Enhancing Lifelong Learning and Work Transitions in the Fine and Performing Arts
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Provincially Initiated Curriculum Project 1487 Enhancing Lifelong Learning and Work Transitions in the Fine and Performing Arts Prepared by Deborah Shackleton, Associate Professor Emily Carr Institute of Art and Design for the Province of British Columbia Ministry of Advanced Education and the Centre of Curriculum, Transfer and Technology © July 2002 Steering Committee Laurie Baggio, Chief Executive Officer, Helikon Technologies Inc. Lori Baxter, Executive Director, The Alliance for Arts and Culture Mike Culverwell, Art Department, Malaspina University College Dr. Kit Grauer, Art Education, Department of Curriculum Studies, The University of British Columbia Doug Jennings, Senior Consultant, Performance & Knowledge Management, IBM Global Services Lynn Jest, Director, Continuing Education Division, Capilano College Wendy Magahy, Joan Mason and Lynn Pipes, Curriculum Development, Centre for Curriculum, Transfer & Technology Dr. Graham Rodwell, Dean, Humanities and Social Sciences, Douglas College Deborah Shackleton, Associate Professor, Institute Special Project Research Manager, Emily Carr Institute of Art & Design (ECIAD) Dr. Richard Smith, Associate Director of Communication, Centre for Policy Research on Science & Technology, Simon Fraser University Chuck V. Spong, Instructor, Operations Management, Business Programs, British Columbia Institute of Technology Donna Woo, Education Officer, Ministry of Advanced, Education, Training and Technology (now Advanced Education) Research Team Deborah Shackleton, Associate Professor, ECIAD Sheila Hall, Prior Learning Assessment Coordinator and faculty member, ECIAD Dawn Whitworth, Career and Co-op Coordinator, ECIAD Jackie Blackmore, BFA, Research Associate Debra Dyer, BFA, Research Associate Lesa Moriarity BFA, Research Associate Barbara Richard, BA, Research Associate Kathleen Rimmer BFA, Research Associate Jan Smart, BFA and, Research Associates Acknowledgements Questionnaire Design: Lynn Jest, Director, Continuing Education Division, Capilano College and Richard Prince, Associate Professor, Department of Fine Arts, The University of British Columbia Listserv co-ordinator: Jackie Blackmore Cover designs: Benjamin Shackleton Style Sheet Designer: Lesa Moriarity Table of Contents 1.0 Introduction Page 1 1.1 Research Methodology xx 1.2 Report Organization xx 2.0 Enhancing Lifelong Learning and Work Transitions in the Fine and Performing Arts xx 2.1 Context and Challenges xx 3.0 Arts, Culture and the New Economy xx 3.1 Economic Contributions xx 3.2 Human Resource Development Issues xx 3.3 The Fine Arts in Transition xx 3.4 Summary xx 4.0 Fine Arts Labour Markets xx 4.1 Perspectives on Education and Training in the Cultural Sector xx 4.2 Creativity, Competitiveness and Careers xx 4.3 Emerging Occupations xx 4.4 Summary xx 5.0 Fine Arts Education & Training xx 5.1 Post-Secondary Education Programs xx 5.2 Private Training Programs and Opportunities xx 5.3 Transitions to the Workplace xx 5.4 Transitions to Graduate Programs xx 3 5.5 Lifelong Learning and Learner Support xx 5.6 Opportunities and Barriers xx 5.7 Summary xx 6.0 Recommendations xx 6.1 Background xx 6.2 Recommendations xx 6.3 Future Considerations xx 7.0 Appendices xxx 7.1 Bibliography xxx 7.2 Endnotes xxx 7.3 Appendix A: Post Secondary Education System Programs by Institution xxx 7.4 Appendix B: Post Secondary Education System Questionnaire and Responses xxx 7.5 Appendix C: Post Secondary Education Student and Private Sector Questionnaire and Responses xxx 7.6 Appendix D: Careers in Culture xxx 7.7 Appendix E: Cultural Sectors in the Fine and Performing Arts: Interview Transcriptions xxx 7.8 Appendix F: Environmental Scan of Artist-Run Centres xxx 7.9 Appendix G: Listings of Venues and Organizations in the Cultural Sector xxx 7.10 Appendix H: Conferences, Lectures and Events xxx 7.11 Appendix I: Student Outcomes Data xxx 7.12 Appendix J: Private Training Instruction xxx 4 1.0 Introduction “Public investment in the Enhancing Lifelong Learning and Work arts and culture sector represents good value to all Transitions in the Fine and Performing Arts levels of government with the investment being returned several fold in This project was commissioned by the British Columbia Ministry economic and social of Advanced Education, through the Centre for Curriculum, benefits” Transfer and Technology in 1998. The report is intended to Regional Cultural Plan continue a process begun in the mid 1990's by the Fine Arts Career Steering Committee, GVRD, 1997 Pathway Project Workteam. A document prepared by Tara Toutant and published in 1997 titled Improving Secondary to Post- secondary Transitions in the Fine Arts served as a backgrounder to inform the Fine Arts Career Pathway Project. The project title was arrived at through discussions with Ministry and Centre personnel. Though after four years of research to produce the report a more appropriate title might have been: Learning and Work Transitions in the Fine and Performing Arts: The Culture of Change- Information to Creative Economies A research model was developed by the Steering Committee to investigate the topic of learning and transitions from four major domains: learners, the education system and providers, the workplace sectors, and municipal, provincial and federal levels of government. (See pages x and y) This systems-thinking model required an environmental scan of British Columbia's fine and performing arts post-secondary education courses and programs, both credit and non-credit, offered by public and private instituions. (Appendix A) For the purpose of the study the fine, visual and performing arts include: 5 • Art Administration (cultural management, government, community, service, professional and commerical organizations) • Art History and Theory We must develop and offer Canadian products • Cultural Studies to Canadians…[a] marketing strategy in this • Art and Culture Education, Teacher Training kind of global cultural (formal academic or technical education and policy is very important…We live in a training) …consumer society where everyone • Computer Arts (experimental and commercial) advertises their products • and claims they are the Crafts (design, production and dissemination) best in the world. Why • would we not do the Dance (choreography and performance) same thing as part of a • Design Graphic,Visual Communication, Fashion, cultural strategy? Industrial, Interior Michèle Martin, School of Journalism & • Festivals (dance, film, music, visual art) Communications, • Carleton University, Film Industry (creation, production and distribution) February 10, 1998 • Government (cultural activities and funding of the three levels of government) • Heritage (galleries, museums, conservation) • Media Arts (experimental and commercial) • New/Interactive Media • Multidisciplinary Practices • Music Industry (composition, sound recording and distribution) • Music Performance (musicians and singers) • Music History • Stage Performances (acting and production) • Theatre/Design • Theatre History and Theory • Theatre/Technical • Video (creation, production and distribution) • Visual Arts (animation, photography) (Creative Writing was not included as the project size and scope already exceeded the resources available to the research team.) 6 The topic of student learning, quality and relevance of education (outcomes and employability) and workplace transitions (types of) is exceedingly complex. It is not a linear process of entrances, exits, and re-entry/exit points. The complexity of the issue is about identifying parts, wholes, connections and patterns or what Peter Senge defines as “systems thinking…a discipline for seeing wholes. It is a framework for seeing interrelationships rather than things, for seeing patterns of change rather than static ‘snapshots’….it is also a set of specific tools and techniques…and a sensibility – for the subtle interconnectedness that gives living systems their unique character.” (Peter Senge, The Fifth Discipline: The Art & Practice of The Learning Organization, Currency-Doubleday, Toronto, 1990, pp. 68-69) Put another way, “systems thinking is seeing beyond what appear to be isolated and independent incidents to deeper patterns…a system is something that maintains its existence and functions as a whole through the interaction of its parts.” (Joseph O’Connor and Ian McDermott, The Art of Systems Thinking: Essential Skills for Creativity and Problem Solving, Thorsons, London, 1997, p. xiii) The research model developed by the Steering Committee (pp. 11 & 12) is an attempt to bring a systems thinking perspective to the issues. Part of being able to “model” a system is to expand our understanding of cause and effect. Complex systems are bound together by many links, like a web. “A system is an entity that maintains its existence and functions as a whole through the interaction of its parts. The behaviour of different systems depends on how the parts are related, rather than on the parts themselves….The more complex the system, the more unpredictable the whole system properties.” (Joseph O’Connor & Ian McDermott, The Art of Systems Thinking, Essential Skills for Creativity and Problem Solving, Thorsons, London, 1997, p.59) British Columbia's post-secondary education system is comprised of sub-systems, public and private. It interfaces with types of educational systems, provincially, nationally 7 and internationally. As a complex system its effectiveness depends on how the parts are related. At the policy level, the provincial government, through the