‘Don’t put us  in your boxes’

Learning from the first four years of the National Arts Learning Network

Widening Participation in Arts and Design Higher Education Founding members of NALN Camberwell College of Arts / College of Art and Design / Central School of Speech and Drama / Chelsea College of Art and Design / Cleveland College of Art and Design / Cumbria Institute of the Arts (now part of the University of Cumbria) / / Leeds College of Art / London College of Communication / London College of Fashion / Norwich University College of the Arts / College of Art / Ravensbourne College of Design and Communication / Rose Bruford College / / The Arts University College at Bournemouth / University College Falmouth (incorporating Dartington College of Arts) / University for the Creative Arts / Wimbledon College of Art

In memory of Sheila Soul-Gray, Director of the National Arts Learning Network 2005–2006.

In 2005, Sheila developed NALN, a network of specialist art, design and performing arts institutions across England, working to ensure that barriers were identified and removed for those entering the arts world, whether in education or employment. NALN was little more than six months old when Sheila fell ill and she died in 2006. Her vision and energy have fuelled its subsequent work. ‘Don’t put us  in your boxes’

Widening Participation in Arts and Design Higher Education

Learning from the first four years of  the National Arts Learning Network

Contents

Preface Grayson Perry, Patron of NALN 4

Introduction Mark Crawley, Director of NALN 5

What NALN set out to change 8

Progression at all Stages Getting in to HE 13 FE-HE Collaboration & Dialogue 16 Successful Progression: the Transition to HE 18

NALN’s Research: A Deeper Understanding 26

Informing and Influencing 30

A New Network for the Future 38

Challenges Remaining 39

References 40

Left _Light piece, Stephanie Garnett, University College Falmouth. 4 Widening Participation in Arts and Design HE

Preface

I have been very pleased to be a patron of the National I grew up not really knowing what a contemporary artist Arts Learning Network over the past three years. It was. I did not enter an art gallery until my mid teens. I did does important work in helping students from under- not equate my imaginary world with what I saw hanging represented groups into higher education in the arts and on the walls at the Tate. I was very lucky my art teacher hopefully into careers in the creative industries. who despite being appalled by my spoken grammar spotted my unconscious leaking on to the paper and I have been delighted to meet some of the students thought rightly that I would do well at art school. that NALN works with to discuss their work and to give them advice. I was particularly struck by the potential It is vital that arts institutions do carry on this work of shown by these students and the way in which NALN trying to be more inclusive and recognise artists and had worked with and supported them. Now that some of designers whatever their background. This is important the students NALN has worked with are graduating and not just for individuals but increasingly for our economy. making their journey into a career in the arts, I hope that this helps to diversify the creative workforce. I have been lucky I have been given the opportunity to pay back society for my education. Artistic talent is hard I hope that NALN has helped to open up art colleges to a to spot in young people but you can be damn sure that, wider variety of people. I once said that art colleges were two parents, a white skin, nice middle class manners and in danger of becoming posh white ghettoes. Perhaps, four A-levels are not very reliable indicators. thanks to organisations like NALN, that is changing. Grayson Perry Patron of NALN

Above _Grayson Perry, Patron of NALN. Right _Mark Crawley, Director of NALN. Introduction 5

Introduction

This report highlights the work and achievements of the And this is, to borrow a phrase, only the end of the National Arts Learning Network in its first 4 years. It beginning. The member colleges have agreed to continue also seeks to capture something of the spirit of NALN, the work of NALN through incorporating the network of the very real collaboration and partnership that has within ukadia (the United Kingdom Arts and Design developed between the member colleges as a result of Institutions Association). We find ourselves now in very the network. challenging times. I believe we have laid firm foundations that enable us to work together to meet those challenges. The title of this report, ‘Don’t put us in your boxes’, is I look forward to continuing to work with colleagues a message that the student speakers at our 2009 across the UK to help achieve our key goal of providing conference decided collectively that they wanted opportunities that change people’s lives. us to hear. It is an important message, reflecting the complexity of the widening participation agenda and the I have been lucky enough to have been Director of high level of sophistication that is required in effective NALN since 2007 and it has been an immensely responses to this agenda, in both policy and practice. enjoyable experience. The people working on and supporting the NALN agenda, in the member colleges One of only two national Lifelong Learning Networks, and the Secretariat team, are wonderfully creative and NALN sought both to build on past achievements in the committed people. I would like to say a huge thank you field of widening participation in arts higher education to all those who have contributed to NALN during its and to break new ground. first four years. I would also wish to record thanks, on behalf of the network, to University of the Arts London It has made significant progress. Amongst its key for hosting the network from the beginning and for the achievements are: foreseeable future and to Mike Bradshaw who stepped in > It has built a network of institutions that work to act as Associate Director before I was appointed. together in a spirit of cooperation and share good practice. I hope that you find this report useful and enjoyable and, > Its progression work has ensured that productive in particular, that it does convey some sense of the great partnerships have been built between FE and HE in collective spirit of NALN. order to widen access to students from widening participation backgrounds. Mark Crawley > It has established 250+ progression agreements Director of NALN which have enabled more than 1,800 learners to progress to our member colleges. > It has carried out major research projects which we are confident will have a positive impact on key widening participation issues for years to come. > It has held three influential conferences at which foremost researchers, academics and arts and WP practitioners have learned from each other. 6 Widening Participation in Arts and Design HE

‘For me the moment that sums up NALN is when Grayson Perry, who was visiting the second NALN conference, spent half an hour with one of the students from my institution talking about his work, aspirations, allowing the student to understand that you can come from complex and deprived backgrounds and still achieve great things in practice. The generosity that Grayson showed towards the student was a life changing moment for the student. He was so personally encouraged and empowered by the conversation.’ Professor John Last, Chair of NALN

‘Much has been said about the success of the UK creative industries. Too little is said of the role of arts and design institutions in providing the talent upon which this success is based. The capacity of arts and design colleges to admit students otherwise at the margins of traditional schooling has so often accessed the real talent’. Professor Stuart Bartholomew, Principal, Arts University College Bournemouth, Chair, ukadia

Above _Grayson Perry in conversation with students (NALN Conference 2008). Introduction 7 “…while more working class and black and minority ethnic students are now entering HE, the arts remain one of the least diverse disciplines” Aileen McEvoy, Arts Council England (NALN conference 2008)

What NALN set out to change What NALN set out to change 9

In its 2005 founding document, Its ambitious programme of work centred on the the National Arts Learning Network development of progression pathways for vocational students, curriculum development to support the wrote: students and research and project work to ensure ‘Visual arts is one of the least diverse disciplines, that there was a sound foundation for the widening a characteristic shared by the performing arts… the participation work of the network. benchmark for first degree participation by lower socio-economic groups within art and design is only 29%.’ This report presents the key achievements of NALN, the (NALN 2005, p. 6) lessons learned and the tasks remaining as it moves into its next phase. It follows NALN’s interventions at the NALN thus acknowledged earlier research findings, various stages of the learner journey from entry to HE, to that art colleges were perceived as the ‘preserve of the postgraduate study and building a creative career. privileged’ (Malik Okon 2005, p.6) and set itself the task of changing this. ‘If HEIs wish to widen their intake, they should target colleges. Not only do they provide for the majority of 16–19 There was and is much work going on in the area of year olds, despite the political obsession with sixth forms, widening participation in higher education in arts and they also contain much higher proportions of learners from design. NALN, as a Lifelong Learning Network, chose a the social and ethnic groups that are under-represented in particular focus – widening participation for those with HEIs.’ (Stanton 2008, p.16) vocational qualifications.

It did so because vocational students, particularly in FE colleges are far more likely to be working class or from black and minority ethnic groups. Black 16 year olds are under-represented in school sixth forms and significantly over-represented in FE colleges as are the lower socio- FE colleges: Our Key Partners economic groups. in Widening Participation > Black and Minority Ethnic students make up NALN recognised that while ‘the academic route is still 18% of learners in Colleges compared with regarded as the golden route, vocational students face 12% of the general population serious obstacles in gaining admission to and staying on at > 13% of 16 to 18-year-olds in Colleges are HE level.’ (NALN 2005, p.14) from a deprived background compared with 8% in maintained school sixth forms The ‘golden route’ seriously disadvantages those from > 68% of those in receipt of an Education lower socio-economic groups. While around 43 per cent Maintenance Allowance study in a College of 18 year olds from higher socio-economic backgrounds > 81% of English for Speakers of Other gain two or more A-levels, only 19 per cent of those from Languages (ESOL) students study at a lower socio-economic backgrounds do so. (‘The future College of higher education’, DES 2003, p.68) Research suggests (Association Of Colleges, 2009) that learners on vocational programmes are less likely to progress to higher education than those on an academic route. The Youth Cohort Study found that 51 per cent of those taking vocational level 3 qualifications go to higher education before the age of 20 compared with 84 percent of those taking A-levels. (National Audit Office, 2008, p.27) ‘I am coming from a background where many of my peers didn’t even NALN planned a programme of work which would: bother applying for university because ‘…widen participation through increasing the proportion of students with vocational qualifications in selective specialist they didn’t see the point, seeing it as further and higher education institutions in the visual and mainly white upper class’ performing arts and to equip them for life-long employment Dennis Brown, Student in the creative industries…’ (NALN 2005 , p.8) (NALN conference 2008)

Left _Students engage in NALN Graphics summer school– Central Saint Martins College of Art and Design. 10 Widening Participation in Arts and Design HE Andy Andy took part in Central Saint Martins College of Art and Design’s bridging scheme and progressed to the Foundation Degree (FdA) in Fine Art Skills and Practices.

‘It (the progression scheme) has helped me a lot as I didn’t know what to expect and the bridging scheme in the summer holidays gave me a taster. It was a nice glimpse into how the University worked and I thoroughly enjoyed it. We had mainly brief-led projects and got a sense of looking at other artists. It gave us background knowledge on University life and felt very supportive. It also re-skilled me in taking interviews and explaining my work – for that aspect alone it was thoroughly worth it.’ Case Studies 11

Anneka Anneka came to London College of Fashion through a progression agreement with her previous college, Kingston College, completing a BTEC in Fashion and Clothing. Through the progression scheme, Anneka applied to the FdA Fashion Design and Marketing at LCF and has continued to complete a top up year on the BA Fashion Design and Marketing.

Left _Andy and his work. Above _Anneka and her work. 12 Widening Participation in Arts and Design HE

Progression  at all Stages Progression at all Stages 13

Getting in to HE The NALN Model Progression Agreement set requirements for progression agreements and a Progression Agreements framework for good practice whilst also providing the NALN identified some of the main issues that were flexibility required by NALN colleges. These progression acting as obstacles for vocational students from agreements commit partners to agreed objectives and widening participation backgrounds: provide a range of activities and interventions that > The need for better advice from HE institutions, support vocational learners including: particularly on the key issues of the portfolio and > Information, Advice and Guidance (IAG) interview preparation > Portfolio/audition preparation > The need for a better match between the FE and > Clear communication with students around interviews HE curriculum and a closer partnership with FE, and offers particularly involving academic dialogue > Admissions interviews for students > The need for more intensive preparation for the > A managed relationship between FE and HE demands of HE particularly in the area of academic > Monitoring the profile of students participating in literacy progression agreements > The lack of parity of esteem and understanding of > A framework for quality and feedback (from FE staff vocational qualifications and students and HE staff)

Each full member institution employed a progression manager and NALN developed a model progression agreement which was used and adapted by institutions.

NALN’s 14 Progression managers have worked with many thousands of students across England. They have formalised 258 progression agreements with FE colleges and these have led to 1,845 vocational students progressing to our member colleges, many of whom would not have done so without NALN. Of these: 46% come from the most deprived areas 36% are from minority ethnic backgrounds

‘If it wasn’t for J (Progression manager) I wouldn’t go into university, if she didn’t make that agreement with my college…, she introduced us to artists, different types of career. I didn’t know they had so many careers… And it is kind of nice, and I think the workshop, on me it worked quite well, because I feel like I didn’t like school before… I just go into school and get my BTEC National Diploma, just to have something. But it is …good now. They say – OK, where are you studying now? And I am at Central Saint Martins.’ Katiana Teixeira, Student (NALN Conference 2008)

Above _‘No Pigeonhole’ summer school – London College of Fashion. 14 Widening Participation in Arts and Design HE

Progression managers have put in place an exciting range of programmes and events. These include: subject based Progression  workshops, taster sessions, portfolio advice sessions, visits to galleries and museums, HE awareness-raising within  evenings for students, parents/guardians, information sessions about grants, bursaries, accommodation, the Performing internal taster sessions, mentoring and buddy schemes and mock interviews. Arts The Central School of Speech and Drama (CSSD) led NALN was given an allocation of Additional Student a NALN-funded project focused on admissions at Numbers (ASNs). The work of progression managers institutions who are members of the Conference of was boosted by the fact that colleges could benefit Drama Schools (CDS), exploring widening participation from these extra numbers. NALN has received a total of and progression for vocational learners. This work has 1,150 ASNs over three academic years. NALN stipulated identified models of good practice around widening that these numbers should be tied to students entering participation in CDS drama schools. It has also member institutions through progression agreements, identified key areas that could form the basis of further who hold vocational qualifications, and/or who meet at work. NALN will be working with CSSD to explore these least one widening participation criterion. in its second phase.

A lack of information and advice often severely disadvantages vocational students. NALN delivered over 20,000 Information Advice and Guidance (IAG) actions, including one-to-one, group work, and paper and web-based information.

Left _Students at work at the NALN Fine Art summer school– Central Saint Martins College of Art and Design. Right top _Students from Central School of Speech and Drama at work. Right bottom _Student work from Hereford College of Arts Applied Art taster sessions. Progression at all Stages 15 Has the culture changed? ‘…there has been a general shift in people’s attitudes to NALN, that the golden route is not the only way in, and that people with a different profile bring different things, and at a senior manager level that requires a philosophical, cultural shift and that has happened…’ Danny Killick, Head of Academic Services, Central Saint Martins

‘I think that the culture in the college definitely has really changed. If you walk around the college this year it’s much more culturally diverse and it’s obvious. You know I think that’s partly down to the work that I do and others do in the college.’ Lucy McLeod, Progression Manager, Ravensbourne

Above _Student work from the ‘No Pigeonhole’ summer school – London College of Fashion. 16 Widening Participation in Arts and Design HE

FE-HE Collaboration and Dialogue

In their study ‘Progressing to NALN has prioritised strengthening links between higher education: vocational FE and HE in its progression work. It has encouraged member institutions to hold events at which academic qualifications and admissions’ participation would take centre stage with the aim of Helen Connor, Elaine Sinclair and increasing understanding of FE and HE curricula, delivery Nicole Banerji, said: and assessment styles and key admissions requirements such as the portfolio. ‘Another factor affecting the uneven distribution of vocational entrants can be the quality of links between individual FE and HE academic and admissions staff attended these HEIs and colleges. … previous research has highlighted events and better mutual understanding ensured that that there can be a lack of dialogue between staff about lasting links were made between FE and HE. For some the pre-HE and degree curriculum and also a lack of good HE staff, understanding the content and level of studies support to students during transition. This can lead to a poor being delivered in FE, led directly to changes in how such understanding of HE and the admissions process by some students were viewed at admissions. college students as well as a lack of knowledge of vocational Level 3 courses by HE staff.’ (Connor, Sinclair and Banerji 2006, p. 26) ‘The relationship has now been deepened between FE and HE staff with reciprocal visits being arranged for the HE staff to go into the FE colleges.’ NALN Progression Manager

Above and Right _The ‘Creative Connections’ web-based curriculum resource. Progression at all Stages 17

Comments from Norwich University College of the Arts Creative Connections showed how valuable these events are: One of NALN’s projects developed Creative Connections ‘The staff teams discussed key areas including curriculum – a web-based curriculum resource aimed at students matching, parity of assessment and opportunities for joint and staff in Further Education. It has a range of CPD including possible work shadowing for staff at all levels. resources covering areas such as ‘Thinking and Working …Another session focussed on establishing progression Creatively’, ‘Creativity in Context’, ‘Preparing Yourself for frameworks and planning on a course to course basis. Course Business’ and ‘Understanding Plagiarism’. This will be leaders drafted activity calendars targeted at the relevant developed further during the next phase of NALN. View FE learners.’ the resource at www.fe-art.co.uk

‘The hands on, “conference style” approach to creating Connor and Sinclair updated their original research in progression accords adopted by Cambridge Regional College 2008 and recommended that: and Norwich University College of the Arts has been a huge ‘The good practice initiated by LLNs and Aimhigher success and is already having a strong impact. By 2010 the partnerships on dialogue between further education (FE) number of accords will have doubled and the number of and HE courses is built on and expanded to include a wider guaranteed places will have risen to well over a hundred’. range and quantity of courses…’ (Connor and Sinclair 2008, p. 5)

NALN is committed to continuing this vital process. 18 Widening Participation in Arts and Design HE

Successful Progression – Research commissioned by NALN has shown how the Transition to HE effective this course is: ‘NALN’s Prep for HE course addresses specific challenges NALN has not only worked to non-traditional students have been reported to face in change and improve progression progressing from FE to HE. Its primary strength lies in the development of literacy skills. In retaining a high level of opportunities but to ensure that discourse and inviting students to make personal connections students stay on and achieve in in the course of critical analysis, tutors (continue to) respond higher education. to the needs of their students and the realities of art college. This not only boosts student confidence (particularly at A Bridging/Preparation for HE course has been the interview stage), but forms a significant element of the developed and piloted first at Central Saint Martins independent learning and thinking skills fostered by the College of Art and Design (CSM) and later at Hereford course that help to ease the transition to HE.’ College of Arts (HCA). It recruits students from widening (Candela 2009, p.34). participation backgrounds studying the BTEC National Diploma at FE colleges. The curriculum has been At Hereford College of Arts, 100% of students specifically aimed at areas identified as obstacles to completed the programme, applied to HE and were successful progression, such as ‘writing development’, offered places on BA courses. CSM has a larger intake for ‘critical thinking’ and ‘portfolio and interview the course and in 2008/09, of those who did the course preparation’. Relationships with Further Education staff and applied to HE, 69% were offered places. help to inform the way in which the course is run. The course not only encourages students to apply It is intensive and includes a week-long programme ‘I didn’t think about doing my BA until just before the of studio work focusing on drawing, printmaking and bridging course, that’s why I went on the bridging course. painting as well as research and art-college-specific To make my final decision.’ (Eliza, HCA cited in Candela literacy skills. There are weekly half-day sessions 2009, p. 13) but it develops the skills and confidence that which prepare students for interviews and eventual they need to continue their studies successfully. Literacy progression to HE. Almost 100 students undertook this skills are a particular focus: programme across several subject areas at Central Saint Martins in 2008. ‘The discourse of art has its own lexicon, sometimes criticised as jargon-esque and indecipherable. Nevertheless, ‘art language’ persists, and does so with particular vigour in art college. As one staff member noted, if students do not appear conversant in this language, they might be seen “as vulnerable or in deficit of either creativity or intelligence” by admissions teams.’ (Candela 2009, p. 14).

Above and opposite _Students at work at the NALN summer schools run by Central Saint Martins College of Art and Design. Progression at all Stages 19

At Central Saint Martins continuing support was put ‘I’m a working class man from the in place, to ensure that students from the Preparation north. I don’t speak in this sort of course continued to get encouragement and help once terminology and when I do use it I feel on degree courses. This has had great success in improving retention rates with, for example, 100% like a charlatan. I don’t know whether retention of former Preparation to HE course students I’m using it in the right context, so then on Central Saint Martins Fine Art courses between that element of doubt comes in… At 2007 and 2009. the moment I think I’m between two The greater diversity of the student body that is brought stools. I’m sort of trying to attain the about by NALN initiatives like this also has its effect on knowledge to speak knowledgeably the institutions: about Art and different Art movements, ‘…the wider impact of the course within the college has but still dragged back by that little been, as one staff member noted, to promote an attitude of “let’s look at ourselves as an institution”. Staff are exposed chip on the shoulder of, “What are you to a cohort more diverse in previous educational experience doing here? You know you could be and socio-economic background than students entering seen as a fraud. This isn’t really you’. through the “traditional” route to HE…A benefit of much (Nick, a mature student, cited in work conducted under the widening participation remit, such Hudson 2009, p.46) as NALN’s projects, is that it often pioneers developments that are useful much more broadly, and the Prep course is no exception.’ (Candela 2009, p.35).

NALN hopes that the proven effectiveness of the Preparation for HE courses will ensure that they are taken up by more institutions.

‘I think the colleges have learnt that they have to learn and I think they’ve learnt that it's not all about what the student isn’t bringing with them, it’s about adapting to different students coming in, not about the deficits of the student coming in. If the students are not thriving here we have to look at our own practices and say why they aren’t thriving.’ Janey Hagger, Progression Manager, Central Saint Martins College of Art and Design

Mentoring A pilot mentoring project was run at the Arts University College at Bournemouth and Plymouth College of Art, as part of NALN’s Student Support project. Both face-to-face mentoring of National Diploma students and e-mentoring of adult students proved to be highly successful with noticeable impact on both retention and progression rates. 20 Widening Participation in Arts and Design HE

Progression: Progression: The Diploma and apprenticeships Foundation degrees

NALN welcomed and has participated in the NALN recognises the importance of foundation development of the Diploma in Creative and Media. degrees in facilitating the progression of vocational learners. NALN has provided guidance and support to those working in this area as well as consultation with the Over the first four years of NALN, 24 new foundation Sector Skills Councils in the earlier development stages. degrees have been developed in NALN institutions. In Many of the NALN partner institutions have been addition to this many previously existing foundation involved in consortia planning for and delivering the degrees have been modified in order to provide further Diploma. support to the progression of students from widening participation backgrounds. We continue to work to develop progression opportunities for Creative and Cultural Apprentices, NALN has continued to work to broaden the working with other Lifelong Learning Networks and opportunities for foundation degree students. One of the Sector Skills Councils, mapping HE progression NALN’s projects has mapped FdA provision onto Top Up opportunities, with a view to offering support to students provision across NALN institutions to support mobility on apprenticeships wishing to progress to HE. and offer a range of pathways to students studying at NALN colleges.

NALN has also researched the issue of Bridging from foundation degrees to the third year of an Honours degree. This found that bridging has an important part to play in easing the transition. It found considerable variations in the content of bridging courses and students’ perception of how well they were prepared for the transition to the third year of an Honours degree, particularly in the area of academic writing. (Aronstam, 2009)

Above _Students at work at the NALN Fine Art summer school– Central Saint Martins College of Art and Design. IntroductionCase Studies 21

Frances Coming from a traveller community, Frances received little formal education. After enrolling on the Intermediate GNVQ Art and Design at Hereford College of Arts, a key skills analysis identified the need for the teaching of basic reading and writing skills. She was also diagnosed as dyslexic. On reflection Frances can identify the three main barriers she had to overcome to enable further progression; > The need to raise her literacy levels > The alienating feeling of being an ‘outcast’ > The perceived attitude of the educational system She progressed through the National Diploma onto to the FdA and the BA top up in Fine Art with help from support staff at Herford. It is Frances’ belief that keeping the same support staff throughout her time was one of the most important factors as they worked closely together to help her verbalise her problems.

Above _Frances and her work. 22 Widening Participation in Arts and Design HE

Stacey Stacey benefited from an internal progression agreement which supported her in moving on from the National Diploma in Fashion to the Degree course at Leeds College of Art. She attended an open day at Leeds College of Art before making a successful application to the National Diploma in Fashion, Clothing and Textiles.

At the end of her first year Stacey discovered that she was pregnant. At times Stacey found combining life as a young mother with full time study difficult, saying it was as if she was leading two totally separate lives. ‘My situation changed and I thought that doing a BA would be the best plan …the better I do for myself the better I do for him’. She planned to set up her own enterprise after graduating. Case Studies 23

Joel  and  Daniel Both Joel and Daniel are from London and met at Barnet College where they undertook a BTEC National Diploma in Art and Design. They progressed on to BA Product Design at Central Saint Martins College of Art and Design.

Left _Stacey and her work. Above _Joel and Daniel, Daniel’s work. 24 Widening Participation in Arts and Design HE

Joanne Joanne progressed from the Foundation Degree (FdA) in Applied Arts and completed her degree with a top up year on the BA (Hons) Applied Arts in Enterprise Programme. Case Studies 25

Cullen Cullen spent three years at Leeds Thomas Danby, where he progressed from the BTEC First Diploma in Art to the National Diploma in Fine Art. He went on to complete his BA Fine Art degree at Leeds College of Art.

Left _Mums Medal, Joanne. Above _Completely made up stories, Cullen. 26 Widening Participation in Arts and Design HE

NALN’s Research: a Deeper Under- standing NALN’s Research _A Deeper Understanding 27

Underpinning its work to  improve progression at each  stage of the learner journey,  NALN commissioned major pieces of research. Two of these research reports focus on issues relevant to progression to undergraduate courses.

Admissions

Art for a Few: Exclusion and Misrecognition in Art and Design Higher Education Admissions by Professor Penny Jane Burke and Jackie McManus (2009). The authors make a series of recommendations for the sector. The network will be undertaking a major project in NALN commissioned this research in order to give the response to these recommendations, to develop guidance sector a better understanding of what processes were to ensure greater fairness in admissions practices, taking place that were resulting in continuing under- building on effective practice within the network and representation of students from widening participation elsewhere. backgrounds.

As the authors say: Experiences on Course ‘The focus of the research was on art and design admissions practices in the context of widening participation policy, In Art from the Heart: The perceptions of students from addressing national and institutional concerns to create widening participation backgrounds of progression to and inclusive, equitable and anti-discriminatory practices in art through HE Art and Design, Caroline Hudson (2009), and design admissions.’ (p. 6) follows 48 students from widening participation backgrounds as they progressed to HE and through the The research was carried out in five art and design the first two years of their HE study. institutions and included observations of seventy admissions interviews. In a series of case studies and in-depth interviews she focuses on the experiences and voices of these students Their findings raise significant and challenging issues for and how they found the transition to Higher Education. the HE arts sector: ‘This report argues that admissions practices are tied up Hudson points out that: with complex operations of exclusion, which privilege the ‘The very varied life experience of students from widening habitus, subjectivities and cultural and linguistic capital of participation backgrounds can increase the diversity of “traditional” students, who tend to come from white, middle- artistic practice across HE Art and Design as a whole.’ class backgrounds. Although admissions systems are designed (p.14) to be “fair” and “transparent”, the lack of attention to complex sets of inequalities, differences and mis/recognitions, we The report particularly finds that: argue, undermines the project of widening participation to art ‘The majority of these students found the literacy demands and design courses in higher education.’ (p. 46) of Art and Design a major challenge and talked a great deal about them, particularly in the first year.’ (p.15) ‘Making admissions practices clear and transparent does not render them “fair’” if they continue to discriminate Hudson argues that ‘there is a strong case for further against certain class, ethnic and gender groups’. development of institutional support for literacy in HE (Burke and McManus 2009, p. 13) Art and Design, on a significant scale…’ (p.18) 28 Widening Participation in Arts and Design HE

Later Stages: Postgraduate Study and Careers

There has been very little research on widening participation in arts education at postgraduate level.

NALN commissioned the Institute for Employment Studies to carry out a research study and make recommendations. The research report, Mapping Provision and Participation in Postgraduate Creative Arts and Design by Emma Pollard, Helen Connor and Wil Progression to a Career Hunt (2008) provides an analysis of the provision of Creative Careers and Non-Traditional Trajectories, by postgraduate study in creative arts and design subjects Dr Stephanie Taylor and Professor Karen Littleton of across the UK, and participation in such study by the (2008), is a qualitative study learners from different backgrounds. It provides a rich investigating participants’ experience of work and source of information for the arts sector about this study pathways in Art and Design and perceptions of important area. postgraduate level study. 46 participants from non- traditional pathways were interviewed. It found that: > Creative, Art and Design (CAD) students are more The research shows that: likely to be younger, male, from the white ethnic > Postgraduate study provides opportunities for those group and have a poorer representation of black and beginning a creative career to develop their own work minority ethnic students than the overall postgraduate and direction and to establish links with networks of population artists and designers > There are no reliable statistics available on the socio- > Many participants had experienced a ‘crazy paving’ economic status of postgraduate students educational path through a number of qualifications at > Older students and black and minority ethnic students different colleges and HEIs, often receiving little useful are much more likely to study part-time. A sizable careers guidance at school minority of postgraduate students is over 50 years > Some black and minority ethnic students felt old. But there is less part-time provision in the arts disadvantaged by the absence of role models in art than in postgraduate study overall and design institutions > On career destinations they found that there is less > At the outset of their creative careers, and sometimes stability for postgraduates with greater prevalence of for years after, many people lead a ‘double life’ in part-time, freelance work, short term contracts, self which they subsidise their creative work with earnings employment or temporary work from another job

Above _work from a series of letterpressed notebooks. NALN’s Research _A Deeper Understanding 29

Amongst the points arising from these two pieces of Enterprise research for further consideration by NALN: NALN’s Continuing Professional Development project > The need for more efforts to attract a greater has identified some of the issues facing graduates trying diversity of postgraduate students, particularly black to forge a career in the creative industries. It describes and minority ethnic students who are also under- the sector as dominated by a few large companies represented in the arts academic community and many thousands of small and medium enterprises > A more diverse postgraduate course-offering would and freelancers. Entry often relies on the graduates probably attract a broader range of students; part- supporting themselves on low or no pay. This situation time and short courses are valuable for upgrading acts particularly to disadvantage those from widening skills and maintaining links with the creative sector participation backgrounds. and may be a necessary response to the situation where undergraduate students finish full-time study One of the solutions it proposes in its final report, with large debts Tackling exclusion in the creative industries: an enterprise > The urgent need to monitor the socio-economic led approach, Lance Dann, Nick Ware, Karen Cass status of postgraduate students so that necessary (2009), is for collaboration between HEIs and other action on under-representation can be identified agencies to set up Enterprise Pods for graduates in which > The need for more follow up studies on career they are encouraged and supported to collaborate to destination create sustainable business ideas. 30 Widening Participation in Arts and Design HE

Informing and  Influencing

Above _Sharon Laurent speaking at the NALN Conference 2009. Informing and Influencing 31

The annual  NALN conference NALN has organised three successful annual conferences around the theme of Widening Participation in Arts HE, which have become an integral part of the arts HE calendar, and have attracted around 200 delegates  a year.

Dynamic and innovative speakers have tackled issues such as cultural capital, race and class. The academic focus on issues of educational disadvantage, sharing student speakers’ perspectives and providing a voice for FE, has greatly influenced NALN members’ thinking on widening participation and vocational progression issues. This has played a key role in promoting institutional change, both amongst NALN member institutions and across the HE and arts sectors.

Speakers have included: > Leading academic researchers in the field of widening participation, social justice and equalities - Professor Penny Jane Burke, Professor David Gillborn and Dr Orlando Taylor > Experts on cultural theory and related sociological issues – Professor Tony Bennett > Researchers on vocational progression – Helen Connor and Elaine Sinclair > Academics who bring an international perspective on social inclusion – Professor Michael Nakkula from Harvard University, Suzanne Lacy from Otis College of Art and Design (also a renowned artist) > Speakers from UK initiatives tackling issues of disadvantage through the arts – the Stephen Lawrence Centre and the Sorrell Foundation > Professionals discussing widening participation issues from the FE perspective – Sharon Laurent formerly of Hackney Community College > Key figures from the arts world – Grayson Perry, Kwame Kwei-Armah, Arts Council England 32 Widening Participation in Arts and Design HE

At the 2009 conference, Professor Tony Bennett  (co-author of ‘Culture, Class, Distinction’, 2008) summarised the findings of a major inquiry into Cultural Capital and Social Exclusion. He emphasised the increasing inequality in possession of cultural capital amongst those of different social classes and the correlation between possession of privileged forms of cultural capital (‘high culture’) and success in the education system.

“…gaining a place in a higher education institution is the realisation of an aspiration, an achievement which has meant a heroic transformation of self-belief and the overcoming of tremendous psychological and emotional hardship Sharon Laurent, speaking about her experiences” as a Course Tutor at Hackney Community College (2009 conference)

“The struggle against racism is an inclusive movement’…The “I learn as much from the young starting point for all of this work people I work with as they do was the murder of a young black from me, and I enter it with a kind man, but the finishing point will of curiosity about their lives and result in changing communities. how they see things Suzanne Karen Woodley, Chief Executive of ” Lacy Writer, academic and” artist (2008 The Stephen Lawrence Trust (2008 conference) conference) Informing and Influencing 33

“We… need to start broadening our experiences of new and emerging cultures in our society, be they racial, gender based… or else we are creating the next generation of artists as little mini-me’s – maintaining “discussions of full inclusion in the status quo, not really challenging the assumption of higher education are empty white male middle class hegemony.” Kwame Kwei-Armah, without considerations of faculty Actor, Playwright (2008 conference) diversity… a diverse faculty and a diverse student body will help to enrich and inform our disciplines. Dr Orlando Taylor, Howard University:” Inaugural Sheila Soul-Gray Memorial Lecture (2008 conference)

“A rich and varied programme of excellent speakers, performers, bringing a combination of issues which were challenging and intense. delegate feedback ”

“The headlines talk about white boys, but we can see that race inequality affects both genders within most of the main minority ethnic groups… an exclusive focus on students who live in poverty has the effect of erasing wider race inequalities. This is true of official statistics, and it’s true of academic research. We still minoritise students and those of us who call for anti-racist change find ourselves positioned as the villains in an educational competition where white kids are now cast as the victims. Professor David Gillborn, Professor of Critical Race Studies in Education,” Institute of Education (2009 conference)

Above _Images from across NALN’s three annual conferences. 34 Widening Participation in Arts and Design HE

‘I enjoyed the whole experience, I learnt so much about myself’ Student feedback

Student Voice Students who have benefited  from NALN progression agreements have always played a key role at NALN conferences, allowing them the opportunity to convey, in person, how their own stories have developed. They have also participated in workshops and exhibited pieces at these annual events.

‘…as a result of speaking here last year, I have actually been made a fellow of the LCC, because one of my primary goals was actually to eventually start teaching as an alumni and actually trying to reach… up and coming students, who are from an ethnic minority background.’ Dennis Brown, London College of Communication (2008 conference)

‘I didn’t really want to go to university because I thought I was not kind of good enough or clever enough…I knew I had this feeling that I could never leave my art…I am (now) a student ambassador at Central Saint Martins, I can try to help people.. by telling people what to expect.’ Katiana Teixeira, student (2008 conference )

‘…coming from a strict Asian background it was quite difficult for me to study fashion in university…. They (my parents) were telling me –what will fashion get you in life? But my dad is actually a tailor, so whenever we used to argue I always used to back the argument up with saying –you are in fashion.’ Rhipa Jahan, student (2008 conference)

Clockwise from bottom _NALN’s 2009 student speakers with Jennifer Gunstone and Dan Chilcott of Widening Communication; Katiana Teixeira; Dennis Brown; Rhipa Jahan. Informing and Influencing 35

One of our major initiatives was to make films with four students and show these films at the 2009 Conference, where the students also spoke. The films are available to view on the NALN website at www.naln.ac.uk.

The students were:

Maria Luke Maria was in her second year of the foundation degree Luke was a second year BA (Hons) Stage Management in Broadcast Operations and Production at Ravensbourne student at Rose Bruford College. He previously studied College of Design and Communication. She progressed at Brunts School in Mansfield, which Rose Bruford have from the BTEC National Diploma in Media at Lewisham a long standing relationship with. Luke also works as a College, having attended a Taster Day and follow-up student ambassador for Rose Bruford College. Luke has tour of Ravensbourne's broadcasting studios. As well as ambitions to work in a variety of theatres and events studying, Maria held down four part-time jobs, including companies and in particular on the Olympics. working as a Student Ambassador at Ravensbourne, and as a volunteer at Choice FM. She planned to start up her own Events Management business. The film-makers Dan Chilcott and Jennifer Gunstone from Widening Communications Joanne (www.wideningcommunication.co.uk) took a very Joanne was on a top-up year for the BA (Hons) Applied inclusive approach to creating the student films. Arts in Enterprise programme at Cleveland College of Art and Design, having graduated from the Foundation ‘It was a pleasure to produce the autobiographical student degree in Applied Arts in 2008. Joanne left school films for the NALN conference 2009. The NALN team with one GCSE grade C in Art, as her dyslexia was not understood immediately that stepping out of the realms diagnosed until later on. Joanne completed a BTEC of traditional documentary film making and embracing National Diploma in Theatre Crafts, but it was several a more participative approach would result in honest, years before she eventually decided to progress to higher diverse and authentic content. The collaboration was education, having started up her own business, ‘Idle empowering for us as filmmakers and the students as co- Hands’, married and started a family. creators and directors. We conducted thorough research interviews with each student which enabled them to Cullen explore and articulate the stories they wanted to tell and Cullen was in his third year of the BA Fine Art degree develop visual language they wanted to use to tell them. at Leeds College of Art. Cullen works across a variety of We feel lucky to have worked with four very different media including painting, installation and performance. students, and have continued working relationships with He contributed and sold work at The Northern Art Show all of them; they all demonstrated huge understanding and has completed a summer residency at Battersea Arts of themselves and the field they were studying in, Centre. Upon graduating, he planned to work full time determination and maturity. as an artist before studying an MA. Cullen progressed to Leeds College of Art via a BTEC National Diploma in It would have been easy for NALN to have viewed this Fine Art from Leeds Thomas Danby, having left school exercise as a tick box student element in their conference, with no qualifications and worked in a call centre instead they choose a meaningful approach which fully for four years. Leeds College of Art have formalised engaged the students, and importantly gave their voice progression links with the National Diploma course at and perspective validity to the continuing debate around Leeds Thomas Danby (now part of Leeds City College). increasing access to creative higher education.’ 36 Widening Participation in Arts and Design HE

As NALN moves into its next phase, merging with ukadia, the annual conference will continue to be a regular activity in order to share research and practice particularly around themes of widening participation and issues important to specialist art colleges. Informing and Influencing 37

Sharing Achievements The Future of the craft of making

NALN has developed its website to become a source of In 2008, the National Arts Learning ideas, inspiration and information and offers a springboard Network (NALN) collaborated with to other mini-websites developed by projects in areas of curriculum and student support. It contains research the Council for Higher Education documents, project reports and material developed in Art and Design (CHEAD) and the around the curriculum, guidance on progression and Crafts Council to hold a one-day news from the sector. It has recently been redesigned seminar, ‘Materials and Processes: and has received 2,438 hits in its first six months of going live. Its most popular area is the projects section and the The Future of the Craft of Making’, life stories and work of students has also proved a big at the British Library in London. attraction. Explore the website at: www.naln.ac.uk Speakers included Paul Coyle, Executive Dean at the University College Falmouth developed a student University of the Creative Arts (UCA), Rosy Greenlees, life website as a result of initial research that showed Executive Director of the Crafts Council, who outlined the overwhelming question that prospective students the, Craft Blueprint, an action plan for developing the wanted answers to was ‘what really happens?’ and the craft workforce across the UK, and Ian Farren, Head of the need for a web site that ‘told the truth’ and was seen School of Art and Design at the University of Cumbria. to be ‘authentic’ presenting an ‘unscripted’ student voice. The portal enables students to explore, NALN’s project on Minority Specialist subjects, led by question and communicate with staff and peers, and the University of Cumbria, began as an examination to interrogate case studies. View the website at: of the reasons for the decline of some craft subject www.artanddesignstudentlife.org areas and the need to find strategies to ensure their survival and growth. Recruitment at FE and HE level is problematic across a number of subjects, potentially causing the permanent loss of traditional skills within specific creative industries.

The project has subsequently broadened to look at some of the ideological questions surrounding the crafts, society and sustainability. The Plymouth College of Art-led project ‘Ideological Constructs – Past Visions/ Future Possibilities: Evaluating the Minority Specialist Subjects in the Context of Emerging Global Sustainability and Environmental Agendas’ is looking at how the discussion about applied arts can be linked to the wider questions of sustainable production, environmental issues and well-being. View the website at: www.crafts-and-sustainability.plymouthart.ac.uk

Left _ Child of Zion perform at NALN’s 2009 conference. Above left _Light piece, Stephanie Garnett.University College Falmouth. Right _‘Making it’ workshops. 38 Widening Participation in Arts and Design HE

A New

‘The endeavour to widen participation Network in arts education is one that will continue and the merger of NALN with the ukadia group of specialist art for and design institutions will ensure the sustainability of this crucial initiative.’ the Professor Stuart Bartholomew, Principal, Arts University College Bournemouth, Chair, ukadia Future A New Network for the Future / Challenges Remaining 39 Challenges  Remaining NALN has made progress in its first phase but much remains to be done to meet the challenges of progression and widening participation in arts and design “I think that actually what NALN higher education. It will need to: has done is put in a really strong infrastructure that turns collaboration > Continue to work on building and strengthening progression agreements for vocational students and partnership into something > Build on the research findings on progression in the that is very real…In agreeing a performing arts continuation of NALN, with colleges > Develop further FE-HE dialogue events to support putting up some of their own money, curriculum alignment > Improve information, advice and guidance in art and we are showing that there is a design huge acceptance of the value of > Respond to the strong emphasis research has placed the project.” Edmund Wigan, Former on improved academic literacy support for students Principal Leeds College of Art both pre- and post-entry > Respond to the research findings on inequalities in admissions practices > Look at expanding provision of the Preparation to HE courses that NALN has developed NALN moves into its second > Strengthen institutions’ ability to monitor the diversity phase with many strengths and a (particularly socio-economic status) of its students and applicants including those at postgraduate level clear sense of what must be done > Develop methods of diversifying the profile of to ensure that art and design postgraduate students. HE becomes more diverse and representative. Its members have agreed to continue the network beyond its funded phase, to ensure that this understanding can continue to be translated into action. In agreeing this, senior managers of NALN’s member institutions showed the value they placed on the network.

As Professor John Last (Principal of Norwich University College of the Arts and Chair of NALN in 2009) has said: ‘We’ve managed to foreground existing good practice and by sharing that bring it in to other institutions so we have had a mutual learning. The sum of the parts is more than any individual component.’

2010 will see NALN incorporated within the UK Arts and Design Institutions’ Association (ukadia), a sub- association of GuildHE. The new organisation will be launched at the annual conference in February 2010. References Aronstam, D., 2009, Bridging from FdA onto Honours degrees: A Report on Students’ Perceptions, NALN, London. Association of Colleges, 2009, College Key Facts, AOC, London. Burke, P.J., and McManus, J., 2009, Art for a Few: Exclusion and Misrecognition in Art and Design Higher Education Admissions, NALN, London. Candela, E. 2009, Blurring the Boundaries: A Report on the NALN Preparation for HE Course, NALN, London. Connor, E., Sinclair, E., and Banerji, N., 2006, Progressing to higher education: vocational qualifications and admissions, Action on Access, Ormskirk Connor, E. and Sinclair, E., 2008, University Admissions & Vocational Qualifications: Two Years On, Action on Access, Ormskirk. Dann, L., Ware, N., and Cass, K., 2009, Tackling exclusion in the creative industries: an enterprise led approach, NALN, London. Department for Education & Skills, 2003, The future of higher education, DfES, London. Hudson, C., 2009, Art from the Heart: the perceptions of students from widening participation backgrounds of progression to and through HE Art and Design, NALN, London. NALN, 2005, National Arts Learning Network, A HEFCE-funded life-long learning network, NALN, London. National Audit Office, 2008, Widening participation in higher education, National Audit Office, London. Malik Okon, R, 2005, Participation of Black and Minority Ethnic Students in Higher Education Art and Design Literature Review, Arts Council England, London. Pollard, E., Connor, H., and Hunt, W., 2008, Mapping Provision and Participation in Postgraduate Creative Arts and Design, NALN, London. Stanton, G., 2008. ‘Access to higher education in England: its position within the wider educational ecology’ in Copland, G., Sachdev, D., and Flint, C., (eds) Unfinished business in widening participation: the end of the beginning Learning and Skills Network, London. Taylor, S., and Littleton, K., 2008, Creative Careers and Non-Traditional Trajectories, NALN, London.

Photo Credits Tim Adams: p.24. Lucy Alexander/ Central Saint Martins staff and tutors: p.10, 21, 23. BTEC ND students taking part in the ‘No Pigeonhole’ summer school: p.12, 13, 15. Stephanie Garnett BA (Hons) Contemporary Crafts 2008: p.2, p.37 (left). Sarah Green: p.22. Alan Harrold, HE Tutor in Media Arts at Hereford College of Arts: p.16 & p.17. Tom Reynolds 2nd Yr FdA Photography Student, Hereford College of Arts: p.21. Cullen Six: p.25. Turnbull Grey: p.26,28,38. Alys Tomlinson: p.6,7,8,14, (left) 18, 19, 20,30,31,32,33,34,36. Helen Vine: p14 (right bottom).

Design _Turnbull Grey www.turnbullgrey.co.uk Published by the National Arts and Learning Network, 2010 www.naln.ac.uk