People from black and minority ethnic (BME) backgrounds and disabled people are significantly underrepresented in England’s arts organisations, data has revealed.

Arts Council England (ACE) on Monday published its annual diversity report, which outlines signs of progress but contains alarming bottom-line figures.



In the nation’s working-age population, 16% of people are from BME backgrounds. But they make up only 11% of staff at publicly funded national portfolio organisations (NPOs), 4% at major museums, and 9% of staff at ACE itself.

The disabled statistics are worse. In total, 20% of the working age population identify as disabled but they make up 4% of staff at NPOs and major museums and 6% at ACE.

In a survey of the arts employment landscape, the report says: “Despite some consistent progress, there remains a large gap between organisational aspiration and action.”

The 2016-17 report was published as ACE on Monday held an annual diversity event, with hundreds of arts professionals gathering at Nottingham Playhouse to debate and exchange ideas.

During the gathering’s keynote speech, the chair of ACE, Sir Nicholas Serota, was due to speak about the positive impact of diversity on the national economy and its importance to social mobility. He will also warn that organisations not prepared to change will be left behind.

Serota will say: “Our young, diverse population is a national asset – a multitude of perspectives, ideas, talent and creativity. But we have a problem. We are as a society depriving this young population of opportunity.

“I want the arts to be an inclusive world, a building open to all. Not an exclusive club. Our mission to deliver on diversity is doubly vital.”



Serota will say that progress has been made, but not enough. “We are still at the beginning of this process, and are only now seeing the results of decisions that were made several years ago. There is more to do. A lot more.”

The report says BME underrepresentation in key leadership roles is even more acute than the general picture.

The BME statistics appear to contradict the 2015-16 report, which stated 17% of the NPO workforce was BME. The new report says it previously included “white – other” in the BME grouping. “We now recognise this grouping does not give an accurate picture of ethnic diversity in the sector,” it says.

ACE has been publishing diversity data for three years but admits it still does not have the full picture and better reporting is needed. It says, for example, it has no disability data for half of the NPO workforce. “The true picture may be better or worse than the one we can currently present.”

Serota predicts considerable change in the next few years. “The sector is moving forward. Those organisations that aren’t prepared to change will be left behind.”

Serota says there are signs of progress at a structural level with more Grants for the Arts awards going to BME, disabled and female applicants. Among 831 organisations offered funding last summer in the new national portfolio, 96 self-define as being BME-led, including new entrants such as Ballet Black.

There are a blizzard of statistics in the Equality, Diversity and the Creative Case report, including figures for each NPO and major museum which employs more than 50 staff.

It shows, for example, at the Royal Opera House, one of England’s best-funded arts organisations, 9% of the staff have a BME background while 66% are white British or Irish and 14% are white other (European, for example) and 11% unknown. Another of the top four is the Royal Shakespeare Company, 2% of whose workforce have a BME background, while 75% are white British or Irish and 5% white other.