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Unlike the work available in many creative disciplines, musicians and dancers have the possibility of full-time, company-based employment; however, participants far outweigh the number of available positions. As a result, many graduates become 'enforced entrepreneurs' as they shape their work to meet personal and professional needs. This paper first explores the career projections of 58 music and dance students who were surveyed in their first week of post-secondary study. It then contrasts these findings with the reality of graduate careers as reported by five of that cohort four years later. In contrast with the students' overwhelming focus on performance roles, the graduate cohort reported a prevalence of portfolio careers incorporating both creative and non-creative roles. The paper characterises the notion of a performing arts 'career' as a messy concept fraught with misunderstanding. Implications include the need to heighten students' career awareness and position intrinsic satisfaction as a valued career concept.

Many professional musicians would describe their careers as somewhat different to the careers they imagined when they were students. This study sought to understand the relationships between musicians' higher music education experiences and their professional work, and to expose the adaptive strategies they employ to sustain their work. The researchers amassed in-depth career narratives from eight musicians who were highly respected international performers. The musicians were also 'multi-professional' musicians in that they were recognised as highly proficient in multiple different roles. Narratives were analysed using selection, optimisation and compensation (SOC) theory. The results suggest that essential professional capabilities should be emphasised in the core curriculum of higher music education. A novel finding is that musicians who identify themselves as learners may be better able to create and sustain a career in music.

Performing arts courses within the university sector retain a necessarily strong practical focus as they prepare graduates for work within a highly competitive environment. However, the reality for graduates is a world in which performance is only one component of the myriad activities required to build a sustainable career. This article reports findings from two studies which investigated work patterns, education and professional development of practising and intending musicians and dance artists. Data gathered using a questionnaire, focus groups and interviews reveal disparity between undergraduate curricula, the career expectations of students and the realities of professional practice. Alignment between the results of the music and dance studies suggests the potential for the collaborative delivery of both initial and lifelong education. The findings are discussed within the context of protean careers, and the article advocates the potential for practising artist academics to engage students in career development and the formation of their professional identities.

Purpose The purpose of this paper is to examine the precarious nature of creative industries (CIs) work in Australia, Canada and the Netherlands, with a focus on job security, initial and on-going training and education, and access to benefits and protection. Design/methodology/approach The paper reports from a largely qualitative study featuring an in-depth survey answered by 752 creative workers in the three locations. Findings Survey data identified common themes including an increase in non-standard forms of employment and the persistence of precarious work across the career lifespan; criticism of initial education and training with particular reference to business skills; the need for and challenges of life-long professional learning; and lack of awareness about and access to benefits and protection. Respondents also reported multiple roles across and beyond the CIs. Practical implications The presence of common themes suggests avenues for future, targeted creative workforce research and signals the need for change and action by CIs educators, policy makers and representative organizations such as trade unions. Originality/value While precarious labour is common across the CIs and has attracted the attention of researchers worldwide, a lack of comparative studies has made it difficult to identify themes or issues that are common across multiple locations.

The economic, social and cultural contributions of the creative industries are essential elements of many societies and their governments' policies. However, there is growing evidence that precarity, competition and lack of regulation within these industries is exacerbating inequalities with respect to gender, race and class. With a focus on gender and sexual harassment among female workers, this study involved 32 in‐depth interviews with women working in the Netherlands' creative industries. Data were analyzed using content analysis. Findings suggest that sexual harassment is prevalent, and many women considered it to be part of their occupational culture and career advancement. Four factors influenced this phenomenon: competition for work; industry culture; gendered power relations; and the importance of informal networks. Implications include the need for a climate of non‐tolerance, sector‐specific research and guidelines, sensitivity training and further work with unions and professional associations to provide worker protection strategies traditionally undertaken by organizations. The article concludes that effective sexual harassment prevention requires action at the individual, educational, sectoral and governmental levels, beginning with public conversations to convey the message that sexual harassment is never acceptable.

For the majority of undergraduate classical music performance students, 'musotopia' is a place where performance ambitions are realised with an international performance career. However, given that so few musicians achieve this ambition, should this ideal be redefined? This paper investigates instrumental musicians' careers by exploring the realities of professional practice. A detailed study which incorporated interviews, focus groups and a lengthy survey, revealed the multiplicity of roles in which most musicians engage in order to sustain their careers. The findings call into question the concept of a musician as a performer, positing that a musician is rather someone who practises within the profession of music in one or more specialist fields. The diversity of roles pursued by practising musicians is not reflected in the majority of conservatorium curricula, thus the enormous potential for the transfer of music graduate skills into the broad cultural industries setting remains largely unrealised. Acceptance of, and preparation for, a more holistic career will enable many more graduates to find their own musotopia.