Professional development in the creative industries: Methods and insights from regional practitioners

Abstract

Professional development for those pursuing a career in creative industries is typically driven by individual practitioners, given most areas (e.g. photography, design, film) do not require membership with a regulatory organisation or evidence of continuing skills development. For those based regionally, opportunities for professional development are also less available than for those in capital cities. This paper reports on the findings of a survey (N = 151) and follow-up interviews (N = 29) with current creative industries practitioners in the regional city of Townsville in northern Australia, in relation to professional development opportunities and issues faced as a result of being located a substantial distance from the nearest capital city. The findings reveal a range of key challenges for regional practitioners due to distance and access to specialists in the field, yet at the same time a number of opportunities for those who display human agency and who are agentic learners.

Keywords

Creative industries professional development regional Townsville agentic learners

Introduction

The concept of professional development has a long history in many fields of employment, such as health and education, where practitioners are typically required to demonstrate participation in structured activities as part of ongoing registration with a regulatory or industry body. In general, professional development can be described as ‘skills and knowledge attained for personal as well as career development’ (Ahuja, 2015, p. 11) and includes such activities as formal study, research and reflection, workshop and conference attendances, as well as informal learning opportunities situated in practice, both as an individual and in communities. Desimone (2009) engaged in an analysis of the concept of professional development, citing a wide net in terms of how it is described in the literature. In general, Desimone (2009) contended it consists of both formal sessions (e.g. workshops) as well as informal activities, such as casual chats with colleagues. However, a range of terms is used similarly, such as ‘continuing education units (CEUs), learning units (LUs), professional development hours (PDHs) or mandatory continuing education units (MCEs)’. Lowther and Dexter (2002, p. 16) argued that ‘they're all ultimately the same thing - a measure for documenting continuing education’. They also argue that there are differences between training and professional development, with the former a short-term need to address a particular issue, as against the latter which is normally more strategic and long term.

The creative industries is a sector of economic activity which gained significant policy attention during the 1990s in the United Kingdom in particular, as a post-industrial area of economic activity involving the exploitation of creativity and intellectual property (Flew & Cunningham, 2010; Potts & Cunningham, 2008). Creative industries typically include what Throsby (2008) described as core creative arts (visual arts, creative writing, performing arts), wider cultural industries (e.g. television, radio, film) and related creative industries (e.g. design, software development). As an area of employment, it typically involves ‘part-time work, marginal employment, short-term employment and employee-like pseudo-self-employment’ (Ellmeier, 2003, p. 10). In addition, sustained employment and employability in the creative industries are reliant on an individual's capacity to establish and maintain networks and employability over employment (Bridgstock, 2011, 2013; Ellmeier, 2003). While it is arguably a precarious employment area, Bridgstock and Cunningham (2015, p. 10) described how recent literature ‘emphasises the growth of the creative workforce and the importance of creative work and workers to innovation and economic growth in general’. However, what is less well known is how creative industries practitioners go about their ongoing professional development (Bridgstock & Cunningham, 2015).

Specifically, unregulated disciplines in the creative industries sector include performing arts, visual arts, fashion, photography, advertising, publishing, software, design and media. While various gatekeepers (e.g. curators, directors, publishers) to some extent play the role of determining what is a professional standard, and there are representative industry associations in the majority of fields, creative industries tend to run according to reputation and profile (Bennett, 2009; Townley, Beech, & McKinlay, 2009), rather than qualifications or membership of any regulatory or professional association. In addition, creative industries feature an oversupply of creative labour (Menger, 1999), with the lack of professional or regulatory requirements meaning there is an ongoing supply of new entrants to the field, which is exacerbated by the relatively low start-up costs of working in the field as a consequence of the growth in digital technologies.

This sector, while recognised as an important area of growth and potential in many economies, offers particular challenges for those seeking a career in the area, including non-linear work patterns and the need to keep abreast of rapidly changing workplace practices (Billett & Choy, 2013). Further, while Billett and Choy (2013) acknowledged that individuals certainly learn through the daily practices of employment, they also argued that this is likely to be insufficient in such a changing global workplace. This is particularly the case for older workers, who at times face a negative view from employers about the necessity to support their ongoing learning in the workplace (Billett, Dymock, Johnson, & Martin, 2011).

This status quo for creative industries practitioners is also exacerbated by the impact of new technologies and digital systems (Freeman & Louçã, 2001; Guerra & Kagan, 2016; Moody & Nogrady, 2010), which have a profound effect on both the supply of creative artefacts as well as how the broader society consumes and engages with content. Further complications exist for those living in regional or rural areas, in terms of access to specialists in the field, with many creative workers attracted to major cities (e.g. London, Sydney) as per the creative class theory of Florida (2014). Capital cities also tend to host major events, such as trade shows, conferences or workshops; hence those living in regional areas may face significant costs if seeking to attend. These various issues led to the following research question that underpins this paper: In what ways do regionally based creative industries practitioners engage in professional development?

Literature review

In general, there is a limited body of research that specifically explores the ways in which creative industries workers engage in professional development. This may be partially due to the fact that most creative industries practitioners are freelancers or work in small–medium enterprises; hence individuals are primarily responsible for creating professional development opportunities versus those in large organisations where it is often provided internally (Anderson, 2007). There are some research studies focussed on sub-sectors of the creative industries, but they tend to be concerned with a single discipline and sample sizes are relatively small; hence it is an emerging rather than established area of research. In addition, most of the studies of relevance involve international settings, with very few studies focussed on the Australian context. There is a body of research that explores professional development in relation to the artist and artist–teacher in education (school) settings, however again it is largely in an international context.

In terms of extant research, one early and ongoing study by Shea, Basnak, Bucholz, and Steinfeld (2016) focused on what types of professional development in the area of Universal Design would best suit architects in the Republic of Ireland. While the authors do not unpack the specifics of what types of activities might be implemented to respond to sector needs, they do reveal that there is a preference for in-person activities rather than online learning. In another study, Tremblay (2012) focused on careers in fashion in Montreal, demonstrating that professional trajectories develop in a boundaryless way (Bridgstock, 2011; Defillippi & Arthur, 1994), where individuals move through sequences of job opportunities or employment situations and where learning is important through networks and experiences in the field. Involving interviews with 20 fashion designers and six fashion intermediaries, the author argued that creative industries practitioners tend to work individually. Tremblay (2012) also found that the fashion designers in this study felt that they would benefit from more access to networks and support organisations; also identified was the importance of local support in terms of opportunities, networks and the ability to develop a profile in the field.

In terms of the United Kingdom, two studies of relevance are those by Noonan (2015) and McLeod, O’Donohoe, and Townley (2011). Noonan (2015), via surveys with 25 Bachelor of Arts students as well as seven follow-up interviews, argued that the creative industries workforce is characterised by informality including limited opportunities for professional development. The author also revealed the importance of London in terms of career and professional development; however, many of the interviewees chose to live in other locations for lifestyle reasons. Noonan (2015, p. 307) also revealed that for this group, the ‘ability to move meaningfully in and through creative spaces and places is an important element of their professional development’. McLeod et al. (2011) applied the theory of situated learning to a group of 48 advertising creatives who were interviewed about the nature of how they developed their career. In terms of key findings, the authors identify that amongst this collective, identity is initially formed, after which learning trajectories develop individually. The development of these trajectories is a complex process influenced by teams, roles, tasks presented and with individuals moving from novice to master and vice versa, in an often cyclical manner. The authors also found that networking, access to challenging projects, other creatives and peers at the top of their field(s) were crucial for professional development.

In relation to the European Union, Guile (2007) referred to a strong policy focus in many countries on the importance of lifelong learning, both formally and informally. He contended however that existing policies were focussed on very traditional forms of learning, arguing that those working in small–medium enterprises, including those in the creative industries, learned more often from trial and error rather than formal or didactic processes. To explain this, Guile (2007, p. 256) referred to the fact that creative industries small–medium enterprises need to ‘secure a range of commissions and to co-configure their expertise to realise the goals of those commissions’. He further argued for a broader definition of expertise learning to accommodate the idiosyncrasies of working in small–medium enterprises in the creative industries, where learning is often project specific and collaborative rather than linear and in sequential building blocks.

In terms of Australia, there are again minimal studies of relevance. In one recent paper, Zelenko and Bridgstock (2014) described how creative industries workers often move between specialist and embedded roles – the latter where a creative industries worker is employed in a different sector (e.g. a designer working for a finance company or manufacturer) – so they must adapt to changing circumstances, industry standards, and hence learning requirements in a rapid manner. Zelenko and Bridgstock (2014) reflected on the benefits of requiring current undergraduate students to engage in industry internships and with a focus on considering and formalising a sense of professional identity. One of the key findings of their work and for students looking towards a career in creative industries was the importance of a willingness to adapt and change, as a key step towards building professional resilience.

In a study focussed on volunteer festival managers based regionally, Hede and Rentschler (2007) described the formation of a professional development programme for this particular cohort in the state of Victoria. While they cited the fact that there were some mentoring programmes run by national arts institutions (e.g. Australian Film Commission, Arts Victoria), Hede and Rentschler (2007) also stated that they were limited. Further, the authors referred to the fact that those festival managers in regional areas were more isolated than their city counterparts when it comes to career development opportunities. Hence, in their study, six volunteer festival managers based in regional Victoria were mentored virtually by three experts in the field. The programme proved to be very effective according to the participants, given mentees could tailor the activities to their needs, rather than it being a structured learning programme. While only involving a very small group of participants, the authors argued that the programme has significant potential for further refinement and development.

While there is minimal research literature that looks specifically at professional development in the creative industries area, there are several studies that examine professional development for artists and teachers of the arts in the mainstream schooling system in North America (Adams, 2003; Kind, de Cosson, Irwin, & Grauer, 2007; Upitis, 2005; Upitis, Smithrim, & Soren, 1999). Upitis (2005) looked at some of the challenges of artists collaborating in the education space, including the need to finance and support them to undertake professional development. The author also argued that professional development should be a continuous undertaking, in formal and informal settings. In an earlier study, Upitis et al. (1999) examined two forms of professional development for artists working in schools, including dedicated summer programmes and follow-up workshops, as well as a programme where the artists engaged in workshops and activities as part of the school environment. In developing a three-level matrix of professional transition and applying this to four case studies of individuals, the authors confirmed the value and importance of structured programmes of professional development for artists working in and with schools.

Hence, in summary, there is a body of research that looked specifically at issues associated with artists and artist–teachers within the school or education context. These typically cited the importance of structured activities and both formal and informal forms of professional development practice. On the other hand, there is minimal research that looked at the professional development space as it applies to creative industries practitioners working in the employment field and beyond the education space, where structured frameworks are less prominent. This is particularly the case in the Australian context; hence a demonstrated need for this study.

Exploring professional development for regionally based creative industries practitioners

This paper focuses on part of a large study concentrating on the creative industries sector in the regional city of Townsville, in northern Australia, and specifically the ways in which creative industries practitioners engage in professional development. To date, papers have been published on the history of policy issues associated with the stop–start nature of the political focus on developing northern Australia (Daniel, Fleischmann, & Welters, 2016), the nature of the import leakage (loss of work) to other regions/cities (Welters, Daniel, & Fleischmann, 2017) and the extent to which methodologies for innovation (design thinking, co-creation) have the capacity to boost the local economy (Fleischmann, Daniel, & Welters, 2017).

The full study involved two phases for those practicing in the supply of creative industries; the first was a major online survey completed by 151 participants (61% response rate) and the second involving follow-up interviews with 29 of the same group who volunteered to participate in this phase. In order to limit the scope, those disciplines which are more typically commercially oriented were chosen, that is photography, video, design in its various forms, architecture, software/gaming and advertising/marketing. Methodologically, an explanatory mixed methods design was employed (Creswell, 2013), with survey data identifying key trends and patterns and interviews then going into deeper issues. This paper initially provides survey data findings relevant to the broad question of how practitioners engage in professional development, be this in terms of how individuals undertook their own steps or the extent to which they provided such opportunities for their staff (where relevant). The major part of the data section is then the results from an analysis of the interview transcripts for responses provided about professional development. The interviews were analysed inductively in order to generate overarching themes, which are presented after the survey data to give a rich picture of the participants' views on professional development as it applies to them directly.

Townsville is a medium-sized city located on the north-east coastline of Australia. With a population of approximately 180,000, it is currently the largest city in the broad geographic area known as northern Australia. Economically, it is dominated by government services including a large defence force base. The city is located approximately 1600 km from Brisbane, the capital of Queensland. The city features a range of basic cultural facilities, such as galleries and performing arts centres, as well as a range of creative industries businesses in such areas as design, photography and film/video. Features of the cultural calendar include such events as the Australian Festival of Chamber Music as well as the Strand Ephemera public art event. As a consequence of a significant decline in manufacturing industries, the city council recognised the potential of creative industries to generate jobs and to contribute to the wider innovation economy (Bridgstock & Cunningham, 2015); hence commissioned this research project which took place across 2014–15 (Daniel, Fleischmann, & Welters, 2015).

Key survey findings

In order to profile the participating practitioners, Table 1 summarises key business and/or personnel details for the survey participants (61% male), including type of business, locations, as well as years of experience (all details relevant to the 2013–14 financial year).

Table 1.

Profiling the creative industries survey participants (N = 151).

Type of CI business	• Single workplace in Townsville (TSV) (81%) • Multiple workplaces in and outside TSV (14%) • Multiple workplaces all in TSV (5%)
Type of CI business premises	• Residential and/or home office (58%) • Commercial office space (30%) • Shared commercial office space (8%) • Shared residential and/or home office (1%) • Other, e.g. various locations, home office and client premises (3%)
Types of CI business activity	• Graphic design (17%) • Advertising/marketing (12%) • Web/interactive design (10%) • Architecture (9%) • Domestic photography (8%) • Commercial photography (7%) • Building design (6%) • Interior design (5%) • Landscape design (4%) • Film/moving image (3%) • Software development (2%) • Computer gaming (1%) • Product design (1%) • Other, e.g. retail, signage, lighting design, etc. (15%)
Years in current CI business	• More than 10 years (38%) • 4–6 years (25%) • 7–10 years (18%) • 1–3 years (16%) • Less than a year (3%)
Years in CI in total	• More than 10 years (64%) • 4–6 years (18%) • 7–10 years (13%) • 1–3 years (5%)
Age bracket	• 30–39 (33%) • 50 + (29%) • 40–49 (20%) • 22–29 (18%)

Table 1 reveals that the majority of businesses were typical of creative industries, in that they were largely micro or small–medium businesses and with many based in home offices. There were also a small number that had a global reach (e.g. Malaysia, China), reflecting the potential for internationalisation in a rapidly changing marketplace. The sample was also quite experienced in terms of number of years in creative industries in general, as well as in their current business specifically.

Table 2 summarises key survey data relevant to professional development specifically, in terms of opportunities taken by survey respondents, their location(s) as well as development which they have provided and intend to continue to provide for their employees. Participants were requested to select all relevant answer options that were applicable to them.

Table 2.

An overview of professional development strategies relevant to employers and employees (N = 151).

Types of PD undertaken by survey respondent in 2013–14 year	• Self-education (76%) • Attendance at trade/industry shows (47%) • Attendance at conferences (43%) • Completing online short courses (23%) • None (5%) • Tertiary study (e.g. diploma, degree) (4%) • Other, e.g. toastmasters, workshops, online study/tutorials, online training packages, online attendance (18%)
Locations for undertaking this same PD	• Townsville (73%) • Online (40%) • Brisbane (31%) • Other Australian capital cities (13%) • North Queensland (12%) • Overseas (4%)
Types of PD provided for employees during 2013–14 year (select all that apply)	• Self-education time – paid (24%) • Completing online short courses (21%) • Attendance at trade/industry shows (19%) • Attendance at conferences (14%) • None (11%) • Tertiary study (e.g. diploma, degree) (5%) • Other, e.g. networking events, lunches with guest speakers (6%)
Planned PD activities in the following 12 months	• Self-education (76%) • Attendance at trade/industry shows (40%) • Attendance at conferences (40%) • Completing online short courses (18%) • Tertiary study (e.g. diploma, degree) (6%) • None (4%) • Other, e.g. toastmasters, workshops, webinars, online study/tutorials, mentorship, peer-based workgroup (12%)
Types of PD planned for employees in the following 12 months	• Self-education time – paid (30%) • Attendance at trade/industry shows (23%) • Attendance at conferences (20%) • Completing online short courses (13%) • Tertiary study (e.g. diploma, degree) (5%) • Other, e.g. online tutorials, webinars, on-site mentoring, sales training (9%)

As Table 2 demonstrates, self-education (personal learning or study in general) is the most highly cited form of professional development identified by this sample of participants, as well as for employees. Online learning is also referenced quite highly, not only in terms of self-education but also in relation to short courses, webinars, etc. Also cited relatively frequently is attendance at trade shows and/or conferences, both by individual employers as well as in relation to employees.

Interview findings

As cited above, follow-up interviews were held with 29 individuals, these were audio-recorded and transcribed for analysis. Participants were requested to respond to four key questions or areas regarding professional development for both them as individuals and/or their employees:

What are the advantages of being located in Townsville for your professional development? (And for your employees)

What are the disadvantages?

To what extent do you have access to the relevant creative specialists you need to engage in your practice?

How important is your network?

The breakdown of disciplines or business type of those interviewed was as follows, noting that 13 were female and 16 male, with all individuals having a minimum of five years' experience in creative industries:

Photographer (6)

Film-maker (4)

Building designer (3)

Creative agency (3)

Interior designer (2)

Print designer (2)

Product designer (2)

Landscape designer (2)

Software developer (2)

Marketing creative (1)

Architect (1)

Public relations (1)

Interviews ranged from 15 minutes to an hour in length, with a range of issues emerging that affected the broad area of professional development. The detailed thematic analyses undertaken resulted in seven key themes to emerge in relation to the 29 participants' views on professional development: distance, specialists, online learning, networking, location benefits, practice as professional development and collaboration. These main themes are discussed below in detail, including example quotes from various participants.

Distance

In terms of the discussion of being located regionally, the overwhelming theme to emerge was that it was largely a disadvantage, with the distance of 1600 km from the nearest capital city a moderate to major challenge. This was summed up by a software developer who commented that the significant distance meant ‘there are more disadvantages than advantages’. Further, a photographer described the key problem as a direct consequence of Queensland being ‘such a huge state, I really do feel like we are separated from the mainland so to speak’. This view was echoed by a landscape designer who lamented that ‘there is nothing here. Everything is in the bigger cities’. Similarly, a building designer argued that the industry accrediting body in the field only offered workshops and seminars in the nearest capital, which meant a significant financial and time cost. The distance from key capital cities also resulted in a range of other issues. For example, numerous individuals referred to the fact that the large suppliers and/or manufacturers did not visit the region, nor were any major trade shows held locally. Finally, another challenge caused by distance was in relation to access to specialist equipment which was often not available locally for either purchase or hire, thus creating complications when working on advanced projects for example.

Nevertheless, several individuals did accept that it was important to travel to capital cities for major trade shows and/or events, or for engaging with like-minded creative people. For example, an individual in marketing and advertising stated they stayed fresh by ‘travelling and working with large public relations companies in Brisbane and Sydney’. A photographer also described how ‘a lot of the good seminars and the good events are in capital cities so if you want to get some you have to travel. But that's okay too, we are used to that’. While a marketing creative felt that it was critical to attend seminars and major events in capital cities, they also commented that it would be ‘nicer if they were up here, it would be cheaper for us, obviously’.

Specialists

There were several participants who argued a lack of access to specialists on the ground; a factor that hindered how individuals continue to learn new skills or processes. A product designer described how the limited number of industrial designers in the city meant that ‘professional development opportunities are limited because there isn't a network of [industrial] designers to feed off’. Similarly, a software developer felt that while there were some very talented people, ‘they are not so easy to find because [there is a lack of] promotion channels or distribution channels’. In terms of emerging entrants with specialist skills, a marketing creative argued that when looking for emerging workers, they found that the local tertiary institutions were ‘creating head knowledge but never creating work experience’ amongst the graduates, resulting in a more difficult process in recruiting suitable staff.

Outsourcing beyond the city was cited frequently. For example, all but one of the photographers interviewed cited the need to outsource some or all specialist printing to the capital cities, where there were higher levels of expertise and specialist equipment. One software specialist felt that there were practitioners with basic skills/specialties; however, this person also argued ‘you struggle [to find local expertise] on the more complex items’. Similarly, a designer commented that the ‘people who have the really advanced skills that you need, are not here. So that's probably the issue; it's really accessing the people with the specific knowledge’. Another photographer took this issue further, arguing that they felt that the ‘support available in Australia is nowhere near forward thinking enough compared to Europe’. A building designer felt similarly, arguing that they gained most in terms of professional development by accessing European-based technical journals.

There were however some views that the situation was improving. A public relations professional was mixed in their view on access to specialists, citing ‘it's increasingly been better but I still have used some higher-end Brisbane/Sydney based companies that just seem to have a greater creative edge, world experience, knowledge’. Similarly, one photographer felt there was a good supply of emerging photographers available locally and that could be brought in but only as assistants. In a similar way, a building designer felt that there were a ‘lot of young guys that are quite good’. In relation to this emerging workforce concept, an advertising specialist felt that the local tertiary education institutions were producing relevant graduates, although their inexperience was a key issue hence something that had to be managed carefully.

Online learning

Despite the significant challenge of being relatively isolated, the majority of participants referred to the fact that online learning and support was a major way to resolve limited access to specialists as well as the costs associated with attending major events held in capital cities. A film-maker saw online learning as the key way to maintain currency with industry developments, making the point that ‘you can see everything online. So there's a big advantage with that’. A photographer felt that there is ‘a lot of good seminars from not just national photographers but international photographers in my area that will do webinars online’, arguing that this was the best way to engage in professional development, given that when they have to travel they are ‘not making money so [they] don't do that’. A building designer, who works largely as a consultant, described how they still had to learn through online sources ‘because things do continue to change and I do have to keep up with it’.

While online was cited as a key strategy for professional development, there were some alternative views. One interior designer commented that while online learning and research was important, ‘it's still very much a touchy feely kind of industry. I can look at a picture but I want a 3-D, I want to feel it’. A building designer was even more critical of online learning, arguing that there is ‘too much reliance on googling and technical information available online … it's sub-par and people are losing expertise’. Similarly, some photographers referred to online learning through tutorials and videos as a key reason for the significant growth in entrants to the market which was causing difficulties for the industry in general.

Networking

Networking was identified as an ideal way to develop professionally, in addition to it being critical for ongoing work. One photographer referred to ‘doing courses in Facebook and web design to keep expanding my networks’, while a designer described their ‘close network of colleagues and family who help and enable you to think about the whole [picture]’ as being ‘vital’. Two designers discussed the importance of being a formal member of business networking groups, one interior designer describing it as ‘really good for business’. On the other hand, a videographer who also worked part-time in a coffee shop described the ongoing benefits of meeting new clientele through this avenue, and it currently being ‘extremely important’. At a basic level, a building designer described the importance of networking as simply being ‘in the right place in the right time’. A print designer also referred to the basic principle of networking, describing that ‘if you're prepared to cooperate and give a bit, you'll never have trouble asking for something back’. Similarly, a software developer stated that most opportunities come ‘through your network, but you have to be active on that’. Finally, one photographer described an active network as critical, given ‘as a creative you rely on your reputation’ for obtaining ongoing work.

Some of the photographers specifically referred to the Australian professional body for photographers as a good way to network with like-minded practitioners; one described how ‘you can feel a bit isolated being in a regional centre and certainly, the professional body has been great at connecting me with other people’, while another described this networking group as ‘really strong’. Similarly, another photographer found that the opportunity ‘to catch up with like-minded photographers, not only their genre but with the same passion, is worth its weight in gold’. Another not only described the importance of the professional body for photographers, but also described how networking beyond photography in the broader business community

is really important, time consuming, but it's got to be done. With the digital age some people end up hiding in their office behind their computer screen. Well, that's not the way we do networking, you've actually got to go out there.

Several individuals also cited the importance of maintaining a professional network for ongoing work. A building designer stated that all their work came this way, hence they no longer needed a web presence or other forms of advertising for new work. Similarly, a public relations creative described how their network was critical, this being ‘the reason why I don't have a website, I don't have a business card, I just don't need it’. Similarly, a product designer described how their network was very important for ‘repeat business or referrals’. A print designer also described the importance of their network, arguing ‘all of our work really does come from referrals so we do spend a lot of time in building friendships with our clients’. Taking another angle, a marketing creative described the following process as critical for their ongoing network and work opportunities:

As an independent operator, working for clients, I need to be resourceful to pull people in for the right job at the right time, integrate them into the business to get them to be a part of it and understand the holistic journey that we are yet to achieve.

Another marketing creative stated that the ‘longevity of [our] staff members is what's working in our community’ in terms of networking, with two very experienced staff in particular bringing in significant work through a wide variety of connections in the community.

While networking was seen to be very important in general, some individuals felt there were insufficient opportunities to network, including a landscape designer who lamented limited opportunities. A marketing creative, who had recently arrived in the city, also struggled to break into the existing networks; ‘getting involved is really difficult’. Similarly, a duo running a videography business found it ‘very difficult to break into [local networks] because it is such a closed market and everyone knows each other so once you are in the network it's great but breaking into it is very difficult’.

Location benefits

The smaller size of the city and its location was cited as an advantage in terms of professional development. A photographer referred to the location of the city on the coast and its ‘good infrastructure’ as key advantages in terms of professional development. A software developer described how most people are attracted to the city for ‘the light, the lifestyle and the lack of traffic’, seeing these as key non-work advantages. An industrial designer commented that a key advantage was ‘easy access to people’, while another software developer discussed the benefits of being in a smaller community in terms of time, in that ‘we actually manage to have personal relationships and talk and be open. I think it helps a lot’. Similarly, a designer felt that the city had ‘a nice, relatively tight knit community’, which was an advantage in terms of word of mouth and work referrals. A public relations professional described how the small nature of the city was in fact a major advantage, given that they were ‘a big fish in a small pond’. Similarly, a videographer described how the local market was so much less saturated than capital cities hence the opportunity to gain work and develop new skills was a great advantage.

A small number of photographers also referred to the dry tropical climate as being an advantage. One described how ‘a lot of my photography is outdoors so [the good weather] makes a big difference’, while another who had lived in London for a short period described the weather as ‘awesome’ for photography. A third also commented that the weather was a significant advantage in the area of wedding and domestic photography, which had been a core part of their business income for many years.

Practice as professional development

In terms of ongoing professional development, some interviewees referred to the nature of daily creative practice and experimentation as a key form of gaining new skills and knowledge. One individual who worked in a small creative media team described how

we actually are learning as we are pushing our clients to accept new creative work, we are learning and developing and we do our own little projects before we do the client's to know that that's the viable thing to do, you know, it's going to work.

A building designer discussed how they often ‘went the extra mile’ in terms of research and learning as applicable to projects, this becoming a way of developing new knowledge and insights into the field.

Similarly, a number of other participants discussed how the rapidly changing nature of hardware and software in the broad creative industries field meant that learning on the job was a standard requirement, in order to keep up to date and to provide clients with the latest options and opportunities. This also included mentoring; for example, a landscape designer described how he trained young assistants on the job as the key way for them to develop skills, rather than attending any formal course or programme of study. Similarly, a public relations professional with significant experience working in the field nationally before basing themselves locally spoke about working closely with young employees in order to ‘pass that knowledge on to’ and to develop their professional capacities.

Collaboration

Some participants referred to collaboration as a way to stay connected to developments in the industry, although there was certainly room for improvement in many cases. A building designer described how they had regularly ‘called the town planner to come to our meetings’, where a group of practitioners were networking and learning from each other. At the same time, this individual reflected on one of the key challenges in terms of the fact that ‘We could collaborate [with architects], which would be good. But architects don't collaborate with building designers’. Similarly, a videographer felt that the field would benefit significantly from greater collaboration amongst the local practitioners, in order to ‘raise the profile of the industry, to raise value propositions in the industry and therefore be able to increase budgets and charge more for products’.

Several of the photographers continued to refer to the local branch of the professional photographers’ body, which while not a regulatory body or requirement of membership to practice, did provide some access to professional development for the members. One photographer described how ‘professional development only comes here when local photographers get together and create something’; hence the importance of the local branch. One experienced practitioner described how there ‘has been an active [local] branch up here in Townsville, bringing speakers up and things like that’. On the other hand, another experienced practitioner who was formerly heavily involved in the professional body, felt that quality learning experiences had decreased significantly with an influx of new entrants to the field, arguing that ‘now they'll just take anyone’.

Discussion

The above findings reveal that creative industries workers are generally proactive in sourcing ongoing opportunities for professional development. While many of them displayed qualities of human agency, as they worked in different sub-disciplines this complicated opportunities to harness the capacity of the collective group. While there are some representative organisations for particular sub-disciplines (e.g. design, photography), there is no overarching creative industries industry body driving the sector and potentially providing a range of professional development options. While as a concept the creative industries has some traction in government and academia (Flew & Cunningham, 2010), this paper proposes that for those on the ground it is a very different situation. This study revealed that creative industries workers tended to spend a lot of time working alone, given that many operate as freelancers and/or sole traders, as well as relying on their own agency to generate options for professional development.

The findings presented therefore point to what is both a challenge but also opportunity for creative industries practitioners in regional or isolated areas in terms of how they engage in professional development and sustain a career. The relative isolation from major centres presents moderate to significant difficulties in terms of attending major trade shows, conferences or other industry events held in capital cities. Access to creative specialists also is problematic to some extent, which reflects the view of such authors as Florida (2014) who argued that many creative workers were attracted to the major cultural centres of the world. Nevertheless, the potential of the internet for access to both formal and informal programmes of learning is considerable, especially with the rapid growth in massive open online courses (Moocs). Similarly, the relative smallness of a regional city or community provides the potential for creative industries practitioners to establish a strong network of peers and colleagues who they may learn from and with.

Nevertheless, there are issues associated with the rise in online learning and increasing access to cheap technology. The issue of quality in online learning and therefore professional development is a factor, given the magnitude of material available to practitioners. The impact of changing technologies is also a major challenge for those in the field, with several individuals citing the impact of the flood of entrants to the field, which was having a major effect on the prospects of maintaining a career. The creative workers themselves have to readily engage with new technologies, perhaps more so than any other discipline, hence the necessity to learn on the job. The findings of this study therefore reflect the broad discourse in the literature regarding the current wave of technological development and change (Freeman & Louçã, 2001; Guerra & Kagan, 2016; Moody & Nogrady, 2010).

Given the lack of regulation of standards in the majority of sub-sectors of creative industries, maintaining currency in terms of industry standards and trends is largely the responsibility of the individual, although employers of small–medium enterprises are also a key agent in supporting this area. As identified here, there are elements of professional development via the daily practice of creative work and experimentation, reflecting the work of Billett and Choy (2013) and Guile (2007). There is also evidence of the benefits of situated learning (McLeod et al., 2011), with several photographers in particular citing the benefits of attending workshops held by the relevant professional association. There is, however, evidence to support the theory of Billett and Choy (2013) that creative industries practitioners must engage in more learning than that which occurs through daily practice, with rapidly changing technologies and patterns of consumption key areas to stay up to date with.

So what does this mean for regionally based creative industries practitioners who seek to engage in professional development and sustain a viable career? The findings of this study suggest that individuals based in regional areas have to accept that at certain points, they will need to attend major trade shows, workshops or conferences in capital cities. In addition, the combination of online learning, experimentation through practice, networking, reflection, research and collaboration are all required for a viable and long-term career. Seeking a mentor, in a similar way to that described by Hede and Rentschler (2007), is also another avenue that individual practitioners might explore further as part of ongoing professional development. From a human agency point of view (Bandura, 2001), individuals will certainly need to be agentic learners in order to maintain currency in the workplace and sustain a career in the sector (Billett & Choy, 2013; Zelenko & Bridgstock, 2014).

There are also clear implications to emerge from this study for industry and for academia. For industry, the current representative (national) associations need to consider new ways of engaging with creative workers in the regions, given those that participated in this study were clearly looking for quality learning material and resources to be made available to them. They appear to be naturally agentic in the way they approach their work life, hence representative organisations have an arguably willing audience at their disposal. With the ongoing promotion of the creative industries concept (Bridgstock & Cunningham, 2015; Flew & Cunningham, 2010), there is also great potential for the sector to work in a more unified way across all the sub-disciplines, given the creation of critical mass would potentially provide many more professional development opportunities.

For those in academia, this paper proposes there is much potential for ongoing research in the ways in which creative industries workers engage in professional development. Comparative research with workers in other regional centres and those in capital cities would yield new insights and areas for attention. Case studies that explore in detail the notion of human agency would also be very valuable. The findings of this study also have implications for those teaching in higher education, in terms of providing students with direct insights into the ways in which individuals manage their needs in the professional development space. In fact, tertiary institutions should arguably play a stronger leadership role, in terms of providing workshops for those in industry, or to establish opportunities for networking between business owners, students and local government leaders.

Conclusions

Typically, creative industries practitioners are passionate individuals who have worked for many years to develop skills suitable for ongoing employment. They are usually resourceful and shrewd, able to adapt and willing to change. These attributes are potentially critical in the current global marketplace, where competition is fierce and arguably increasing, given the growth in online providers for example. Maintaining an ongoing and disciplined programme of professional development is therefore critical for those seeking a career in the field. Further, for those based in regional areas where the opportunities for professional development are more limited, it is critical that they carefully manage a programme of individual career development, as well as utilise the networks that they have locally to continue to develop their knowledge and skill base. In addition, those based regionally need to work together as a sector in order that opportunities for professional development might either be created locally from expertise on the ground, or expertise brought in and subsidised through critical mass.

At the same time, there are also wider implications for those in industry, academic research and higher education. There is a significant need for industry to consider ways in which to further collaborate and work with creative industries practitioners in order to assist this important sector to increase their impact on the innovation economy. There are numerous opportunities for further research in relation to professional development in this area of the economy, while those in higher education need also consider how they assist the next generation of creative industries practitioners to enact human agency and agentic learning in their daily practice, in order that they are as well prepared as possible for a rewarding and sustainable career.

Footnotes

Declaration of Conflicting Interests

The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Funding

The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This work was supported by the Townsville City Council.

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