So, you want to be commissioned by a museum or cultural org?
Notes from a programme producer
This article was originally posted on Substack. Follow and subscribe.
Back in June I ran a food writing course with Mallika Basu as part of my day job at the British Library. Whilst waiting for a guest speaker who fell victim to a train delay, she whisked me up front to talk briefly on getting work in cultural orgs. It made me realise that there isn’t much info out there for people looking to find their way in.
Perhaps you’re an artist wanting to run an art class in a gallery. Maybe you’re a craft tutor with a set of workshops ready to go. Or a specialist facilitator with a project for a community group you’re desperate to make happen.
Perhaps you haven’t thought about working in this kind of way with a cultural organisation before. I hope the ideas I’ll share in this piece will be useful to you.
If you’re a producer like me, I’d love to hear your tips, and if you’re a freelancer (also like me, yes I’ve crossed over!), please share your experiences in the comments too.
The first thing to know is that there are a few routes in. Some institutions put calls out to join their freelancer pool, some put out ads for specific freelance projects, and some directly search for specific people based on skill area or expertise. You are also welcome to drop the institution or individual worker (if you know who that is) an email introducing yourself. The best places to look for opportunities are the institution’s own website, or on sites like Leicester Museum Studies Jobs Desk.
If you’re approaching an institution or individual (like me) directly, these are my tips:-
Be your whole authentic self
The saying goes ‘fake it til you make it’ but save that for once you’ve got the gig. When I’m looking for someone, I want to know exactly who you are. I want you to embody your practice and your values. There’s only one of you in the world, and that’s your selling point.
Don’t shy away from big or difficult issues
One of the things that struck me about Mallika Basu was how she embedded discussions about inequality, climate change and capitalist systems into her work. She expertly uses robust data and lived experience to facilitate dialogue and critical thinking about the food industry. Her approach worked so well she turned it into a book, In Good Taste, which we now use as a teaching tool in the course.
Send the cold email, but manage your expectations
Not everyone likes a cold email; I really don’t mind them. But know that my to-do list is longer than War and Peace. I read and reply to every one, but it can take me a few months. I have a folder in my Outlook titled ‘offers’ and you’ll go in there till I can get to you. Once in a blue moon, a cold email will land just when I’m looking for someone for just that specific thing. It can happen! It’s always worth sending the cold email. You never know what might happen. But -
Keep it short, sweet and tailored
I love a life story but save it for our first face-to-face meeting rather than your intro email. Research the institution and be picky about who you pitch to. Connect your pitch to the institution’s collection/ exhibition/ event season. When you do that, it does a bit of the brain work for me, and I’m always grateful for that.
Social media is your shop window
But don’t stress about it. I want to see your practice and your passion. I’m not looking for influencers (in fact I actively avoid them…), or slick and polished content. I want to see exactly what I’m going to be getting. I want honesty (and no AI).
Know your worth but manage your expectations
Have your own bottom line in your mind before you get in touch, know your worth and stick to it. But know that most institutions are public bodies or charities, many have set fees for freelancers, and that budgets are tight and sometimes fixed. This doesn’t meant there isn’t room for negotiation. Always ask the question. Part of my job is to advocate for better pay and faster payments (I know it’s a pain, I can only apologise!). I recommend joining a freelancers union like Prospect, so we can collectively promote change.
Be flexible and open to change
If you get yourself a gig, be open to adapting what you’ve designed. As producers we’re thinking about a lot: accessibility, risk assessments, safeguarding, venues, staffing, marketing, materials cost, catering… the final product might be a bit different to what you pitched at the outset.
Stay in touch
So you got the gig with us, congrats! When it’s finished, stay in touch, there might be more work going. Did you learn a new skill or area of expertise? Tell me about it. Have you found a funding pot we can apply to together? I want to know. The more I work with someone the more collaborative our relationship becomes and the more we can do together. I want us both to succeed and flourish.
I’d love to hear your experiences (good and bad), whichever side of the commissioning process you’re on. I’m always happy to answer more questions too. Or hire me for consultation 😉
