Survey Understanding Neurodiversity in the Creative Industries
Understanding Neurodiversity in the Creative Industries
Full Survey Report
Becki Morris, Trustee at AchieveAbility
For the full report please click onto the link below
b-morris-full-achieveability-survey-creative-industries [pdf]
AchieveAbility conducted a survey based on the Department of Digital, Culture, Media and Sport’s (DDCMS) definition of the Creative Industries and its subsectors in collaboration with EMBED between January and April 2025.
This report provides current themes from the survey data and with which there are comparisons made to other surveys and research including PEC Creatives, Bectu, City & Guilds; all point to the need for accountability and procedures to identify and support staff to call out toxic behaviour.
The impact of the pandemic led to difficulties in identifying risk for colleagues and support for audiences, primarily because of the lack of representation within the workforce.
There needs to be more emphasis on sub-sector responsibility and learning from each other. There is a shared view via The Big Idea within the theatre sector on the need for constructive collaboration through knowledge sharing and challenges to cultural leadership. But to support organisations through challenges such as cancel culture and access to funding, 29 cultural leaders have identified innovation as a key want. This is needed for all staff, but neurodivergent people, in particular with their key strengths of creative thinking and problem solving should have access to agency and support, including in workplace culture, to test innovative ideas, projects and working practice development. Inclusive leadership, true recognition and positive action towards culture change will accomplish this. At Universal Music, for example, there was a call within the music industry: “To flourish within the ever-changing industry is to create a team which truly reflects the incredible diversity of our artist roster and society. This includes (but is not limited to) the diversity of thought”.
However, there are specific challenges to neurodivergent people who responded to the survey. This calls for methods which create psychological safety and equitable, accountable action to meet the changing needs of all staff. This includes investment and collaborative practice to ensure good practice is accountable to legislation to attract new generations of creatives to the sector. Below are the summarised survey findings which asked: ‘What is it like working within the Creative Industries?’ The survey was conducted anonymously and in confidence to support the lived experience of people who are assessed or not assessed as neurodivergent and ends with key recommendations to be implemented from now on.
Respondents.
Respondents came from most sub-sectors apart from architecture and IT (including computer games). The highest responders came from museums and galleries (47.06%) and performing and visual arts (29.41% each).
Routes into the sectors included secondary school, technical and university education together with specialist schools, including drama conservatoires, apprenticeships, art colleges and schools which show the requirement of formal education to enter within sub-sectors.
Respondents became freelancers for several reasons, including burnout and other reasons such as traditional approaches to employment, i.e. acting and a mixture of permanent and freelance work. Respondent sectors had freelanced within the subsectors for over 10 years.
65.63% of respondents are managers (including supervising volunteers) besides paid staff, of which 28.13% had received training but 65.63% have not received training. Respondents within the comments shared how they research into best practice then take formal management training; other routes were through experience and learning within the role. In February 2025, DCMS updated the skills gaps and shortages in the creative industries. Employer perceptions and actions were key indicators of what subsectors within the Creative Industries required to perform the role. AchieveAbility survey findings are echoed by a recent Bectu survey which stated their respondents felt managers were promoted without the skills necessary to do this effectively.
This included:
• Specialist skills to perform within the role
• The ability to prioritise tasks
• Working skills
• Managing and Motivating staff
• Managing own feelings
Full Survey Report
Becki Morris, Trustee at AchieveAbility
For the full report please click onto the link below
b-morris-full-achieveability-survey-creative-industries [pdf]
AchieveAbility conducted a survey based on the Department of Digital, Culture, Media and Sport’s (DDCMS) definition of the Creative Industries and its subsectors in collaboration with EMBED between January and April 2025.
This report provides current themes from the survey data and with which there are comparisons made to other surveys and research including PEC Creatives, Bectu, City & Guilds; all point to the need for accountability and procedures to identify and support staff to call out toxic behaviour.
The impact of the pandemic led to difficulties in identifying risk for colleagues and support for audiences, primarily because of the lack of representation within the workforce.
There needs to be more emphasis on sub-sector responsibility and learning from each other. There is a shared view via The Big Idea within the theatre sector on the need for constructive collaboration through knowledge sharing and challenges to cultural leadership. But to support organisations through challenges such as cancel culture and access to funding, 29 cultural leaders have identified innovation as a key want. This is needed for all staff, but neurodivergent people, in particular with their key strengths of creative thinking and problem solving should have access to agency and support, including in workplace culture, to test innovative ideas, projects and working practice development. Inclusive leadership, true recognition and positive action towards culture change will accomplish this. At Universal Music, for example, there was a call within the music industry: “To flourish within the ever-changing industry is to create a team which truly reflects the incredible diversity of our artist roster and society. This includes (but is not limited to) the diversity of thought”.
However, there are specific challenges to neurodivergent people who responded to the survey. This calls for methods which create psychological safety and equitable, accountable action to meet the changing needs of all staff. This includes investment and collaborative practice to ensure good practice is accountable to legislation to attract new generations of creatives to the sector. Below are the summarised survey findings which asked: ‘What is it like working within the Creative Industries?’ The survey was conducted anonymously and in confidence to support the lived experience of people who are assessed or not assessed as neurodivergent and ends with key recommendations to be implemented from now on.
Respondents.
Respondents came from most sub-sectors apart from architecture and IT (including computer games). The highest responders came from museums and galleries (47.06%) and performing and visual arts (29.41% each).
Routes into the sectors included secondary school, technical and university education together with specialist schools, including drama conservatoires, apprenticeships, art colleges and schools which show the requirement of formal education to enter within sub-sectors.
Respondents became freelancers for several reasons, including burnout and other reasons such as traditional approaches to employment, i.e. acting and a mixture of permanent and freelance work. Respondent sectors had freelanced within the subsectors for over 10 years.
65.63% of respondents are managers (including supervising volunteers) besides paid staff, of which 28.13% had received training but 65.63% have not received training. Respondents within the comments shared how they research into best practice then take formal management training; other routes were through experience and learning within the role. In February 2025, DCMS updated the skills gaps and shortages in the creative industries. Employer perceptions and actions were key indicators of what subsectors within the Creative Industries required to perform the role. AchieveAbility survey findings are echoed by a recent Bectu survey which stated their respondents felt managers were promoted without the skills necessary to do this effectively.
This included:
• Specialist skills to perform within the role
• The ability to prioritise tasks
• Working skills
• Managing and Motivating staff
• Managing own feelings