week at a partner venue, Northampton’s Royal and Derngate Theatre. Getting in the way of my rehearsals and preparing for the performance had been the time consuming funding applications and the worry around ticket sales. Fund-raising, admin, marketing and sales OR writing and rehearsing a show. In this post IGC interaction optimism, I chose the heart and make the show.

Making the show makes me present, whereas the marketing, sales and fundraising rejections make me worry about the future.

The partner meetings gave me an insight to the wonderful work the IGC team do behind the scene to support artists. Like the backstage, tech crew and from of house. Being included in these meetings has increased my respect for IGC. Overall there was a lighter, brighter more settled vibe at the meeting in Oct. I wonder if it’s because of a glimmer of hope with a new UK government or maybe the more settled air was renewed belief that we really are living a new normal over 24 months after lockdown rules were lifted.

Either way, there must have been a grounding, reassurance and a feeling of security that came with being awarded a grant of £99 999 by Arts Council England (ACE). The grant also says ACE believes enough in IGC’s work to want to support them. The sense of security with £99k enables IGC to focus on what brings them joy, the business of IGC. That joy filtered through and touched my heart enough to overcome the despair related to a pile of rejections. £99k matters. Or as Abraham Maslow’s hierarchy of needs suggests, “A person can only meet the need for self-actualization once they have satisfied all the other needs.”

The most basic needs for survival must come first especially after such a long lockdown period riddled with fear, insecurity and instability.

Lockdown’s impact on this industry was a major heart attack, a huge warning sign to wake up and take better care. We are rebuilding ourselves, our communities, our hearts. Any doctor would recommend an aftercare to include gradual stepping into any duties and avoidance of stress and pressure. But instead the nation’s heart has had to move faster to catch up on the years lost, step up activity under increased pressure to make ticket sales to keep the venues (heart’s chambers) open. Many of the blood cells (freelancers) have left the industry and so affected the health of blood flow.

So most than 24 months after lockdown was lifted, while most freelance artists are reconstructing in survival mode, coping with rising costs of living and trying to ignore burn out, it’s reassuring to hear supportive organisations like IGC are being funded. It renews hope within the industry, the community, the region.

99 matters.