Student Enterprise & Employability University of the Arts London 272 High Holborn see.arts.ac.uk [email protected]

@SEEtweets facebook.com/SeeCreativeNetwork

Arts Temps ualartstemps.co.uk [email protected]

@ArtsTemps facebook.com/artstemps

Artquest artquest.org.uk [email protected]

@ARTQUESTLONDON facebook.com/londonartquest WORK

Creative Opportunities creativeopportunities.arts.ac.uk [email protected]

@creativeopps OF

Own-it own-it.org [email protected]

@Ownit Understanding Enterprise & Employability facebook.com/ownit inART Art & Design Higher Education INTRODUCTION 2 Developing Enterprise Skills 35 Working with Industry 41 Cara Lee Roth, Educational Developer Postgraduate Certificate 35 BA (Hons) Theatre and Screen: 41 Student Enterprise and Employability Fashion & Lifestyle Journalism Technical Arts and Special Effects (SEE) 2 3 Nilgin Yusuf Allan Sly Graduate School Media Wimbledon College of Art and Communication PARTICIPANTS 3 London College of Fashion What Is Discipline- 17 What Is The 23 4 Colleges Specific In Enterprise Relationship 115 Staff 7 Focus Groups & Employability? Between Enterprise 25 Interviews & Employability? 12 Vignettes of Curriculum Practice 12 Disciplines, Schools, Programmes MFA Fine Art 24 Edwina Fitzpatrick Wimbledon College of Art Summary and Key 9 Recommendations 41

29 How Are The 13 A Place For Work Experience 43 Terms ‘Enterprise MA Conservation: 43 & Employability’ 19 Books and Archival Material Interpreted In Jocelyn Cuming 1 A Portfolio Career 18 Tamiko O’Brien Creative Disciplines? 4 Camberwell College of Arts 19 Undergraduate & Postgraduate 31 The Language of Enterprise 14 Acting & Directing What Do We Mean 24 & Employability Centre For Performance By Enterprise In 45 Jonathan Martin Creative Disciplines? 35 What Can We BA (Hons) Illustration 15 Drama Centre London Creativity 25 Achieve Through Darryl Clifton Central Saint Martins College 28 Entrepreneurship 33 Camberwell College of Arts Learning & Teaching of Art and Design BA (Hons) Textile Design 26 For Enterprise & Caryn Simonson Collaboration 27 BA (Hons) Jewellery Design 34 Melanie Bowles Caroline Broadhead Employability?

The Student Journey 21 Kathryn Round MA Graphic Moving Image 28 Sian Evans 5 Penny Hilton Chelsea College of Art and Design School of Fashion & Textile Design What Do We 37 BA Surface Design 22 London College of Communication Central Saint Martins College Resources 46 Ellen Hanceri of Art and Design Understand By London College of Communication Employability In The Value of Risk Taking 29 Creative Disciplines? References 47

MA Communication Design 29 Anne Odling-Smee Victoria Salmon School of Communication Product and Spatial Design Central Saint Martins College 40 CONTENTS of Art and Design

25 BA (Hons) Fashion Management 39 Sally Bain School of Management and Science London College of Fashion

33

21 1 2

Staff ‘I n the early 1940s, the great critic and poet ‘The Landscape Review’ was commissioned by Herbert Read wrote an important book called Student Enterprise & Employability (SEE) to open Education Through Art. In it, he made the a dialogue on how enterprise and employability N key distinction between teaching to art, is understood across the University of the Arts and teaching through art. London, specifically how enterprise and employability are perceived across colleges, courses and disciplines, Teaching to art meant the professional education and how they are designed into course curricula. O of the artist: teaching someone the skills and attitudes of becoming an artist. That aspect of We did the review in collaboration with Colleges: art education, he said, was widely understood. To understand and articulate what enterprise Teaching through art meant teaching a series and employability means in a creative higher of related conceptual and physical skills education STUDENT through the medium of art: problem solving, resourcefulness, independence of mind, flexible To examine what enterprise and employability thinking, preparation for an unpredictable world. looks like in learning and teaching practices Interviews across colleges and disciplines ENTERPRISE & Herbert Read concluded that the very best At Student Enterprise & Employability form of art education should combine the To inform a baseline practice of enterprise (SEE) we are committed to supporting two – teaching to art and teaching through art.’ and employability within the curriculum at UAL the whole student experience at EMPLOYABILITY the university, be that by providing Christopher Frayling ‘To Art and Through Art’ We listened to staff on how enterprise and and integrating enterprise and (Farthing & Bonaventura 2004: 39) employability can be approached within art and employability learning, teaching design curricula and therefore, lead with staff voices ‘How teachers prepare people for a lifetime and knowledge within the curriculum, We see enterprise and employability as an important throughout this publication. We hope by sharing of uncertainty and change and enable them or as part of our students’ broader part of ‘teaching to art and through art’, not replacing what enterprise and employability looks like practice or creative business ideas teaching but as a part of art and design practice. in practice we can engage in discourse, develop to work with the ever-increasing complexity and development. The embedding of enterprise and entrepreneurship an understanding across disciplines and use of the modern world is the ‘wicked problem’ should not result in neglect of either the conceptual these aspirations to develop future strategies shared by higher education institutions We value and support the diversity or applied aspects of the subject area, but rather across UAL and within art and design practice. of practice and motivations of our should aim to complement the curriculum and make and educators all over the world students and graduates. We want them it relevant to students’ aspirations (QAA, 2012: 22). Cara Lee Roth (Rittel and Webber, 1973). to profit from their own creativity and Vignettes of Educational Developer ideas by developing their practice and Curriculum Practice This publication has been created to support learning Student Enterprise & Employability (SEE) businesses, whether that is for-profit and teaching in enterprise and employability within As well as preparing our students for or for broader social, ethical and art and design higher education. It is informed the world we know, if we accept the environmental purposes. by University of the Arts London’s Enterprise and

INI TRODUCT Employability Landscape Review Relating to Teaching moral purpose of making a difference We use our expertise, resources and and Curricula in Art and Design 2012. to their future lives, then we also have networks to help UAL’s students and graduates make, take and connect to a responsibility to prepare them for ideas, opportunities and networks so a lifetime of uncertainty, change, challenge that they can go on to be successful and emergent or self-created opportunity. creative professionals and world- leading innovators, practitioners, Focus Groups employees and entrepreneurs. This means our graduates must be willing and capable of continually learning so that http://see.arts.ac.uk/ Disciplines, Schools, Programmes they can adapt to ever-changing contexts.’ Stephen Beddoe Director Norman Jackson Student Enterprise & Employability ‘The wicked problem of enhancing graduate impact’ (SEE) Colleges (Kemp and Atfield 2011: vii) 3 4

‘Entrepreneurial skills are absolutely essential Camberwell to be a fine artist’. Wimbledon College of Arts College of Art Tamiko O’Brien: ‘Camberwell Press is located within a studio as Associate Professor ‘A proposal could be for an enterprise and part of a programme so that it can offer to a wide Associate Dean and Head of School of Art, employability liaison group. This group could have student cohort. They are now quite visible and The Cass, Faculty of Art, Architecture and Design the remit to define sufficiently a longer-term view more a part of the teaching environment. London Metropolitan University and vision of capacity of industry contacts and It feeds back into the student experience in income generation with a wider view. Sometimes a live environment, is fairly simple to organise, Rob Sollis: you have to step back, take a breath and see and resolves the issues around placements.’ Senior Lecturer, BA Graphic Design a longer-term view.’ Dan Sturgis: Natalie Brett: Programme Director, Simon Betts: Head of London College of Communication BA Fine Art & Course Leader, BA Painting Dean Tracy Waller: Darryl Clifton: Course Leader, BA Graphic Design Chelsea College Edwina Fitzpatrick: Design Programme Director & Course Leader, Course Leader, MFA Fine Art BA (Hons) Illustration ‘This Landscape Review is long overdue and of Art and Design Derek Harris: Jocelyn Cuming: massively needed. £9000 a year gives us the Pathway Leader, BA (Hons) Fine Art, Painting Course Leader, opportunity to really look at how we prepare Lorna Bircham: Grant Hicks: FdA Conservation: Book Arts and Pathway Leader, our students for what must be a pretty terrifying Senior Lecturer, MA Textiles Acting Pathway Leader, BA (Hons) Theatre and Screen, MA Conservation: Books/Archival Material post-graduation world. To do this, in my opinion, George Blacklock: Set Design for Screen we need to engage in a fundamental review Dean David Horn: ‘CCW has very dedicated teaching staff who work of what we do in order to better prepare our Robin Jenkins: Senior Lecturer, FdA Theatre, extremely hard to provide innovative and exciting students for what is an ever-changing employment Lecturer, BA Interior Spatial Design Lighting Design and Practice learning units that have real connections to E&E; landscape. I worry that what we will end up doing Martin Newth: Allan Sly: these are useful experiences for students and is talking about placements and live projects, Programme Director, BA Fine Art Senior Lecturer, BA (Hons) Theatre and Screen – TASE serve to inform them about their practice as well when what we need to do is think about how David Webster: as enabling them to acquire necessary skills. everything we do relates to employability ‘I n short, my role (as Course Leader) Associate Dean I did not realise how much is going on! Course and enterprise.’ is to critically engage others and to make Sarah Woodfine: leaders and course staff all work together to things happen. To talk about practice but Pathway Leader, BA (Hons) Fine Art, Sculpture organise contacts, projects, events and meetings Derek Yates: in many different ways, sole practitioner, with industry partners in a continual effort to Course Leader, FdA Graphic Design the partnership, the collective, the think- ensure their courses continue to be sustainable, and FdA Illustration tank, all these different kinds of ways forward thinking, attractive to potential students that people can act spatially… it is about and parents, and (therefore) marketable in today’s exploration, experimentation and risk-taking.’ educational economic climate.’ Colin Priest: Yvonne Kulagowski: Course Leader, BA Interiors and Spatial Design Academic Leader, Context, Fine Art, Design and Conservation BA MA FdA Caryn Simonson: Course Leader, BA (Hons) Textile Design Peter Nencini: Senior Lecturer, BA Illustration ‘P art of this is not going to be achieved through language. Enterprise and employability, in part, is also going to be achieved though practice and what you do.’

Martyn Simpson: Associate Dean

Tomris Tangaz: Course Leader, FdA Interior Design Kenneth Wilder: Programme Director, MA Interior and Spatial Design PARTICIPANTS 5 6

Central Saint Martins Jane Lee: ‘There is a wealth of enterprise and employability PARTICIPANTS Course Leader, BA (Hons) Fine Art activity which is virtually hidden from view that College of Art and Design and Programme Director, Fine Art merits a far wider audience. I was largely unaware Andrea Lioy: of a great many truly inspiring projects. The Chelsea Camberwell ‘Students need to understand that their intellectual Acting Course Leader, MA Communication Design range of enterprise and employability activity is Wimbledon CCW property is their capital in the employment market. Alex Lumley: more diverse than I had appreciated; especially Therefore, it is important that they understand Associate Dean of Learning, noticeable is the growth and sophistication of Elizabeth Cameron: their rights, and that they have the appropriate Teaching & Student Support socially engaged projects. The role of students in Business Relationship Manager, skills and knowledge to manage this intellectual pushing this agenda shouldn’t be underestimated CCW Enterprise Collective property. We’re clearly not getting that right in Geoffrey Makstutis: when planning the curriculum. The question of Hannah Clements: terms of taught curriculum at the moment across Course Leader, ‘top-down’ or ‘bottom-up’ approaches to initiating Student and Graduate Development Officer, all subject areas.’ BA (Hons) Architecture: Spaces & Objects; projects has surfaced repeatedly.’ Student Enterprise and Employability (SEE) Programme Director, Spatial Practices Annick Collins: Jonathan Barratt: Jonathan Martin: Tim Sokolow: Business Relationship Manager, Dean, School of Communication, Product Director, Drama Centre London, Academic Co-ordinator Student Support CCW Enterprise Collective and Spatial Design, and College Dean for Centre for Performance Mark Constable: Student Support & Access to Higher Education Maria Nishio: Associate Dean of Quality Placement Tutor, BA Fashion Alanah Cullen: Amanda Bright: Anne Odling-Smee: Head of Enterprise, CCW Enterprise Collective Associate Dean, HE Development Associate Lecturer, MA Communication Design Hannah Fitzgerald: Caroline Broadhead: Victoria Salmon: Student Recruitment Manager, External Relations Course Leader, BA Jewellery Design; Associate Lecturer, MA Communication Design Programme Director, Textiles and Jewellery Stage 2 ‘The transferability of skills can often Caroline Dakers: ‘Our externally sponsored projects on be overlooked in the context of Fine Art. Course Leader, BA (Hons) Criticism, Communication undergraduate and postgraduate courses work The kinds of skills students are learning are and Curation very well within the curriculum because we have surprisingly applicable to other areas. The skills an effective model for developing them. We only I am referring to touch particularly upon the ‘I think it’s probably amongst the most important accept them if they fit in with the curriculum. contemporary patterns of employability and thing that we’re doing. The Landscape Review We find industry partners are usually quite the growing importance of the process of building is bringing enterprise and employability right into amenable to having their projects slightly modified up portfolios of projects. It’s not like the past. the heart of the conversation. It has the potential to meet their needs and the course’s needs, Most people coming into the creative and cultural to do something incredibly important and and we explain that very early on in the process. industries do not go to one job; they will typically worthwhile if it is plugged into the curriculum They don’t get to a meeting with a course director have many jobs, and so develop a portfolio of and the culture of learning and teaching.’ without understanding that they’ve got to meet projects where they will be nurturing different some hurdles to be accepted and be part of opportunities that will be developing at different Mark Dunhill: helping the students to achieve the learning speeds. Understanding those new patterns Dean, School of Art outcomes of that particular unit. We’re embedded and thinking about them in relation to curricula into the courses in terms of bringing the money might be something that shifts people’s sense Tim Hoar: in, but we’re not fully embedded in terms of what around the discussion of what enterprise and Associate Director of Enterprise and Innovation we see about future industry needs and how employability might consist.’ they could benefit learning processes.’ ‘Entrepreneurial means having the initiative, David Garcia: the ‘will’ to come up with modes of engagement.’ Dani Salvadori: Dean of Graduate School Director, Enterprise and Innovation Pablo Lafuente: ‘Rather than saying I hope it works out, you say no, Pathway Leader, MRes Art: Exhibition Studies David Scothron: we are going to need these skills to work on the Acting Course Leader, BA (Hons) Product Design project and you build them into the curriculum.’ Anne Smith: Dean of School of Fashion and Textile Design; Malcolm Quinn: Research and HE Development Associate Dean of Research, CCW Graduate School

Sian Stirling: Head of External Relations Matt Tillett: Marketing / Web Co-ordinator, Communications 7 8

‘This idea that if you are seen to be linked to London College of industry that you are somehow good, but really it’s Communication pedagogy that is the most important. It made me think more about enterprise, not just as a subject ‘We should transfer our skills to other sectors that but as an approach.’ are looking for those creative skills because that’s how innovations are made.’ Ellen Hanceri: Senior Lecturer, BA Surface Design Karin Askham: Dean, School of Media Penny Hilton: PARTICIPANTS Course Leader, MA Graphic Moving Image ‘LCC is light years ahead of other art institutions Mary Lee-Woolf: ‘Having the aptitude to be an ‘intrapreneur’ ‘Synthesised thinking between students’ creative that are still grappling with the terms employability Associate Lecturer, London College is often overlooked when we look at graduates output and consideration of global industries and enterprise and feel uneasy about this type MA Media Communication and Critical Practice engaging with enterprise. Many companies, ‘opens up’ potential markets and allows students of engagement and that it doesn’t fit into the Valerie Mace: of Fashion particularly those involved in forward thinking to see beyond the normal parameters of institution. LCC has a lot of support for the Course Leader, FdA Graphic and Spatial Communication; high-tech and creative industries, have benefitted traditional fashion centres and think long-term students in this area.’ Course Tutor, ABC Diploma Interior Design Jonas Altman: immensely from allowing their employees to be about their careers in a wider sense.’ John McDonald: Director, Fashion Business Resource Studio (FBRS), ‘intrapreneurial’ - perhaps where up to 20% of Rachel Bilson: Business Development Manager, Enterprise and International their time is working on their own projects, by James Pegg: Market Research and Projects Manager, Enterprise Department Sally Bain: giving time to innovate, to take risks, develop new Senior Lecturer, Fashion Design Technology: Enterprise Department Chris Petter: Senior Lecturer, DIPS Co-ordinator, ideas, and so on; in fact, to be entrepreneurial but Womenswear, School of Design and Technology Course Leader, BA (Hons) Sound Arts and Design School of Management and Science within a corporation utilising its resources to make Debbie Blandford: Tony Pritchard: Chitra Buckley: things come true! Without doubt, graduates from Heather Pickard: Associate Lecturer, BA (Hons) Interior Design Course Leader, Postgraduate Certificate and Diploma, Course Leader, MA Fashion Entrepreneurship UAL more than most, are best equipped to have Director of Programmes, Paul Bowman: Design for Visual Communication Hannah Clayton: highly successful intrapreneurial careers.’ BA (Hons) Fashion Management, Course Leader, Elizabeth Rouse: Director, Internal & External Communications School of Management and Science BA (Hons) Illustration and Visual Media Former Head of College Catherine Dearden: Andrew Hughes: Lesley Raven: Tony Braithwaite: Darren Raven: Placement Broker, Dean, School of Management and Science Outreach Project Co-ordinator Course Leader, FdA Surface Design Course Leader, Fashion Business Resource Studio (FBRS) Claudine Rousseau: Beverley Carruthers: BA & FdA Design for Graphic Communication Anne Emblem: Alison James: Course Leader, BA (Hons) Fashion Sportswear, Course Leader, BA (Hons) Photography Nicky Ryan: Senior Lecturer, Tutor, Academic Head of Learning and Teaching School of Design and Technology Programme Director, School of Management and Science Claire Swift: ‘The things happening outside of the curriculum BA (Hons) Spatial Design Spatial and Surface courses Pauline Franckel: Polly Kenny: Programme Director, tells you that people don’t feel comfortable Dean, School of Media and Communication Lecturer, School of Design and Technology BA (Hons) Fashion Design Technology: about having the freedom to make them within ‘Student numbers are always an issue as it is Rob Lakin: Womenswear, School of Design and Technology the curriculum. How inclusive is that if you have difficult to have one to one development time. ‘Students who are really engaged turn up and Director of Part-time Programmes, students who are struggling to actually do the The numbers also limit getting work placements the ones who really need it often don’t. You have School of Management and Science ‘The key is to measure the impact. What is that curriculum because they have part-time work or assistantships for every student across to embed it into the curriculum, not an additional, impact on our delivery and how has it enhanced or caring responsibilities? If we are delivering Photography, Sound Arts and Design and not an add-on, and flag up what the value is ‘The freelance economy is growing offshore, students’ capacity to get employment and all these projects outside of the curriculum, Animation.’ to students.’ if we really want to serve our students in three to be enterprising? It’s not just about getting we are privileging students who have the time years’, five years’ time then we really have to the students a job; we need to ensure our and the money who can afford to take up the Dallas Seitz: Julia Gaimster: make sure they have a far better capacity to employability provision produces informed opportunities.’ Associate Lecturer, Media Associate Dean, Graduate School survive in a freelance world - as a global player.’ individuals who are self-reliant and able to plan and manage their own careers beyond Jason Copley: Tim Shore: Darla Gilroy: Wendy Malem: higher education.’ Associate Dean, Learning and Teaching; Programme Director, BA (Hons) Animation (top up) Associate Lecturer, School of Design and Technology Dean of International Development, Graduate School Programme Director for Creative Enterprise Sarah Temple: Tony Glenville: Clare Tristram: Courses (Media) Co-ordinator, Industrial Placements, Design Creative Director, School of Media and Communication Chrissy McKean: Employability Manager, Sue Westergaard: Dan Henderson: Senior Lecturer, School of Management and Science Fashion Business Resource Studio (FBRS) Silvia Grimaldi: Senior Lecturer, BA Surface Design Programme Director, Paul McNicoll: Course Leader, BA (Hons) Graphic Product Innovation; Susi Wilkinson: School of Management and Science Dean, School of Design and Technology Glenn Waldron: Senior Lecturer, Design Senior Lecturer, BA (Hons) Animation (top up) Ellie Herrington: Pathway Leader, Course Lecturer & Tutor, Lawrence Zeegen: Head of the International Student Experience; ‘Students’ future employability is enhanced Postgraduate Portfolio Dean, School of Design Lecturer by working with a global corporate client, Anna Watson: whilst also offering valuable fresh insight MA Course Leader, Graduate School into new and emerging markets.’ Nilgin Yusuf: Course Leader, Academic Manager, Maggie Norden: Postgraduate Certificate Fashion Programme Leader, & Lifestyle Journalism School of Media and Communication 9 10

Diverse student journeys Collaborative learning The real issue may not be in Learning with groups of students addressing differences between or disciplines puts a student’s own Creativity disciplines as much as it is in practice into relief and requires key Working with Industry addressing the differences between enterprise and employability skills Our unique product is creativity. individual students. such as emotional intelligence, Students build a practical knowledge Emphasis must be retained around self-efficacy, team-working and of their industry or sector through Summary creativity in learning and teaching of Students do not approach their communication. Collaboration contact, so the University needs to be enterprise and employability. The way learning in a linear fashion; rather their can also demand enterprise skills open to industry’s influence on course in which enterprise and employability journey may pass through different such as the development of content and delivery. The priorities skills are taught should synthesise stages and may engage with different networking skills. of education rightly influence industry thinking between the students’ creative stages simultaneously. Individual expectations, and opportunities are output, technical skills and business students are likely to have diverse Fostering models of collaborative available for industry to feed back acumen. A good way of exploiting starting points and transition points learning and teaching supports new into the curriculum. these transferrable skills is to apply into the future. types of understanding, cognitive The value of risk taking them while collaborating with other skill, application and provides Issues around building commercial Extra-curricular disciplines as part of the delivered a context for knowledge exchange opportunities into income-generating A significant difference between curriculum. within the student community opportunities are complex for staff. When enterprise and employability actual enterprise and employment and and across disciplines. It is not only about money, but is embedded into the curriculum, academic projects is the freedom to Fundamental to enterprise and also about resource development, it can springboard interest take risks on academic programmes. employability is to be socially, accessibility and time. Sometimes toward extra-curricular support. economically and globally aware. it is more beneficial for a course By embedding into the curriculum If we encourage students to take risks This makes up part of the student to nurture a long-term relationship it can make students aware of learning Understanding and experiment, and learn from their journey towards awareness, that can encourage a rolling opportunities for enterprise and mistakes, we must be sure to recognise resourcefulness, confidence and programme of opportunities. employability that are available beyond Supporting and the language and ‘failure’ as part of the iterative process creativity; developing a sensitivity the taught learning environment. recognising staff terminology of and the experimentation criterion. to the world in which they practice contribution enterprise & employability and finding their way in it. Indeed, Extra-curricular activity in relation many of our graduates go on to to enterprise and employability is Academic staff work extremely To replace the terms enterprise rewarding careers in the public, highly valued but inadequately hard to deliver excellence in learning and employability with the term charity and social sectors. supported, often due to a premium and teaching to maintain successful ‘professionalism’ may not encompass on staff time, financing and monitoring partnerships that enhance employability enough of the meaning associated and evaluation. and enterprise opportunities for their with employability, or the cross over course and students. The majority with enterprise. Professionalism is of successful industry partnerships but one aspect of being employable arise out of a lot of hard work from key and enterprising. members of staff; for example making the initial contact and maintaining Enterprise and employability skills these professional relationships, allow students to follow their aspirations which benefit students during study and to take the initiative: to aim high and after graduation. rather than fitting in. It is not just about getting a job or starting a business; Our academic staff, including it is also about having the skills required Associate Lecturers, are an incredible to develop a (successful) career and a resource, which the University positive mindset as well as confidence needs to recognise and value in one’s abilities and an understanding by way of sharing their expertise. of self-worth. 11 12 Key Recommendations

Curricula College timetables can be inflexible to the extent Staff Staff need to feel valued and listened Students that they inhibit external partnerships. In such cases to. There are a lack of opportunities Teaching, learning and assessment should be it is simpler to place these opportunities outside the There is a need to resolve organisation to share staff and student achievement There is limited understanding of student perceptions constructively aligned. Assessment methods curriculum. The nature of these activities means that and management issues that would in enterprise and employability. of enterprise and employability. Extensive activity is should allow students to demonstrate the attainment they cannot be planned into the curriculum, nor can help facilitate further collaboration. taking place within and outside of the curricula, but of specified learning outcomes. We need to be they be relied upon to deliver the learning outcomes An in-depth understanding of what Setting up regular forums, ‘show there is limited tracking of the effectiveness of these sure the language we are using is understood within a unit. The contribution of such activities is required by academic staff, and and tell sessions’, and extended UAL activities. Student understanding of the links between by all when defining these categories of enterprise to the enterprise and employability development an understanding of the importance cross-disciplinary networks where staff academic learning and employability attributes is not and employability and articulating learning outcomes of students is greatly valued, but doesn’t necessarily of time issues related to delivering can share and be supported would help being measured. By reflecting on students’ understanding, so that students understand clearly what is expected translate to corresponding academic credit. on external projects, are essential to build a shared research culture, allow the curricula will be better equipped to engage with of them, particularly when experimentation, As such, it is viewed as extra-curricular. In fact, to support development in this area. freedom for experimental approaches students in a more meaningful and effective way. flexibility and adaptability are key outcomes. these activities often overlap with the core curriculum and promote or facilitate cross- and align with learning outcomes; however because Course, college and university-wide teaching between disciplines. Sharing Further research is needed into student Courses across the University need to be explicit they are perceived as extra-curricular they are strategy development is needed to practice would also help publicise UAL understanding of enterprise and employability about the outcomes we hope to achieve; therefore, often inadequately supported. Such activities support a structure for delivering achievements and the value of our to ensure that curriculum delivery is aligned to enterprise and employability need to be embedded need equivalent planning, monitoring and evaluation projects and activities inside and Creative Capital. student and graduate expectations, needs and into the curriculum, for example, in unit briefs and as core curriculum projects. outside of the curriculum. aspirations. A university-wide research project new course materials, and time taken to explain Funding support for a ‘buy-out’ of would inform curriculum development, understanding the relevance of enterprise and employability Further research into extra-curricular learning and Support at university strategy level teaching time is necessary to enable of attendance and engagement of students, and to students’ future careers. teaching could explore the range of current staff is vital. As part of an assessed unit, staff to innovate and use their expertise inform support networks and delivery for SEE and and student-led initiatives, either wholly outside and/ processing Health and Safety and to establish new partnerships and college enterprise and employability units’ delivery. Academic staff and students are very positive or overlapping with the core curriculum; outcomes insurance for work placements and projects and investigate course about course collaborations, but feel limited by might include practices in monitoring and assessment live projects are complicated and curriculum development. The learning and teaching of enterprise and university policies. Individual course curricula of enterprise and employability elements and how time-consuming for academic and employability skills in the curriculum should reflect and programmes, and unit learning outcomes can activities can be supported outside of the core administrative staff. There does not In collaboration with CLTAD, the diversity of the student population via experiential be very different and seem prohibitive. There is an curriculum. appear to be a definitive UAL agreement SEE will be developing a curriculum learning opportunities that engage and enhance appetite for cross-curricular collaboration at UAL on a central policy, and courses need development funding scheme to students’ abilities and skills, set within a meaningful that extends beyond the colleges, which is sometimes Enterprise and employability skills prepare students to be able to access expert UAL support staff at UAL who are interested and relevant context. hampered by organisational structural issues. for a broader context, whether self-employment support that is tailored to their needs. in developing educational opportunities or conventional work. They must also be transferrable The bureaucracy involved is restrictive for their students that respond Organising study support workshops for students There is confusion as to what resources are available to other career paths, so students leave knowing and is therefore preventing a valuable to learning and teaching strategies along cognate enterprise and employability themes to support academics in their delivery of enterprise how to practise professionally in the broadest learning experience being included in development of enterprise could be developed in collaboration with SEE, college and employability. Students are confused as to sense possible. The University has much to gain in more course curricula, assessed and employability within curricula. staff and enterprise and employability units. Proposals where to go for guidance to support their learning. from developing further links with industry and the and ultimately used for course, college for Employability & Enterprise Week events at each Academic and enterprise and employability support creative and culture sectors, the ultimate employers and UAL promotion. If more courses In addition, there is also a need for college could be developed to showcase courses, staff need to come together in an open forum whereby of our students. While University priorities should are to include and assess placement simple and transparent systems where student work and industry partners. shared practice can contribute to curricula activity continue to influence industry expectations, in their curriculums UAL must provide staff can gather and access information and support a clear and consistent message about appropriate opportunities can be created for industry specialist staff who are trained to on available funding and support UAL graduates are offered support for three years employability and enterprise to students. and other sectors to feed back into the curriculum advise appropriately on Health and for projects. after graduation, via Commonplace, Artquest, to engage students with enterprise and employability Safety, insurance and legal matters. Own-It and SEE. There are examples of many courses Creating a cross-disciplinary working group across agendas and help them build a practical knowledge The creation of a funding map could utilising their alumni networks at special events UAL could explore opportunities for collaborations of the contexts in which they will work. Involving It is essential to communicate this kind enable staff to access and share and as mentors, but many staff members are (within and outside the curriculum), and enable employers and industry demonstrates commitment of support to staff so that they know information and opportunities. frustrated about limited support for staying in touch. academic and support staff to spot emerging to embedding enterprise and employability within how and where to access resources It is essential that we have a reliable and simple themes and trends in enterprise and employability. the curriculum, and can help staff with limited and support. College and UAL legal system to maintain contact with our alumni to inform The working group would also provide an opportunity time and curricular space. staff should create the necessary Health them of opportunities and to ask for their continued to share resources, key contacts and communicate & Safety and Insurance documents engagement with the course. and disseminate projects, to benefit both students Further university consultation with industry could needed to set-up placements and and staff in their efforts to embrace enterprise and inform teaching and guidance, including bespoke projects with industry providers to Staff suggested that the colleges/UAL develop employability within curricula. The working group training which we should then offer future full support and enable academic staff reliable ways of maintaining contact with students should involve course leaders, associate lecturers or part-time students. Seeking advice from industry in delivery. after graduation, and a more localised processing and college enterprise and employability units. and other sectors on the crafting of courses of student exit data to ensure information is accurate to enable us to teach creativity and maintain and current. The introduction of Alumni Days and the technical abilities could be aided by involving events supported by SEE in conjunction with staff external examiners from both academia and industry. would also benefit all courses. 13 14

The Language of Enterprise & Employability The terms ‘enterprise and employability’ were not Employability is a word that has a variety of meanings; Learning about and experiencing enterprise and How Are found in many of the course handbooks that were in simple terms, it is about providing students with the employability whilst still at university can have several investigated for this research; alternative terms are key skills that will enable them to understand how their benefits. It gives students awareness of alternative in use, most commonly relating to professionalism. chosen field or industry operates. However, there are career options and confidence that they can Professionalism is a term often used, and is often more complex views such as empowering students, set up their own business or social enterprise, The Terms being assessed across academic units. so they automatically enquire and investigate within or seek various forms of employment. the course (and industry), and encouraging students ‘I could throw them both out and use one term to make use of their analytical skills as well Enterprise skills are also useful to those in which is professional practice, encompassing as transferability of their skills and thinking. employment, or those who will become self-employed ‘Enterprise & all of those things.’ and work on a freelance or consultancy basis, helping Tutor, Central Saint Martins College ‘When you say the word collaboration to to develop a ‘can-do’ confidence, a creative questioning, of Art and Design someone, every single person will have a and a willingness to take risks - important to provide different definition. Employability to me means readiness for a rapidly changing economy, and to Employability’ that a graduate is investible, but you can’t say enable individuals to manage workplace uncertainty ‘Employability implies an employer and within investible enterprise because it is too difficult and flexible working patterns and careers (Hannon a fine art context this is wrong; the idea of to define.’ 2006: 296-308). fine art is set in a practice which is about self- Business and Enterprise Director, Interpreted employment which, perhaps crosses lines Graduate School, London College of Fashion Teaching, learning and assessment should be in vocational and professional as an artist’s constructively aligned (Biggs 2003). Assessment career develops, is not captured in that word.’ methods allow students to demonstrate the Tutor, Camberwell College of Arts The language used is not consistent across teaching attainment of specified enterprise and employability In Creative and therefore, this misalignment is affecting how learning outcomes. We need to be sure the language curricula are being taught. If constructive alignment we are using is understood by all when defining It is fair to say, however, that staff recognised the is critical to best teaching practice, then a common these categories of enterprise and employability terms; they could easily connect and give examples shared language of enterprise and employability and articulating learning outcomes so that students Disciplines? of course content and teaching and connect student is essential. understand clearly what is expected of them, learning to the two terms. It is not just about getting especially when experimentation, opportunity a job but also having skills required to develop a ‘Sometimes PPD and Enterprise, focussed, self-awareness and attuned to the ‘Knowing your value, (successful) career and a positive mindset as well Entrepreneurship and Employability are all business environment are key outcomes. contributing confidently, as confidence in one’s abilities and an understanding conflated as one thing, but I think there are team working, all those of self-worth. subtle differences between them. For me, PPD encompasses all kinds of lifelong and things underpin your The ability to practice professionally was thought lifewide capabilities, aspirations and values, professionalism along by some course leaders to be an over-ambitious which may inform enterprise, entrepreneurship with your making skills.’ definition of enterprise and employability within and employability, but is not just limited to some courses. To replace enterprise and professional and work-related domains.’ Tutor, Wimbledon College of Art employability with the term ‘Professionalism’ Alison James, Academic Head of Learning may not encompass enough of the skills associated and Teaching with employability or the crossover with enterprise; ‘Professionalism’ is but one aspect of being enterprising and employable. We need to be sure when defining these categories that the language we are using is understood by all. ‘It just depends how you define employability. Personal and Professional Development (PPD) Illustrators who are employed on a freelance is often used alongside terms such as Enterprise and basis, artists commissioned to make work; Employability, and Professionalism. PPD does include is that not employment?’ creating career or professional trajectories, and Tutor, Camberwell College of Arts incorporates Personal Development Planning (PDP), the reflective, planning and evaluative process that helps students understand how to get to their chosen destination. 15 16

BA (Hons) Illustration Background authenticity. It does not necessarily mean that the Outcomes In terms of how you help people to prepare projects are more clear, valid or important. However, ‘We collaborated with Graphic Design Unit: 8 Channel & Comic for a broader context, whether self-employment in some ways a lack of clarity requires the analytical because we wanted to create a micro-cosmic Year 2 and Year 3 or conventional work, is to be reflective in your and negotiating ‘soft’ skills that will stand graduates version of what happens outside in terms of approach towards the content that is acted out in good stead in the ‘real world’ (an inadequate and the roles they might adopt in a project. There Darryl Clifton through the course. We are constantly trying disingenuous term!). It is very difficult to quantify are always teething problems, but for the first Design Programme Director & Course Leader ‘As a team of academics we to reflect, not trends necessarily, but shifts these particular developments; they (the so-called time our cohort were working as illustrators, Peter Nencini in the paradigm of what illustration practice is. soft skills) manifest themselves over time and through but also art directors, script writers, directors Senior Lecturer spend a great deal of time the various, and often highly personalised, interests of photography, prop builders, and it really unpacking what is meant by both It’s not just about sniffing out funding streams but of the individual. changed their perception of what they might Camberwell College of Arts terms, particularly employability, about trying to build a reputation across the various do later down the line.’ practices in the Design Programme. We also want to Challenges and Implications Peter Nencini which is a politically loaded see what contribution creative visual communicators, The significant shift across the entire sector is the term. In terms of the course and product designers and makers, those who define introduction of the full fee. This change is having its philosophy, we aim to foster experiences and environments, can make; how they a rapid and dramatic effect on the way we are all Future Developments are able to work alongside scientists, engineers, thinking about the provision that we are making. As an academic team we made a decision to re- a critical approach to the work mathematicians and technologists in order to make One of the critical choices that we have to make invigorate Camberwell Press a couple of years ago, that one produces as well as the a whole experience as opposed to just the superficial rests upon our collective attitude to educational with a revised remit and a very particular set of aims content that drives it and the brand or image. philosophy and what that constitutes. Within art that attempted to address the difficulties that we were context in which it exists. and design schools we exist within a paradox: encountering on support for research activity and Design and Approach we are involved in education that is happening to establish the Press as a vehicle for output across These factors wrap around There is not a discrete curriculum component that through (often) vocational and practical subjects. the staff student body. notions of “employability” addresses enterprise and employability; the idea and “enterprise”.’ of context and application are embedded within The fundamental limitation to this process is In addition we wanted to give the students an all Units across the three years to some degree the soon to be dominant culture of educational interim experience, working on live projects in or other. commodity in an increasingly corporatized university. varying capacities, as designers and editorial staff. The impetus driving us towards quantifying all aspects Since then we have produced numerous modest We have had numerous discussions with the students of the educational process mean that the more publications, worked on the promotional material Darryl Clifton and staff through ‘key ideas’ symposia and other sophisticated, personalised, educational processes for internal and external shows, hosted a very Camberwell informal discussions, that address head-on what that have been developed will struggle to find support successful workshop/exhibition event called College of Arts employability means, and the consensus from employers or a level of understanding in our potential applicants. ‘Into the Fold’ and attracted substantial funding and students is that there is not one really; trying to from HEIF via the CCW Enterprise Collective. create a list of key hard/soft skills that an illustrator/ The potential problems really arise from the praxis designer needs is not possible. As a result, legislating between ‘industry’ and education. As educators, As an enterprise and employability model CP is for this through the development of the curriculum we are trying to help students prepare themselves starting to take shape, we are now moving towards is very difficult. We have, therefore, tried to adjust our – so we still have reservations about cultivating developing three discrete strands of activity that thinking and see all projects and experiences on the projects with external organisations, as they are will involve staff, students and recent graduates curriculum as opportunities to develop relevant ‘skills’ very particular and ‘bespoke’ and can ultimately as interns. We are also working towards being or qualities. Another way of describing what we be disingenuous. self-sustaining financially over the coming 12-18 are talking about is disposition and qualities months and aim to employ our interns at the end (Barnett 2011). If students are not prepared properly they may of that period of time. interpret one way of working as the only way of In 3rd year, projects are written by the representatives working so reflection and some sort of discussion from the companies and do not follow the standard after the fact is profitable. So the limitations really format in order to distinguish it from the projects orbit around the nature of the projects and the generated by the academic team. This is done change in expectation on the part of the students. intentionally to give the projects a ‘real world’ 17 18

The design subjects appear to have a more Stefan Collini’s ‘What are Universities for?’ vocational orientation than does art; art staff (Penguin, 2012) suggests that universities should described a particularly complex pattern of be ‘a protected space where thought and ideals can employment and career development following be pursued to the highest level – going beyond any graduation. Some courses and programmes form of economic return’. However, even with these have very specific requirements in terms of concerns, staff recognise that the ultimate aim is employability and enterprise, notably the drama for students to find their way in their practice, and courses within the Centre for Performance succeed in their chosen field. Staff were very aware at Central Saint Martins College of Art and Design. that the external connections, which courses exploit These courses are founded on the basis that through the projects they set, are what holds the they are vocational training; students graduate interest of future students. What Is with a Union card. All disciplines that took part in this research Many staff felt that employability skills support (Focus Groups, Case Studies and Interviews) a student in the longer-term identification of were intent on making connections with relevant Discipline- enterprise opportunities. This is apparent in varying industry partners, organisations and individuals; degrees according to the discipline. In Fine Art, however, the way this is approached differs for example, students aim to become practitioners, depending on each industry’s particular career sole traders, requiring extensive enterprise skills, requirements as well as those of course curricula. Specific In but to support themselves on this journey they will require employability skills. Across disciplines, there is no single career trajectory; for example, within BA Product Design at Central A Portfolio Career Saint Martins College of Art and Design there are Enterprise & ‘very, very different career strands throughout our With current changes to fees and educational course… that require different employability facets provision, and the difficult prospect of graduating in addition to the enterprise skills required by some in a climate of austerity within all industries, many graduates.’ This is true for most art and design Employability? people feel that you just need the skills to get a job. graduates, as evidenced in the Destinations of At the same time, we have industries with immediate Leavers from Higher Education (DLHE) survey, where needs for graduates with specific skills. employability skills might interweave with enterprise ‘Every discipline skills in pursuing a portfolio career for many years has a different Are we educating our students for life-long careers after graduating. professional or for current specific job vacancies? How much should it be the responsibility of educational Learning ‘soft skills’ such as teamwork, adaptability practice journey. establishments to guarantee that employability and creativity are the building blocks for the future. The challenge is that post-graduation is a result of study? The ability to read and write research; the ability we can’t tailor every to innovate thought and practice are skills which single programme students may use in many different career choices. to every course.’ These skills are not specific to any discipline; they are a result of having spent time studying, Course Leader, in an academic setting. Central Saint Martins College of Art and Design 19 20

The field is incredibly competitive. The curriculum There is the added motivation of combining resources Acting & Directing does recognise this and encourages diversification to create shared financial benefits, but fundamentally, e.g. the BA Directing course is predicated on the as Jonathan Martin notes: The Centre For idea that the students are storytellers and as such Performance they are able to transfer skills across different media: ‘The act of making theatre in any shape radio, film, theatre, television; or different formats: or form is absolutely collaborative.’ Undergraduate and Postgraduate documentaries, commercials, new media.

Jonathan Martin There is an increasing awareness amongst students Future Developments Director of the need for parallel activities to support The recent move to Kings Cross and the creation of Drama Centre London, themselves. This portfolio of work might include, the Centre for Performance is breaking down barriers. Centre for Performance for example, teaching or management training There is room to learn from best practice on other (interpersonal skills, role play); some might retrain courses; room also for rationalisation of resources Central Saint Martins College whilst building on their skills e.g. as writers. and to undertake joint initiatives, e.g. self-employment of Art and Design and tax workshops. Drama UK accreditation is dependent upon the drama courses each delivering a set number of hours; The creation of a shared performance culture this means that the students’ timetable is very full. is a key priority, as Jonathan Martin notes: Consequently, there are limited opportunities for student-led initiatives and extra-curricular projects. ‘All students across the Centre for Background The course has also developed the practice of Performance are going to be more aware The Centre for Performance offers Acting and ‘paper productions’, training students in pitching Outcomes of other art forms or other aspects of Directing courses accredited (as Drama Centre & selling projects. BA Directing also includes a The conservatoire courses have a proven track record performance (from character animation London) by the professional body Drama UK. ‘Creative Management’ PPD strand, which introduces in placing graduates into the industry, evidenced by to a film screening and so forth), so the These accredited ‘conservatoire’ courses train students to the operational side of the creative alumni such as Tara Fitzgerald and Colin Firth, whose idea is that within the Centre for Performance students for careers in the theatre, film and industries, specifically theatre and film production. ‘Best Actor’ Oscars greatly enhances the brand. we can build up an awareness of and interest television. They provide an intensive full-time in other aspects of performance culture training incorporating professional placements. Placements for Directing students offers opportunities The Drama Centre London ‘badge’ is important and practice.’ to students at a level appropriate to their career for actors and is universally recognised in industry. Design and Approach development; they are also designed to help The CSM brand is becoming equally important for During Stage 3, BA Acting is focussed on the develop vital professional networks. Directing students who might want to access new The Centre for Performance has two performance agent’s showcase, public productions and other media and commercial projects. spaces, which are primarily for college and student public sharing of work. Development for Acting BA Directing students are also required to develop use. They also host a range of visiting professional ‘Actors need undergraduates intensifies from the end of a ‘graduate plan’ during their final stages of study. Accreditation by Drama UK means that students productions. employability skills. Stage 2 into Stage 3 to include audition technique, are able to graduate as members of the professional They need strategies mock auditions and a range of other professional All of the above activity is assessed. Trade Union Equity. ‘Our students are going to be exposed to a development opportunities. different range of performances; their minds for getting an agent Challenges and Implications Opportunities are emerging to develop networks are going to be opened not just artistically and a job. Directors In practice, directors require some production credits ‘ I think the problem is that if students within the Centre for Performance through increased and culturally, but also in terms of employment need enterprise skills. before they would be considered for a paid post, don’t have a clear vision of strategies collaboration between courses. More formal and the fact that they belong and will belong e.g., a couple of years’ experience on the fringe. and a graduation plan, they can definitely collaborations are emerging, e.g. Performance over the long span of their careers to a broad Directors are often the BA Directing is responding to this by developing a risk falling into quite a big hole. Survival Design and Practice and Acting courses identified performance culture.’ initiators of projects.’ direct relationship to the workplace in the course, for strategies are crucial.’ opportunities for assistant designers, and sound example, programming graduate shows in the Studio and lighting designers, within the Platform Theatre; theatre not the main house, which is better-matched Foundation Diploma in Performance students have to the professional opportunities graduates are likely voiced animations for MA Character Animation. to find in fringe venues. Jonathan Martin Central Saint Martins College of Art and Design 21 22 BA Surface Design The Student Journey Unit: Self and Identity The real issue may not be in addressing the Practice in delivering enterprise and employability differences between different disciplines as much should reflect the diversity of the student population. Ellen Hanceri ‘Different students as it is addressing the differences between individual This diversity presents a challenge in meeting Senior Lecturer have different needs at students. Students often do not approach their student expectations; for example, is advice about BA Surface Design different points in time.’ learning in a linear fashion; rather their journey may enterprise and employability relevant in international pass through different stages in an iterative fashion contexts? Are we articulating the variety of pathways, London College of Communication Tutor, Central Saint Martins and may engage with different stages simultaneously. experiences and approaches that are available College of Art and Design Individual students’ journeys are likely to have diverse to students? starting points and transition points into the future (QAA 2012: 12). Student collaboration within the curriculum recognises the student as a stakeholder of their ‘99% of students within the graduate school education. A ‘collaborative model’ encourages Background The creative practice part of this project is, in effect, Challenges and Implications have already been in employment, and although teaming between teachers and student and At all times on BA Surface Design, students are a simulated external brief that could become live if the The assessment processes of the two projects we have industry projects, we are less creates opportunities for us to create new encouraged to accumulate a knowledge of the work reaches a high enough standard to be presented ‘Design for Industry’ and ‘External Brief’ can engage concerned with those fundamentals, so it’s curriculum and explore new methods of instruction. breadth of the discipline and where they may find to the company. It is assessed by a process of a ten- and judge the student in different ways. In the first much more about helping them take the next In addition, using collaborative learning activities opportunities to further their own stake in it as new minute, one-to-one role-play interview presentation, project, the role of the simulated external client is fluid step – more leadership and management means structuring student interaction in small, designers. By analysing collected data and market with one student acting as client, who then presents and not fixed. It may or may not become live. In the of people as they go further forward.’ mixed-ability groups, encouraging inter-dependence, research in specific geographical areas, approaching the work to the group. Students do not have the second, the partner is fixed, but the panel assessment Programme Director, and providing for individual accountability. companies they would like to work/design for, and opportunity to talk about their own work to the whole allows for sometimes contradictory opinions. These MA Design & Management for the Fashion attempting challenging live briefs set by industry group, so the earlier interview is very important. experiences can affect their creative aspirations. Industries, London College of Fashion By taking part in cooperative experiences, students (often requiring them to work in teams), they gain It is a chance for students to discover how well they are encouraged to learn by assimilating their ideas a better understanding of their own identities and are communicating their own identities; how their Outcomes and creating new knowledge through interaction with can direct their own self-image, thereby having the work is interpreted by others; how successful When students have completed the various Many students enter courses, especially others. Maintaining a link between alumni and the confidence to become independent thinkers and is their editing and presentation of their collection? sections of the course that engage with at postgraduate level (but also as undergraduates), University is also incredibly important for collaborative original individual designers. It exposes their levels of confidence, and that enterprise and employability, they have a having already been employed. In this context, learning within the curriculum; students like to be of their peers. sense of who they are, where they are going enterprise and employability skills may need talked to by ex-students and alumni like to promote Design and Approach and how they are interpreted by other people. reassessing; some students might be establishing what they are doing. Work Experience Year Two If they have a more developed sense of their a new career; others might be working in the ‘Creative Capital’ Project Year One Part of the ‘Design for Industry’ project is obligatory own identity, they are more likely to be able field and developing their skills; others might be The biggest resource we generate are graduates. Within one specified area of London, each student work experience and students complete two to direct where they are going and what changing to a related career with crossover skills. gathers information on suppliers, retailers, exhibition placements of any length, and submit a written they aim to achieve. spaces, venues, manufacturers, as well as the illustrated account of each. The experience aesthetic and mood of the area, from the architecture of engaging with an external working situation to the paving stones, aspects of quick social change, is one of the most transformational parts of the Returning from their work placement experiences, and everything that makes up a visual environment. course. Students return from these experiences they begin to imagine themselves in these roles ‘Surface Design is a course with with a change of approach to their work and in their future careers, and have further developed The work is presented orally by students to the rest professional practice, and often with a change something of their own identities. Seeing that a very strong identity which of the group, who have been researching other areas to their appearance. expressed through the way they dress and present allows students to develop very of London. The combined resource of information is themselves in visual terms is a symptom of individual profiles through hands- collated into a magazine or included in their technical ‘External Brief’ Year Three a deeper transformation that could be going folders, to be of use throughout their creative futures. This project challenges students to interpret on; pushing the boundaries of the way we think on experimentation. In addition to This project is assessed formally by staff attending a sometimes unfathomable project brief. They must about the effects of employability and enterprise supporting traditional surface design the presentations, and by student peers. decide how confident they are to return to the client in the curriculum. skills-loading, the programme is also and ask questions, or whether to interpret the offering a unique experience for those ‘Design for Industry’ Project Year Two brief as one where the client has granted freedom Recent changes to course structures and This project challenges students to design a of expression. What kind of designer are they: revalidations have extended the length of time given who want the freedom to explore collection of work for someone on their hit list, which one who needs to work with absolute clarity or are to individual units on the course. This gives more time conceptual issues in a design-based will improve, change or add to the company’s output. they to exploit the opportunity this has given them. to cover more practical skills, which are in addition to forum. Diversity of approaches has They write a CV, covering letter and are guided on how developing ideas and being creative. It also allows for to approach the companies by attending talks from Assessment of the ‘External Brief’ is by panel movement and flexibility within the curriculum’s time resulted in a healthy mix of learning representative from industries. They write a reflective assessment, made up from staff (formative), frame, which suits complicated collaborative projects. styles supported by an emphasis personal career statement – my past, what I’m doing student and industry representative (general on individuality.’ now, where I aspire to be in the future – which underpins feedback). The student and client feedback Resources the choices they are making. and comments are essential and invaluable, http://baspatialdesign.com/ Neil Musson but they do not offer a grade. The students External who get the highest grades are not necessarily Examiner’s the ones shortlisted by industry. Report 2012 23 24 What Is The Relationship Between Enterprise & Employability?

It is easy to think that employability is the learning A fundamental element of enterprise and Background Outcomes of practical skills in order to become an employable The task of the educator in employability is to be socially, economically Enterprise and employability The fact that the entire curriculum is person, and enterprise is how you use them innovatively. embedding enterprise and and globally aware. Internationalisation also are completely embedded in the based around the a-n Code of Practice However, you have to be enterprising about your employability into curricula links enterprise and employability and is essential curriculum, which is based on the is key, in that the course acknowledges employability potential, or ways of creating or finding is to: in preparing students in becoming valid contributors a-n/Arts Council of England report that we need to be able support the job opportunities. There is a tautology in terms to global industries and companies that trade about skills graduates need to function artists with sustainable practices, of enterprise and employability; enterprise is Create learning environments that encourage internationally. There is a real need to build a MFA Fine Art as professional artists. It is called the particularly at postgraduate level. meant to incorporate and reach beyond employability, entrepreneurial and employable behaviour global network of contacts of entrepreneurial Code of Practice for the Visual Arts. One of the issues that is coming up Edwina Fitzpatrick but employability includes the attribute of being in students now and in the future talent, and also to position our graduates in terms with writing the MFA (because it has enterprising. of employability, so that they will thrive and excel. Course Leader Good practice prevails where artists: a very professional focus) is that we

Design curricula with learning outcomes that relate are looking very much at creating Wimbledon College of Art There is unquestionably an overlap between to enterprise and employability through increasing Enterprise and employability skills must also be Contribute confidently a toolkit (and it’s named as such) the broad set of skills which contribute to graduate relevance and decreasing abstraction transferrable to other career paths, so students parachuted throughout the course, employability, and the characteristics of enterprise. leave knowing how to practice professionally Prepare Thoroughly with those different skills and support Enterprise education can enhance careers education Enable students to relate their learning in the broadest possible sense, though at the put in different places. and student employability by enabling students to to their subject or industry context and same time, not be so generic that they miss Collaborate Creatively be more opportunity-focused, self-aware and attuned to personal aspirations out on valuable benefits of the context in which Future Developments to the business environment. Entrepreneurship they are being taught. ‘Enterprise and Aim High We have noticed from current students is part of a wide range of enterprising graduate career Continuously exploit new opportunities employability take many on the MFA Fine Art course that options which include freelancing, portfolio careers, for enhancing the student experience Design and Approach professional practice components and running a part-time business (QAA 2012: 9). forms in Fine Art which Teaching includes a formal lecture of the curriculum are increasingly Be innovative in their approach to teaching and we collectively call the programme led by a curator which felt to be important and are part-time Most courses offered at the University need enterprise willing to experiment with different pedagogies professional toolkit.’ is followed up by seminars in Year study, so students develop life-work support as much as they need employability support; to ensure appropriateness 2. There are a series of workshops skills whilst studying. the skills which allow students to follow their Edwina Fitzpatrick exploring contexts and key skills aspirations, and take the initiative. Be a leader who is able to shape the opportunity- ‘…students probably do loads Wimbledon College of Art such as mentoring. BarCamps are Resources based learning environment of stuff which adds to their used as forums to discuss practical We have reviewed the studio use enterprise and employability and ethical issues, particularly relating and provision, as where we ‘make’ Engage external communities and find to collaboration and relational practice. and the materials we use are a key appropriate practical contexts to enhance skills, but they don’t recognise Offsite and exhibition projects practically aspect of a sustainable practice. the learning experience that... they can’t see what it is. test these skills. Actually, it might just be about In development is the Futureproof Engage employers, entrepreneurs and This is assessed formatively and Course Handbook, created with entrepreneurial ventures to enhance highlighting it a bit more. summatively; the a-n skill sets are used alumni from Chelsea, Camberwell learning opportunities (QAA 2012: 22). And I think we should do as learning outcomes. The students’ and Wimbledon. Working with it right from the word go.’ online web folio evidences this current students, they have helped at summative assessment. shape the new MFA Fine Art course. This was supported by a CLTAD Tutor, Chelsea College Sustainability in the Curriculum Award. of Art and Design 25 26

Challenges and Implications BA (Hons) Textile Design The limitations are that students may expect to sell a lot at the trade fair, but it is the learning Unit 6: Design and Innovation, Stage 2 experience as a whole that is the most important element. For example, seeing how industry operates Caryn Simonson and also gaining valuable contacts for themselves Course Leader and the course. BA (Hons) Textile Design Melanie Bowles The Trade Fair approach involves a lot of staff Senior Lecturer in Digital Textiles organisation. CCW Enterprise Collective are looking Kathryn Round into ways in which they can support the course, Senior Lecturer in Digital Print through external funding for the trip and also to develop enterprise initiatives which could enhance Creativity Chelsea College of Art and Design the trip and future outcomes; for example developing a database of contacts, sending out publicity, Our unique product is creativity. Staff often spoke of the fact that they Purpose raising the profile of the event for our stand, etc. Emphasis must be retained around did not want to produce ‘technicians’, Enterprise and employability is approached through creativity in the learning and teaching but they also did not want to ignore a range of activities, e.g. Live Projects; industry Outcomes of enterprise and employability. The way industry’s changing needs. They see reviewing work and selecting designs for sale in It is tried and tested and works very well! in which enterprise and employability the relationship with industry as New York, and giving feedback on what sells and skills are taught should synthesise reciprocal; the priorities of education what doesn’t to particular clients and why; projects Student feedback is excellent. thinking between the students’ creative should influence industry expectations, with industry, for example, the H&M and Burberry output, technical skills and business and vice versa. Arts education is a Caryn Simonson projects. The H&M Recruitment and Design team ‘ I liked how we had two main goals; acumen. A good way of exploiting balance between being able to operate Chelsea College funded a project for an exhibition and set a brief an exhibition and Indigo. It gave us these transferrable skills is to apply ‘kit’, but not (necessarily) in the same of Art and Design in line with industry needs; students then produced a good incentive and it is important them while collaborating with other way as would someone from an fabric swatches/designs for particular H&M contexts. to see how others relate to your work…’ disciplines as part of the delivered engineering course. curriculum. Design and Approach Further university consultation with Usually, textile design students are designing Student responses to the three best aspects After spending time at university, industry could inform the ways in which swatches of fabrics, such as knit, stitch, print of the unit were: students may be technically and we need to teach our students, and ‘The unit allows students or weave, developed from in-depth visual socially competent when they reach the types of bespoke training we should to develop as designers research and design development drawings Working towards Indigo; creating a professional the workplace, but the difficulty offer future full or part-time students. creatively, without too many or 3D experiments. The work is assessed collection to be solid designers is getting students to develop Seeking advice on the crafting of formatively through tutorials and interim reviews. and apply their individual creativity. courses to enable us to teach creativity commercial boundaries, or Sometimes industry is invited to contribute Working on the stand, being able to be helpful In some descriptions of enterprise and and maintain the technical abilities too much of a commercially to the review process providing feedback when communicating, as well as coming across employability skills in the curriculum, could be aided by involving external fixed requirement/end on the needs of industry in relation to the as professional when talking to customers we do not put enough emphasis on examiners from both academia work. Tutors within the course team conduct the students’ creative capital. This is and industry. product. This allows the summative assessment. Going to Paris and learning how to get around our product at UAL, and our students student free rein in developing and being on the stand at Indigo do it well. Staff felt that we should their design work, which is The Project is structured as: be celebrating that fact. essential to create innovative ‘This comes in the form of recognition A brief is set and a briefing kicks off the project, of the professional standard of the work The onus is on higher education as designers, and also allows which is delivered by the Course Leader and by those who view the work and purchase well as industry to ensure the gap is them to present the work and sometimes industry as well designs. Sales of work have been made bridged between encouraging unique experience in a professional to Louis Vuitton, Kenzo, Desigual, Nike, etc.’ original creatives, and technically Students then develop visual research and receive Industry feedback adept graduates. It is challenging and commercial context. They tutorials for support for educational establishments to are able to sell work alongside keep pace with current industry professionals; it gives Students have an interim review mid-way through Future Developments practice, so it is imperative that there the project to receive formative feedback on Currently, we are working with CCW Enterprise are opportunities in the curriculum them confidence.’ progress and suggestions for improvement Collective to develop and strengthen the project. for employers to feed back to the We have a comments book and encourage contacts education sector, and become involved Students submit and display work in studios to leave their cards at the stand. This is then scanned with training and mentoring, by offering for summative assessment, followed up with and uploaded to Blackboard, so all students can have production focused longer-term tutorial feedback sessions and written feedback. access to the contacts gained. We plan to work with internships. Additionally, providing CCW Enterprise Collective to develop a database access and support for the University of these contacts. to keep abreast of technical innovations and industry trends. 27 28

Collaboration MA Graphic ‘Visual Rhetoric’ is a collaboration between Design and Approach Outcomes Postgraduate Graphic Design students at London MA Design students can choose to work on the The collaboration provides a unique learning There is potential for developing units This would: Moving Image College of Communication (LCC) and Social Science LSE Information Design Workshop option as part experience for both institutions, bridging the to enable collaboration between courses. PhD students at the London School of Economics of their PG MA. A designer is teamed with a final importance of design and relevant visualisation This is a rich learning experience and Allow complicated negotiations Unit: Visual Rhetoric (LSE). By pairing students from the two institutions, PhD Researcher at LSE to collaborate and visualise, to the field of research. The project gives the provides an opportunity for knowledge and timelines to be fixed in advance. a healthy debate has arisen on the value of data through negotiation, a part of their research students the opportunity to be involved in real- transfer and skills development. Penny Hilton visualisation and information design. Through pilot or key findings. world professional research that contributes Individual course curriculums Appeal to industries, encouraging Course Leader workshops, students have produced posters and towards policy change. The experience encourages and programmes, and unit learning a variety of approaches from across Postgraduate Design short films extending discussion around design Within this initiative, there are several opportunities comment and debate around student outcomes, outcomes can be very different, disciplines to tackle the same brief. and the communication of social science research. to provide real-world experiences of negotiating and the value of the process, offering criticism and so seem prohibitive. London College of Communication the relationship between client and supplier, and opinion from a scientific perspective. Support academics by offering a We are planning to develop a sustainable curriculum from considering the brief to supplying the output. The visual design outputs allow research ‘We were trying to set up scheme which embeds enterprise model and disseminate the outcomes of this exciting to reach a wider audience. a project together, but in the and employability in the curriculum. interdisciplinary collaboration to wider audiences. Outcomes are unpredictable and often experimental, end we couldn’t collaborate with no set goal or brief to fulfil. The teams are Future Developments: because our curriculums didn’t Ensure that all students Background free to explore potential outputs. As guide tutors, LSE recently succeeded in obtaining Higher allow us to. Our course and have experience of working ‘ I was fascinated by the idea to work with other we help navigate outcomes via seminars, workshops Education Innovation Fund (HEIF) 5 funding unit learning outcomes were so on an external brief. students and researchers, merge our methods and tutorials, ensuring that the graphic design to extend the project for 1 year, with a potential fixed in comparison to the other and use our skills to help each other. I was is best implemented. for two further years. Penny Hilton has been awarded course… we can share practices This could be organised by also quite attracted by the idea of working with a HEA grant towards developing a sustainable and discipline crossover, but the each programme area or across real data and understanding how sociological Outcomes are varied, from posters to short-film curriculum model to disseminate the outcomes (course) structures of outlooks programmes; suggestions of which research is undertaken by professionals, work, for a variety of uses. The workshops have of this interdisciplinary collaboration more broadly. and outcomes don’t allow companies/institutions be approached to look at it from the inside.’ been in two parts, delivered over two separate people to collaborate.’ could come from staff/student London College of Communication Student 2010 weeks. Students then have a further three weeks Further developments also include: Tutor, Chelsea College wish lists or personal staff contacts. to finish outcomes for hand-in and assessment. of Art and Design Staff often prefer to use their Website build planned own personal industry connections Essentially, Visual Rhetoric is an ongoing Live Challenges and Implications: when developing external partnerships, ‘By fostering models of Project now embedded in the curriculum at both There is limited time for design students Project Archive There may be a space in the curriculum but they are also willing to share institutions. It includes assessed outcomes, with to engage fully with the in-depth research. for a set of industry briefs to be available their contacts with others. collaborative learning and teaching workshops, lecture series, exhibitions, competitions, Digital collaborative space to all disciplines across a range of the project supports new types of and placements at LSE planned. The project offers Conflicts can exist for students with pressures courses. By using a sign-up sheet, Collaborative learning with other understanding, cognitive skill and an opportunity for our students and staff to run of their other studies. Seminar series hosted by LSE each project brief could have a limit groups of students or disciplines application, and provides a context workshops at LSE. on the number of students submitting also puts a student’s own practice Some students choose this option because Workshops delivered (by graduates) work, ensuring that students consider into relief and requires key employability for knowledge exchange within they have not looked at information design to both institutions, which offer new carefully which they wish to attempt. skills, such as emotional intelligence, the student community. before, so the most experienced students skills and opportunities to students This could slot into a Collaborative self-efficacy, team-working and This project aims to construct don’t necessarily gravitate towards the project. Project Unit (20 credits) in Year 2. communication. Collaboration Graduate Fellowship scheme can also demand enterprise skills, a model of cross-fertilisation Better outputs and engagement would happen such as the development of networking between Social Sciences and if the project was directed specifically at Internship programme skills. Fostering models of collaborative the Arts by providing a framework Information Design students. learning and teaching supports new New MA or joint course to be developed. types of understanding, cognitive for student collaboration beyond Students need chasing to commit to what Possibly awarded by UAL with modules taken skill, application, and also provides the disciplines with which is essentially an add-on to their demanding at LSE in Social Science representation and a context for knowledge exchange they are familiar.’ postgraduate schedule. Information Design. within the student community. Penny Hilton Resources London College of Communication All of the above would be resolved if the project http://www.youtube.com/watch?v=wMWeLbpGXkQ was part of the core content for an Information http://www2.lse.ac.uk/intranet/LSEServices/TLC/ Design-specific course at postgraduate level at LCC, whatWeDo allowing time for full engagement. Problems above could also be resolved with more resourcing. 29 30

The Value of Risk Taking ‘One significant difference This poses the question of where between actual employment enterprise and employability fit into and academic projects is the curricula and where they sit Background The project straddled Units One and Two of the MA, The course is delivered in extended full-time the freedom to take risks outside? Practical opportunities ‘We talk about it all the time how, as designers, but was not directly assessed in either Unit. However, mode (EFT). This mode of delivery was devised on academic programmes. for gaining experience can be created we are capable of more than just making the project has informed many ongoing projects in consultation with students to enable them to For example, students are either within the curriculum or through things look nice. So we were really excited and proposals, e.g., using lessons learnt from the undertake employment alongside their studies; encouraged in enterprise and optional extra-curricular activity to get involved in a project that could project, one student is working to revitalise a hotel in many cases, this means maintaining a professional employability to explore a real that complements learning within put that idea into practice.’ in her hometown of Florence and prevent its closure; practice whilst studying 30 hours per week. industry environment with the the curriculum. Usually, such activities Cally Gatehouse, MA Communication Design student another is working to rescue a small business The flexibility this provides, as opposed to traditional safety net of the course… are not formally assessed. However, in Lisbon. modes of full-time study, is key to enabling projects you fall back into the course. participation in extra-curricular such as the Fish Factory to be developed The ability to take risks is highly activities may, in some cases, The Fish Factory project originated with work Odling emphatically believes that in enabling the and delivered successfully. regarded within the whole be formally recognised and recorded, undertaken by Anne Odling-Smee in Konstfack students (and villagers they worked with) to see programme.’ for example, through reference to the University College of Arts, Crafts and Design, the role, value and importance of design as a tool However, it does raise challenges: Course Leader, Personal Development Process (PDP) Stockholm and fellow Visiting Tutors Rosa Valtingojer for regeneration, the personal and professional Central Saint Martins College and use of transcripts, as well as & Zdenek Patak from Icelandic studio Mupimup! development of the students extends far beyond ‘The nature of a professional brief is that of Art and Design the Higher Education Achievement - Recycled by Design, a practice concerned with the learning outcomes of these Units. it can’t really be controlled, because the Record (HEAR). sustainable design. client has expectations that aren’t really part Challenges and Implications of our didactic purposes. So matching that Enterprise and employability skills This publication recognises the value The Mupimup! practice was engaged in a new Challenging, large-scale projects like the Fish Factory means a lot of flexibility, which is what you development should be embedded of extra-curricular activities as providing project to convert an abandoned fish factory create logistical, bureaucratic and resource issues. would expect in a professional environment, in academic programmes rather important opportunities for access, in Iceland into a creative centre providing residences, They require a significant commitment of time and and some students interpret that as a lack than be an add-on, to give students networking, practical experience a design centre, gallery, workshops and a cafe, resources, including that of tutors, especially when of organisation on our part. That gap must the best chance of shaping their and support for student enterprise and and in so doing, re-energise the local community, tutors are either part-time or associate lecturers. be bridged.’ future. We should not just provide employability. Extra-curricular learning which had been dwindling since the financial crash Andrea Lioy, Acting Course Leader the opportunities for students in isolation, however, may not provide and the factory closure. The project launched The spontaneous nature of this activity means that MA Communication Design to achieve good academic results, a student with sufficient knowledge and MA Communication in 2011, and aims to complete in 2016. it wasn’t developed to fulfil the learning outcomes but actively promote the benefits skills to create and sustain their own Design of the course, although it remained aligned with them. of a wider curriculum to students. successful venture, or to flourish as an Design and Approach Such projects sit in a grey area overlapping the core Effective communication is essential in bridging After all, university should be seen ‘intrapreneur’ within a small business. Unit: One: Shared Language, ‘The design of the course relates to design curriculum. The students’ learning experience, whilst this gap, which is sometimes compromised as a transformative experience through Two: Communication Question, practice in the world beyond the course. highly valued, isn’t adequately captured in terms of by the patterns of employment of both permanent which students can prepare themselves One challenge for higher education Fish Factory Project Many students enter the course from diverse academic credit. It also means that the activity isn’t and hourly-paid staff. to succeed in the many and varied providers is to make students aware working cultures with professional design monitored or evaluated in orthodox ways, e.g., by roles they will undertake in future of the learning opportunities for Anne Odling-Smee experience and appreciate this fact. Higher summative assessment. Such extra-curricular activity Future Developments life. (Andrews, M. 2013). enterprise and employability that Associate Lecturer education is not simply a vocational training. merits further investigation in terms of project design, The links established with the Fish Factory have are available beyond the taught Victoria Salmon The course aims are more aspirational: monitoring, evaluation and assessment, and is considerable potential for collaboration with The importance of risk-taking is also learning environment. If enterprise Associate Lecturer “a narrative of excellence”.’ a potential area of further research. students from other courses e.g. product designers. addressed by another course leader, and employability is embedded into School of Communication, Andrea Lioy, Acting Course Leader Anne Odling-Smee has seen increased opportunities who sees great value in allowing the curriculum, it can springboard Product and Spatial Design MA Communication Design Outcomes for regeneration projects, both professionally students to develop their own projects interest toward extra-curricular support. ‘The design of a new way of communicating and for her students. outside of the main curriculum: When students take responsibility Central Saint Martins to people… can shift our perception for extra-curricular activities this College of Art and Design ‘The messiness was a Anne Odling-Smee saw an opportunity for the of the world in which we live.’ ‘Design is a really good alternative to money, ‘A lot of the student-led initiatives contributes to their employability necessary and helpful students to participate in shaping the project, Andrea Lioy, Acting Course Leader, actually, as a way of finding solutions. You can are not assessed because they and entrepreneurial learning, a suggestion that was enthusiastically received MA Communication Design throw money at it. You can also throw design tend to be extra-curricular, but I and may count towards other part of it… It’s not part by the Icelandic studio. Approximately one-third at it. You can throw both, which is really good. think perversely there’s probably external awards schemes. of the main curriculum of the cohort – 17 students and two tutors – But, if you throw design at it, you may need a lot more professional practice & shouldn’t be seen as volunteered to participate, committing four months The Fish Factory project facilitated student less money which is interesting.’ employability experience that It is important to encourage students Anne Odling-Smee such… you apply the of their time to this largely self-funded project at participation in a live project meaningful comes out of those than some to reflect on their experiences, and Central Saint Martins significant personal cost (approximately £600 each). to the students. As such, it enabled students of the things that happen in the to appreciate the capabilities they College of Art and Design structural system to it.’ to see the relationship between the message curriculum… I also think the fact are developing and how these can Students were required to develop project of the course, the design of the course and that it’s not assessed allows the be applied or extended. Academic management skills, and roles were assigned to them their relevance to the world beyond the course. students to feel that they can tutorials, as well as careers guidance for key aspects of the project: financial organisation, be more engaged. They can and mentoring, can play a facilitatory documentary film-making, self-publishing, conference take more risks.’ role, especially if reflective practice speaking and event management. Tutor, Central Saint Martins College enables students to ‘join the dots’ of Art and Design of past experiences and perceptions (QAA 2012: 7-14). 31 32

Enterprise is about preparing and encouraging students to explore and exploit opportunities and to show initiative and resourcefulness, ingenuity and endeavour. The development of entrepreneurial skills is encouraged via external projects or in an assessed What Do unit; students are encouraged to learn through doing. This allows students to experiment, test out ideas and take risks, as well as introducing experiences We Mean By such as collaboration and working as part of a team. An enterprising university produces enterprising graduates, as students see how opportunities can This makes up part of a student’s journey towards be grasped, nurtured, and developed. This exposure awareness, resourcefulness, confidence and Enterprise to a network of professional development creativity; developing a sensitivity to the world opportunities is invaluable as part of the curriculum, in which they practise and finding their way in it. and an understanding of how to develop and achieve Allowing them to follow their aspirations, success with these opportunities comes in the and take the initiative. In Creative teaching of enterprise. These achievements have often been made within environments that are far ‘P edagogical developments will only from conducive; they have had to be enterprising occur through a culture shift and taking and flexible themselves (QAA 2012: 3). some calculated risks to educate students Disciplines? for an industry in a state of transformation.’ To articulate some of the essential principles Business & Enterprise Director, Graduate School, of enterprise one might include: London College of Fashion

Developing networking skills and valuing contacts made. Being enterprising can mean being awkward, and in an increasingly regulated system it can Devising effective self-promotion; be difficult to assess this in terms of the marking identifying your identity. criteria. If we encourage a student to take risks ‘Enterprise involves the and experiment and to learn from their mistakes, additional assets of being Being able to spot and act on opportunities we must be sure to reward as well as ‘love the noble able to spot and act on with potential. failure’, which can be assessed as key outcomes in the UAL experimentation marking criterion. opportunities, being Being resourceful, proactive and having resourceful, proactive, a personal vision and ambition: how to All of this is a prerequisite for entrepreneurial having a vision; project be enterprising with what you have to offer. effectiveness; that is, the ability to function effectively as an entrepreneur or in an entrepreneurial capacity, management, networking Different ways to sell your work and/or services/ for example, within small businesses or as part of and financial acumen.’ expertise, intellectual property, licensing portfolio careers, where multiple job opportunities, agreements, online retail, agencies, etc. part-time work and personal ventures combine. (Ball 2008:4) Enterprise and entrepreneurship are transdisciplinary, Having confidence, i.e., ‘taking the plunge’. with a strong connection to issues of employability, innovation, knowledge transfer, commercialisation, Writing a successful business plan. and intellectual property (QAA 2012: 2).

Working to an inflexible timetable, on an unfathomable brief, to an impossible deadline. 33 34

Entrepreneurship Entrepreneurship education focuses The application of entrepreneurial Background Challenges and Implications on the development and application skills within an existing, corporate BA (Hons) There are many potential career routes for jewellery Much current enterprise activity can’t be fully From the French verb ‘entreprendre’, of an enterprising mindset and skills or public sector organisation is termed Jewellery Design graduates. Developing and maintaining external embedded in the curriculum as it is about taking which means ‘to undertake’, sounds in the specific contexts of setting up ‘intrapreneurship’. Both entrepreneurs contacts and establishing a network for later reference, opportunities as they present themselves quite fitting, as entrepreneurs are a new venture, developing and growing and intrapreneurs require enterprise Unit: 7 ‘Different Contexts’ are key enterprise skills. Enterprise activity is also e.g. in the current year (2011-12) Stage 2 students always undertaking new challenges an existing business or designing skills and behaviours, as well as bridging into Stage 3 promoted through live projects and competitions, participated in a project initiated by the Barbican: and coming up with new ideas. an entrepreneurial organisation. business knowledge, behaviours and Unit: 9 ‘Major Project Research but this frequently extends beyond the core curriculum, the Curator of the Bauhaus show at the Barbican skills that are specific to the particular and Development’ and Pop-Up Shop as by definition, it demands responsiveness and gave a talk for the students; they were then invited It involves the additional assets Entrepreneurship education aims context (QAA 2012: 8). opportunism, which can’t always be planned for. to create work for the Barbican exhibition shop of being able to spot and act on to produce graduates who are capable Caroline Broadhead in relation to the Bauhaus show, which was then opportunities, being resourceful, of identifying opportunities and Course Leader, Design and Approach selected on a competitive basis; the ten winning proactive, having a vision; including developing ventures, through setting BA Jewellery Design; Enterprise skills are introduced in Stage 1: students were asked, as an extra-curricular activity, project management, networking up new businesses or developing Programme Director, a gallery show is organised, in which students to each put 250-500 pieces into production which and financial acumen. Entrepreneurship and growing part of an existing venture. Textiles and Jewellery Stage 2, must include a delivery note, price list and brochure, then went on sale, including pricing and arranging is about innovation and calculated It focuses on encouraging students School of Fashion and Textile Design in addition to their pieces. The gallery owner provides the outsourcing of manufacture (which might risk taking, whilst being self-motivated to apply enterprising skills and Sian Evans feedback, but there is no feedback from customers. be international). These valuable enterprise and demonstrating initiative. attributes to a range of different 2nd year Tutor skills acquired by the students don’t result contexts, including new or existing At the end of Stage 2 is a production project: in academic credit. businesses, charities, non-governmental Central Saint Martins Unit 7 ‘Different Contexts’. Twenty pieces are organisations, the public sector, College of Art and Design produced that develop an idea; the students Such projects often rely heavily on staff and social enterprises. are required to choose one and make 21 identical enterprise skills. pieces using a suitable production method. One of these is taken for the course’s collection; Outcomes the other 20 are sold to raise money for the degree A key benefit to this commitment to a flexible show. In order to do so, the students are required curriculum, accepting approaches from partners to organise a ‘pop-up’ shop. and sponsors or allowing students room to project manage initiatives, is that it enables the extension During the autumn term of Stage 3 the students of planned activities. For students, it raises identify and hire a venue, display and label their expectations of what can be achieved. It allows ‘A broader definition for work, create a price list, write a press release, students to explore the interface between ‘If you are trying to think and market the event. commerce and creativity. entrepreneurial learning in society of something to sell, – ‘bold resourcefulness’ - extends beyond a ‘business’ model, trying to second-guess Last year the show was held in a coffee shop on ‘ In a way what’s interesting about the pop-up providing ‘an opportunity for somebody else’s taste, Goswell Road in Clerkenwell for four days (staffed shop is that very often some safe designs do individuals and organisations of you sometimes are far by students); leftover stock was then sold in the Street sell very well but actually it’s quite surprising all kinds and in all walks of life to at CSM and, finally, the remaining collection was also that some that you might expect not to cope with, provoke, and perhaps more safe than you need taken to a student house for a coffee morning sale. sell do sell. Actually that is very eye-opening enjoy, an increasingly complex to be, because people for a student.’ and uncertain world.’ are looking for something In this, the second year of running the Caroline Broadhead ‘People who are enterprising project, £5,000 was raised for the degree (Ball 2008: 4) have an entrepreneurial fresh, something creative, show (the previous year raised £3,000), attitude, are able to profit from something different. but a key aspect of the project is for students Future Developments opportunities and can see very to see how customers react to their work. The significance of the degree show has greatly That’s a good lesson increased over recent years. This year, for the first quickly what they can do with to learn at that stage.’ Is their collection too safe or too avant-garde an opportunity. They have a to market? time, some graduating students thought the degree progressive mind-set and are show might result in a job offer. This might reflect forward thinking. They set things the zeitgeist, and increased concerns amongst up rather than being reflective The activity crosses over with the core curriculum. students about spiralling debts. There are many and looking back.’ Craft skills and manufacturing processes in producing potential career routes for jewellery graduates, the collection are taught and assessed in Unit 7, whilst and whilst every opportunity that presents itself Tutor, Chelsea College Caroline Broadhead the project management of the pop-up shop, which for putting graduates in touch with future employers of Art and Design Central Saint Martins is student-led wherever possible, is documented is taken, Caroline notes: College of Art and Design in the self-evaluation report, the PPD element of Unit 9. Where a contribution was made it is credited ‘We are here to get people to the stage e.g. ‘I wrote the press release’. Some students where they can decide what they want come forward as leaders and take credit accordingly. to do, and be capable of forging their own path.’ 35 36

Developing Enterprise Skills Postgraduate Certificate ‘What I think we get wrong in the Own-it ran a pilot project at Central Fashion & Lifestyle Journalism higher education environment is Saint Martins College of Art and Design that we treat stuff about the world in 2012 with MA Textile Futures and Unit: Major Project Level 7 of business in a different way to MA Industrial Design students, which Terms 1 & 2 Challenges and Implications how we might treat the learning embedded learning about intellectual The course is, by its very nature, fast-paced and of specialist technical process property into the development Nilgin Yusuf deadline driven. One of the limitations is that this skills or indeed the development of the MA students’ final projects. Course Leader allows limited time to reflect on skills; rather, students of confidence in creativity.’ Academic Manager, seek to embark in industry as soon as they have Tutor, Central Saint Martins This included regular meetings Postgraduate Certificate Nilgin Yusuf completed. However, this balances with the positive College of Art and Design with course teams and specialist IP Fashion & Lifestyle Journalism, London College of Fashion student feedback of the boot camp vocational style. lawyers, which aimed to ensure that Postgraduate Portfolio the students’ IP rights were identified, Glenn Waldron Design and Approach A work placement within the course has been Capacity building is at the core cleared and, ultimately, protected. Pathway Leader The Postgraduate Certificate is a 15-week model; considered, which would suit the nature of the of enterprise, where creativity meets Course Lecturer & Tutor, the Major Project consists of 20 credits, and takes course, but time constraints would not have worked, business acumen. Enterprise is a This ambitious project had qualified Postgraduate Portfolio place in weeks 11-15 of the course. and would have meant that holiday time would have honed ability to lead, yet also adapt success, as the Own-it Programme been needed. to changing professional environments Manager notes: Graduate School Media and Communication The assessment is holistic; a body of well-researched and to creatively transform an idea London College of Fashion ‘The very nature of the and appropriate editorial material is produced Outcomes into a business reality. Self-awareness, ‘Our solicitors felt that many fashion and lifestyle for a specific area of fashion or lifestyle journalism, Communication and confidence are developed calculated risk-taking and a collaborative students were unable to engage, journalism industry alongside a 2,000 word research report. Students through pitching an idea to peers and through spirit enable an entrepreneurial mindset as they didn’t reach the level need to produce an original idea, but one that can sourcing and undertaking industry interviews. to succeed. in the development of their means that many add value to an existing market place. Learning Time management is critical as this is a short business or project where students will work as outcomes are met through a technical and analytical six-week project, so effective organisation ‘ Intellectual property is an they really needed regular freelancers and therefore approach, integration of qualitative and quantitative is required. Market awareness and the intuition absolutely prime example access to a solicitor.’ research, and the contextualisation of critical to spot a gap in the market furthers entrepreneurialism. of something we need to do Silvia Baumgart, need entrepreneurial evaluation and successful creation of final product Around half of the cohort tend to have placements something about from different Programme Manager, Own-it skills and, from the (blog, website or magazine). lined up, but all students are offered an exit tutorial, points of view, and it could outset, students are as well as sessions on CV writing, marketing, well work outside the curriculum, urged to get their work The Major Project teaches students that to be interview techniques and freelancing. As an example, within the college and within Whatever form the development of ‘employable’ is to recognise the need to contribute a graduate now works for the Glasgow Herald as curriculum.’ enterprise skills takes, it would appear published and engage new and innovative ideas to a market, not to the Fashion & Lifestyle editor – a role created for Alex Lumley, Associate Dean that the timing and form of support in placements where create a new model entirely that may be unrealistic her following presentation of the Major Project of Learning, Teaching & Student is an essential part in successfully possible.’ or unachievable upon graduation. Research, to the editor who was impressed with her foresight Support, Central Saint Martins engaging students. analysis and subject knowledge are weighted and could see that she could bring something College of Art and Design with four learning outcomes attached to them, to the current title. ‘Students engage when and communication/presentation and Personal they feel they are ready.’ Professional Development (PPD) are weighted Future Developments Own-it is the SEE advice centre for Tim Hoar, Associate Director Background with two learning outcomes attached. The course has now run successfully for ten years, intellectual property issues; copyright, of Enterprise and Innovation, ‘This is a vocational course, and you’re actually but there has never been an exhibition of the project design rights, patents, trademarks, Central Saint Martins learning about what life is like in the workplace, Students consider what their contribution could be work. An online tool would be an effective teaching branding, confidentiality agreements, College of Art and Design what life is like being an intern at Vogue, for to the industry and which path they will take to achieve resource and showcasing of best practice. licensing and other IP-related contracts. example, and that was really appealing to me. this. International students are encouraged to write Own-it helps students and graduates It’s not a hypothetical course; it’s very real. about London life and publish their work in their Tracking of students would showcase the different to protect and manage their People come in and talk to you from magazines home country, therefore, understanding their home pathways into the industry. In terms of students’ future IP in developing their business. that exist, and you know their name and you’ve market, and boosting their employment chances employability and entrepreneurial potential, this could just read their story, and now they’re there upon graduation. Whilst on the course, students be an excellent way of celebrating the course and talking to you.’ have had work published in India, Sweden, Canada, its potential. PG Cert Graduate, Executive Editor, Nylon China, and Denmark. The structure of the course could be a cost-effective Peer presentations and individualised industry and time-effective model for the Graduate School. Students are encouraged to develop an enterprising feedback are integral to the unit, which offer students The 15-week model of the course could be adapted mindset and use their initiative to engage in the world the opportunity to reflect and analyse diverse to other courses with a portfolio nature, such of journalism and discover new market potential. markets. Students are offered the choice of creating as Styling or Visual Merchandising courses. Industry speakers contribute throughout the course a supplement based on an event, emerging market to develop confidence and professionalism. The short or relevant theme, professional or journalistic blog, Resources boot camp nature of the course invites a range of ages or creation of a fanzine, culminating into a portfolio. An archive of projects is available at John Princes and backgrounds, creating a diverse student body. Upon graduation, the editorial material and research Street, held by Nilgin Yusuf, Course Leader and This also brings very focused individuals who are report can be presented at the interview stage Academic Manager, which are shown to new time-precious and are very serious about the unit. with potential employers. students embarking on their final major project. 37 38

Employability is not just about getting Employability is about students Successful pedagogy for employability a job. Conversely, just because a finding a space in which to practise approaches include experiential student is on a vocational course does and situate themselves in a context, learning – an emphasis on exploration, not mean that somehow employability relevant for their future career, whether learning by doing and reflection is automatic. Employability is more as an employee or as a self-employed in authentic contexts – ideally mixed than developing attributes, techniques practitioner. Course curriculums with rather than simply replacing or experience just to enable a student encourage an ability to work existing approaches. The vast majority ‘Employability is having the to get a job, or to progress within independently, without direction, of studies suggest that active learning skills and abilities to practice a current career. It is about learning, and to apply knowledge appropriately. by doing is what works in relation professionally. Life skills which and the emphasis is less on ‘employ’ to many employability skills, particularly and more on ‘ability’. In essence, The curriculum is designed to for communication, working with include: emotional intelligence, the emphasis is on developing communicate and make students aware others, time and personal management self-efficacy; confidence, critical, reflective abilities, with a of the possibilities and the context and problem solving (Pegg et al. 2012: 45). team-working, communication; view to empowering and enhancing of their chosen career, and also be well the learner (Harvey 2003). informed about a particular industry. being enterprising – a way However, this needn’t compromise of doing that enables students The ability to articulate learning and a student’s ambition or creativity. to act in the world.’ What Do We raise confidence, self-esteem and There was widespread concern that aspirations seem to be more significant the definition of employability needs (Ball 2008: 4) in developing graduates than a narrow to include a subject context, as one focus on skills and competencies. course leader notes: ‘A real understanding of the Understand By It seems that some employers, context that the students are and many students, continue to ‘ I think that sense of participation going to go to is absolutely value the broadest understandings and/or position within the of employability and higher education profession, within the milieu the key to employability; EMPLOYABILITY learning in developing their professional generally is important. And that students understand identities (Pegg et al. 2012: 9). subject knowledge allows that.’ the ways of thinking that exist outside of an academic In Creative environment and can adapt their own ways of thinking with reference to that.’ Disciplines? Tutor, Camberwell College of Art and Design 39 40

BA (Hons) Fashion Management

Diploma: Professional Studies

Sally Bain Design and Approach Senior Lecturer The Diploma in Professional Studies (DIPS) DIPS Co-ordinator marries academia with real life experience, through application and integration, which unifies and School of Management & Science strengthens pedagogy. Teaching on the course London College of Fashion is ‘facilitating’, and students are informed and led, but ultimately make their own destiny.

For all students, Autumn term lectures and activities Challenges and Implications Background include guest speakers relating to employability, Having a dedicated DIPS Co-ordinator who is the ‘The placement year exceeded my such as TK Maxx, John Lewis, Tesco, Debenhams, key ongoing point of contact with Placement students expectations, as I am a genuine part of the Triumph and other major fashion brands and retailers. (who often are in need of pastoral care), who can team and a valued member of staff. I have The BAFM academic team led by the DIPS Co- respond immediately to any student concerns, ‘I really feel as though I have been given real responsibility and I am acting ordinator has, over the past two years, ensured that However all students need to complete: and who also undertake two industry visits as well in the Merchandising Administrative Assistant the emphasis in the Preparation for Industry session as organising and formatively assessing the Placement learnt how to channel my role. I am not just an ‘intern’; I am actually is relevant for the whole cohort regarding employability A minimum of 30 weeks on placement Project Report, is essential in making the Diploma previous experience and existing an ASOS member of staff, and the work I do skills - around 130 students. While there is key (or one semester for Study Abroad and in Professional Studies work effectively. It allows skills into a real and professional is appreciated and valued. I especially noticed information delivered about gaining a placement, then a placement to complete at least students to be formatively assessed and evaluated, environment, whilst also being this when the suggestions I made from my all students are learning about how to gain key the minimum weeks) and enables interaction and progress to be monitored. University Report findings were actually employability skills (i.e. CVs / interview techniques) encouraged to learn new skills taken on board and implemented within the and how to act and engage in the professional world. A 5000 word Placement Project report The nature of the industry placements, alongside the and gain new experiences. I Department. I never thought when I started Fundamentally, this curriculum component develops academically rigorous written component of the unit, have been incredibly lucky; my that I would be given this opportunity; it is the vocabulary in which students can present A 2000 word reflective log means that some international students may struggle a great feeling to be heard and have my ideas a confident, plausible and legitimate voice in with the Diploma in Professional Studies. With regard Future Developments manager and team have been rolled out. The placement year has allowed the fashion and, in some cases lifestyle, industries. 2 positive feedback reports from Placement visits to international students being able to stay in the UK MSc International Fashion Management will join incredibly supportive and have me to develop as an employee and as a by the Academic DIPS Co-ordinator gained from after graduation due to visa restrictions, there may the BA (Hons) Fashion Management students in not tried to change me in any way, student. The experience has been invaluable The students are coached to speak, write and present visits to the students and their Line Managers. be further challenges in terms of addressing their the Preparation for Industry series. The different as I have learnt so much the past year and themselves in a professional sense in all capacities. employability on a global level. courses will interact and undoubtedly bring different but rather have tried to steer have grown in confidence. I now feel capable Students are also invited to engage in an Erasmus Formative assessments via the industry visits by experiences and aspirations to the table, both me in the right direction.’ of working within the fashion industry and experience, a Study Abroad experience for one the DIPS Co-ordinator, and the Placement Project Outcomes academically and personally. have gained a great understanding of the semester during the Placement Year with one of the Proposal that students must submit for feedback ‘The School’s organisation, planning and buying and merchandising roles.’ BAFM-approved institutions in Europe, India, New and approval by the DIPS Co-ordinator are a vital management of placements. Linking with Introducing a more internationalised curriculum BA Fashion Management Student, York or Australia. This – combined with a Placement part of the learning process. In terms of the report, this was the Panel’s commendation of the by looking at the wider job market and a greater BA Fashion Merchandisers Administrative Assistant, ASOS either in that country, another country or in the UK – there is a significant emphasis on research, and School’s relationship to industry and how move to international placements and study abroad Management Student is strongly promoted to students as being a very learning is rooted in both experiential learning this had informed curriculum development, opportunities will add breadth to learning. FBRS will who engaged positive option that can enhance the Placement year. alongside academia. Undertaking this Placement delivery and graduate employment.’ work closely with the (DIPS) Co-ordinator to develop in a placement at All courses within the Management and Science Project can often be the springboard for the topic The Quality Audit & Review for the School further international placements and advise students The Disney Store School aim to have strong employability emphasis; Students who want to engage in the DIPS Placement and further research when they return to their final of Management & Science (November 2011) on international application processes. as a Buyers Assistant however, placements, especially long-term Year complete a Placement Application Pack and year at university and undertake their Dissertation. placements of 6-12 months, provide the best have an Interview Tutorial with the DIPS Co-ordinator. In addition, BAFM students report that their More tracking of career paths after placement opportunity to learn through application and Successful applicants are then referred to FBRS Placement Year greatly enhances their time The students have more gravitas and have developed could effectively feed back into the curriculum, to develop work orientated skills. for placement coaching and brokerage of suitable management and prioritising skills, which also a deeper thinking, which feeds back into their final become a learning resource, and promote best placements. These placements are agreed between enhances their performance in their final year. projects and dissertation. Two-thirds of BA Fashion practice. This would enable course networking Employability is introduced at an early stage with FBRS and the DIPS Co-ordinator. The selection All this also benefits their future career prospects. Management 1st class degree classification was more effectively and engage with alumni ‘Introduction to Employability’ sessions at the process is based on a variety of skills, and is not Reflection, deeper knowledge, experiential learning achieved by Placement Year students. There were to speak to students. end of Year 1. Preparation for Industry sessions an automatic right for students to be selected. and peer learning are key elements in exploring a greater proportion of placement students who are delivered in the Autumn term in Year 2 (via FBRS, This is a clear reflection of the world of work. employability in the curriculum component. got a 2:1 classification than non-placement students; Resources BAFM DIPS Co-ordinator and industry speakers). Students must demonstrate both soft and hard 20% of these students went straight into jobs with Workflow.arts: A day in the Life... There is also a Fashion Consultancy Project skills in order to be accepted onto the programme. The students who return from the Placement Year their placement company. BAFM academic research project by (Year 2, Term 3) where BAFM students demonstrate There is also competition in securing the most take part in the ‘Preparation for Industry’ sessions Karinna Nobbs and Sally Bain enterprising skills in finding and negotiating a sought-after placements. scheduled by the DIPS Co-ordinator, in order to BA (Hons) Fashion Management students are company client. New in the Spring term of 2013, share their knowledge with the new Year Two students extremely successful in engaging in the graduate BAFM study abroad video showcase: BAFM will be continuing P4I sessions with an industry For the successful achievement of the BAFM DIPS, in the Autumn term who are considering undertaking employability programme – FirstMove. Over half Sally Bain initiative that will go online expert to hone enterprise and employability skills there are four components to achieve that the DIPS Placement option, but this sharing is also of these students selected to join the First Move preparing for placement and/or the workplace are assessed holistically. The DIPS Placement relevant to all students in that cohort regarding Programme in 2011/12 had completed the Diploma VLE Blackboard: Articles on employability generally. These sessions will engage all students. Year is promoted as just that – a year. employability skills. in Professional Studies. and enterprise 41 42

Working with Industry BA (Hons) In order to engage professionally ‘An understanding has to be Theatre and Screen: ‘We actually recruit students must have a practical reached with the external partner, Technical Arts knowledge of the appropriate industry and this is part of developing the most of our sculptors which is gained through contact with relationship. There is a timeline and Special Effects from Wimbledon. The that industry. In some courses, this in professional life which enables (TASE) fundamental sculpting is achieved by providing an optional a building or project to exist; skills that they’re learning placement year within a Diploma in at the same time, there is an Unit: TASE 5 Life Modelling and Professional Studies. academic timeline. Therefore, Advanced Moulding and Casting are very appropriate for Challenges and Implications you have two very different our business and they The limitations to the above approach are that it is extremely expensive in tutor time, as many Many courses benefit from sponsored rhythms acting simultaneously Allan Sly tend to be able to fit student projects whereby students are and in parallel, so moments Senior Lecturer of these skills require an initial hands-on approach. asked to respond to a live brief provided of potential crossover between BA (Hons) Theatre and Screen – TASE in very easily because A wide range of specialist materials and substances by a real client. For example, over 1,000 the two when both parties are they’ve got a very strong are used, which require careful monitoring; these materials are also very expensive. students a year at CSM participate in a productive position are Wimbledon College of Art foundation in sculpture.’ in sponsored projects. These projects rare and take time to negotiate.’ contribute significant income to courses, Colin Priest, Course Leader, In order to meet the expense in terms of tutoring resulting in enhanced teaching and BA Interiors and Spatial Design, Liz Malinowski time, we have resolved this issue by actively seeking technical support (projects start at Chelsea College of Art and Design Production Manager, funding from the industries that benefit from the around £10,000 plus VAT). These projects Merlin Entertainment skills we teach, and that is why we are able to teach impact hugely on the curriculum; life-modelling and advanced moulding and casting for example, a project undertaken with When working with industry, the because of the funding we receive from Merlin Microsoft on BA Product Design might inflexible college timetable can conflict Entertainment. last ten weeks and will form the basis the industry’s schedule. It’s not just of the curriculum during this period. about securing funding schemes To resolve the materials and substances concerns, but also about trying to build a reputation Background we have also forged a link with WP Notcutts, who The value of having real clients can’t across the various practices. The Technical Arts Course was initially designed supply materials to the film and television industries. be overstated. with employability in mind. In the creative industries, They deliver practical workshops to demonstrate the ‘The pressure of working with particularly film and television, there is a real need for materials that students are likely to come into contact ‘ It changes the tenor of a project clients is extraordinary. It’s creative practitioners and the curriculum is tailored with during their professional career. They also provide because there is a client, and much easier to just deliver your to introduce a wide range of skills needed by these a support programme of telephone advice on with a very definite client there curriculum with the staff you industries. Since the formation of this course many any products a student might be using. Finally, is all kinds of enterprise and have. But if you want to challenge of our graduates continue to find employment in they award both a materials prize and an excellence employability learning going on; your students, if you want to give both film and television and the exhibition industries. award to a graduating student. it immediately causes students them the latest opportunities, to think and act in different ways; you have to put your foot outside Design and Approach The implications of the above are that if for any reason you can’t synthesise it.’ of the door and work with The curriculum is constructed and reviewed by these companies withdrew their support, we would Course Leader, Central Saint the industry.’ practitioners who are professionally active and have to drastically restructure the course. Aware Martins College of Art and Design Course Leader, Central Saint who are familiar with current practice in the industry. of this, we are actively pursuing other industries Martins College of Art and Design The visiting lecturers who teach the individual to encourage more industry support. components are also experts in their own particular However, courses wanting to reap fields of expertise and engage fully with the students Outcomes the benefits of client-led projects must Engaging students in peer-to-peer during the period of the projects. In some instances, The advantages to the above approach is that be willing to accept the challenge. assessment and inviting external the final work by the students is designed and made students find employment with companies of their specialists to debate students’ for particular performances and or exhibition. choice, and employers/companies find students with approaches and solutions can the creative skills needed for their industries. This will not only make assessment more During the period of the project, the work is continue to work as long as we are not complacent real and relevant, it can also make it formatively assessed and critiqued by the visiting about the changes and innovations that are taking more accessible and understandable. lecturer and the students. This process is similar place in the industries, and adapt accordingly. In an ever-changing environment, to the models of good practice in the collaborative what is ‘right’ today may not be right industries. The students are introduced to the Future Developments tomorrow; thus, situating learning particular specialism/component either by visits Because of the involvement of some of the major in a real or well-simulated environment to studios or by film presentations from the industries names in the industry, namely Merlin Entertainment provides opportunities to assess that have a particular interest in the skills being taught (the second largest entertainment company in the in a way that is fit for purpose on the project. The project is summatively assessed, world), other companies want to be involved with (QAA 2012: 24). and students are required to produce photographs the course, the latest being Artem Special Effects. for inclusion into a professional portfolio that will We have recently made a small start with this be presented in the final year degree show, which company (by receiving from them a prize for a is then seen by representatives from the industry graduating student), and we feel sure that more on Industry Night. can be developed. 43 44

Background Challenges and Limitations The conservation industry take this seriously, The Conservation team analysed this and proposed A Place For Work MA Conservation: The placements, undertaken throughout the course, ‘This does require a lot of staff time as they know how important placements and live that instead we should offer a two-year MA/extended connect students with real industry issues as well it is very important not to let there be any projects are for the study of the subject. full-time so that students have time to develop Experience Books and as introducing them to various key institutions and slippage, so at least once a month I go to the It is a bit of a liability for them and they have skills and do a work placement. Doing a summer Archival Material professionals. Dedicated members of staff keep V&A and see what the students are doing and to know what they will do with the student so placement they get to know the subject enough to Most academics can see the benefits abreast of industry developments. talk to the provider. I try to visit (half a day) some providers do say NO, even though they have confidence in the second year to do a project of work experience. Often the students’ Work Placements every provider every month; there are six main have said YES in the past, they all need about at a fairly professional level. We offer two Pathways; positive and negative reflections of Design and Approach providers and others, such as the Foundling eight months run-in time e.g., September Art on Paper and Books and Archival Materials, their experience and their methods Jocelyn Cuming Students keep a technical log, therefore they write Museum with a wonderful Handel collection, for an April placement. We need to plan specialising in two very particular areas, rather of obtaining it are the most valuable Course Leader up the experiences quite critically. Another aspect and within the University others such a schedule, and have now set up databases than spreading too thin by covering too many areas. part of this unit, and this is usefully FdA Conservation: Book Arts; we think is so important is the context of the as the Kubrick archive.’ tracking each student in relation to live disseminated to peers across the Pathway Leader, object; placements give you that wonderfully Jocelyn Cuming project acquisition and placements.’ Resources year groups. Work experience can MA Conservation: Books/Archival Material rich contextual experience. Tamiko O’Brien The most important resources are really the staff be industry placement, self-initiated Tamiko O’Brien team, a vital combination of permanent staff and or group projects, voluntary work, Associate Professor The technical log is assessed, and in a way the A ‘disadvantage’ is that any project or placement ALs who are independent professional conservators, social or community-based projects. Associate Dean and Head of School content (recorded) is very appropriate. The context requires a long lead-in time and a plan for each To build on this, this year we have an event during and run their own businesses. Of course, there are the of Art at The Cass of the object actually changes what you might do in student. There are some established relationships the degree show to invite placement providers well-equipped workshops and studios and technical The longer term placements can Faculty of Art, Architecture and Design relation to the treatment of the object. It also enables with institutions, but, for example, recently a student’s and institutions that have provided live projects expertise and the placement opportunities, paid and lead to future employment, and London Metropolitan University students to see the volume of work. Often when you’re specialist area could only be supported by working to come and have a drink and look around and unpaid, which teach skills and provide networking/job can also inform students’ final major teaching conservation you’re trying to make students with a private studio, and in this case, there was a to thank them for their support. We are very opportunities. project. Those who opt for a year out Camberwell College of Arts very careful; you are trying to say to them “don’t rush need for a special visit to risk assess the placement. careful to send out polite, formal letters and emails from campus, choosing the diploma or hurry”. However sometimes they end up with a to maintain good relations with the hosts. The students in professional studies where offered, distorted view of what conservation actually means Outcomes realise all this and are grateful; they are briefed often make up the highest level if they can’t place it alongside the huge input that In the actual placements there is an element on work placement etiquette and go on to have of completing graduating students. places like the British Library have, where every week of teaching; therefore, time for planning for great experiences. They become much more professional literally hundreds of books are coming into the studio. the placement provider is important; this in their approach, but more experimental So this balances out that kind of situation where they is a reciprocal relationship, so it is important. ‘ In terms of transferable skills and professional as well, and are keen to return ‘The MA students will often choose think there are one or two objects to be dealt with. practice, this is something that we need to to university to have the final year to do a work placement; it isn’t a ‘ I was impressed by the attitude of the develop in the curriculum... entrepreneurial, to express themselves and develop requirement of the course or assessed. placement providers who took on the project management skills are important a very personal body of work. It’s simply something they need to get responsibility of ensuring that students and need to be emphasised, as the course can under their belt, to have a viable CV when had a useful and meaningful experience. be quite directed with a lot of workshop blocks. This experiential learning is empowering, they leave the course and also to develop An example would be of a placement We have motivated students but we could and students are learning on a different their professional network. During their (for a BA student where placement featured do with more work about how you manage level in real-life situations. Because it is time on the course, they will all work on as part of a unit) where the archive was your time, how to manage a project; pre-graduation, there is less pressure a Live Project, they will take on a project moving, and there was the potential of the this needs more emphasis.’ for it to lead to immediate employment. that is negotiated with an external placement only being about lugging boxes, Tamiko O’Brien institution – this could be a museum, but actually the conservator was careful an archive, etc., and they will work on to programme the three weeks so the student something from the collection. They will learnt the most; every day was of value There was a review last year to look at Conservation have to negotiate with the institution and there was very good feedback for the courses run from Camberwell College of Arts – FdA, about the extent of the conservation they students and she learnt a huge amount, not BA, PG Dip and MA. What was apparent was that the plan to undertake and will need to focus just practically, but about the context of the majority of the FdA students had already had a career on the intended use for the artefact archive itself and critical thinking around and were looking to re-skill; BA students needed to after treatment.’ the subject area. I have found the placement do an MA (industry requires an MA) before taking on providers excellent, and realise the any professional roles; many of the MA students had importance of a tried and tested provider not studied UG Conservation but had BAs in related to avoid negative experiences – a lot of subjects (Fine Art, English Literature, Curation). this is down to the staff team, i.e. Cuming, Tamiko O’Brien and a lot of hard work. 45 46 What Can We Further Resources at University of the Arts London The Art of Enterprise and Employability Enterprise Collective (Camberwell, Chelsea Own-it (SEE) is a free intellectual property (IP) advice in Art and Design HE is a space for learning and and Wimbledon) draws on the Colleges’ unique service for all UAL students, graduates and staff. teaching development and for staff and students knowledge, resources and creativity to offer innovative Own-it provides IP knowledge, support and Achieve Through to share ideas and support practice in embedding businesses solutions to industry and external partners advice through events, online resources and an enterprise and employability practice within the at every level of enterprise. Its services focus online enquiries system, helping creative practitioners curriculum. on Connecting, Creating and Collaboration. to protect and manage their IP and recognise the value for the growth of their business. Learning http://process.arts.ac.uk/category/project-groups/ http://www.camberwell.arts.ac.uk/enterprise/ enterprise-and-employability-curriculum enterprise-collective/ http://www.own-it.org/

Artquest (SEE) encourages critical engagement and Enterprise Week (SEE) is part of Global SEED Fund (SEE) is a competitive grant open to And Teaching provides practical support to visual artists throughout Entrepreneurship Week, and gives UAL students all UAL students and recent graduates and supports their careers. and recent graduates the skills they need to take the development and funding of creative ideas and or make opportunities and get ahead in the creative early stage business proposals into sustainable http://www.artquest.org.uk/ industries. The week is full of talks, practical businesses or practices. For Enterprise workshops and guest speakers designed to Artsmart at UAL is a programme of talks and help students work for themselves, go freelance http://see.arts.ac.uk/ workshops designed to help students and recent or start their own business. graduates get ahead in the creative industries. Showcasing Bursaries (SEE) is a micro grant & Employability? The event takes place over two days and gives http://see.arts.ac.uk/ to help UAL students and recent graduates with students and graduates the chance to develop the financial costs of attending or showcasing at Within an integrated strategy of teaching, From objective analysis to subjective experience From formal activities to authentic activities skills, get advice and network with a wide range Fashion Business Resource Studio (FBRS) industry trade shows, exhibitions and competitions. learning and assessment designed to Enable students to shift from objective Enable students to engage more with industry of industry professionals. links London College of Fashion (LCF) talent with help students develop and demonstrate detachment towards a more holistic appreciation and consider real world scenarios and issues. the fashion industry. FBRS have built and sustained http://see.arts.ac.uk/ entrepreneurship and employability, of a particular topic or scenario. They enable They provide authentic assessments for students. http://artsmartlondon.co.uk/ existing networks, and developed new relationships the educator may consider the following students to consider their own emotional This enables students to develop the complex in the fashion and lifestyle industries. FBRS is Showtime is the fantastic free portfolio site, shifts of focus: responses to learning situations and challenges, attributes and skills that later enable them ArtsTemps (SEE) is the UAL in-house recruitment committed to LCF students and graduates to where graduating UAL students can take advantage and how this can influence their associated to pursue whatever path they choose. agency placing students and graduates in paid provide every opportunity to link industry with talent. of creating a free profile to host images, video, From case studies to emerging situations understanding. ‘temping’ roles within the University. biographies, contact details and more, with Enable students to shift from an abstracted http://www.fashion.arts.ac.uk/enterprise/fashion- a URL they can keep forever. The site attracts study of the past to developing knowledge From fearing failure to learning from failure http://www.ualartstemps.co.uk business-resource-studio/ over 160,000 worldwide hits a year and has and skills that help them adapt to changing From text-heavy communication Encourage students to embrace failure as part had numerous success stories. and future environments. to multimedia communication of the learning process and help them develop Bite Size Guides (SEE) are free practical sessions Innovation Centre Enable students to shift away from an emphasis strategies and skills to reflect on and evaluate and workshops providing students and recent Central Saint Martins Innovation Centre harnesses http://showtime.arts.ac.uk/ on written communication and embrace a these experiences. They may design assessments graduates with hands-on exercises on a variety the creativity of staff and students to accelerate From abstract problems to innovation wider multimedia approach. This may employ requiring students to develop multiple solutions of topics, to help develop enterprise and employability the development of ideas, research and businesses Student Enterprise and Employability (SEE) Enable students to shift from critical analysis assessments that involve students developing and to reflect and review how they developed skills and knowledge. as well as offering training and venue hire. Centre helps all UAL students and recent graduates of abstract problems towards an approach a range of communication styles and skills, them. Students may also be asked to record their to fulfil their creative and economic potential based on innovative and creative thinking. including small group presentations and using development in a learning journal or blog, perhaps http://see.arts.ac.uk/events/viewevents/ http://www.csm.arts.ac.uk/innovation/ as entrepreneurs, employees and professional This makes them better equipped to tackle online forums; preparing and running debates on prompted by questions such as ‘what did you practitioners. SEE builds a bridge from student future scenarios and challenges. contemporary issues; developing and presenting learn from the incident?’ and ‘what might you Creative Opportunities (SEE) is the UAL job FirstMove is an initiative from the Fashion Business experience to a sustainable working and professional visual communications, such as posters; and do differently next time?’ They are encouraged vacancy and work placement website for students Resource Studio supporting LCF students make life and provides a wide range of events, workshops, internet communication. Students may be required to identify causal connections and find alternative and graduates and advertises hundreds of creative the transition from education into the world of work. networking, web resources, information, case From passive learning to active learning to tailor these products to a range of audiences. routes to success. job and internship opportunities each month. Its overarching aim is to help forge collaborations studies, funding and employment opportunities. Enable students to shift from traditional learning, between LCF and the fashion & lifestyle industries where they expect simply to ‘receive’ knowledge, http://creativeopportunities.arts.ac.uk in order to ensure recruiters turn to LCF when seeking http://see.arts.ac.uk/ towards situations in which they are actively From neutrality to personal perspectives From dependency to self-reliance and resilience the best new fashion talent. The online portfolio involved; thus developing understanding Enable students to shift from an emphasis Encourage students to develop self-reliance Enterprise Awards (SEE) is an annual awards and CV database allows students and graduates through participation. on neutral comment to the exploration of more and confidence, which will help them to ceremony during Enterprise Week recognising to showcase their skills and ability to industry personal perspectives. This also help them address issues and problems in strategic and rewarding UAL staff and students for their and enhance their chances of securing job roles to develop skills pertinent to influencing and ways. Educators also place an emphasis enterprise achievements. within the creative sector. persuading others. Students develop qualities on the development of resilience and persistence, in these areas, gaining practice through, equipping students to see their projects http://see.arts.ac.uk/ http://www.lcffirstmove.co.uk/ for example, group work and live projects through to fruition (QAA 2012: 25-26). involving feedback from different viewpoints. 47 48

References Image Credits Andrews, M (2013) Harvey, L. (2003) Research for this publication was Undergraduate & Postgraduate MA Communication Design Why our students need co-curricular, Transitions from Higher Education to Work: gathered through the UAL Enterprise Acting & Directing Central Saint Martins College not extra-curricular, activities. A briefing paper prepared by Lee Harvey and Employability Landscape Review Central Saint Martins College of Art and Design Guardian Professional, January 2013 (Centre for Research and Evaluation, on Teaching and Curricula in Art of Art and Design Available at: http://www.guardian.co.uk/ Sheffield Hallam University), with advice and Design between April 2012 French artist Suzanne Arhex higher-education-network/blog/2013/jan/22/ from ESECT and LTSN Generic Centre colleagues and November 2012 commissioned by BA Acting and Directing students stands beside her artwork student-development-university-curriculum-design Available at: http://bit.ly/oeCgqW Student Enterprise & Employability (SEE) collaborate in a production in the Photo: Viktor Petur Hanneson 2011 Studio Theatre, June 2012 Ball, Linda (2008) James, A (2008) Roth, C. (Ed) (2013) Photo: Sophia Stocco BA Jewellery Design Bold resourcefulness: redefining Personal and Professional Development (PPD) Work of Art: Understanding Central Saint Martins College employability and entrepreneurial learning. Learning for Life Creative Learning in Practice Enterprise & Employability BA Surface Design of Art and Design Project Report. University of the Arts London Centre for Excellence in Teaching and Learning. in Art & Design Higher Education. London College of Communication Available at: http://ualresearchonline.arts.ac.uk/671/1/ University of the Arts London Research Project: Pop-Up Shop Caroline Broadhead cltad_STAGE1OVERVIEWEXECSUM.pdf Available at: http://www.heacademy.ac.uk/assets/ University of the Arts London BA Surface Design student EvidenceNet/Clip_Personal_and_Professional_ ceramics to celebrate the Queen’s Postgraduate Certificate Fashion Barnett, Ron (2011) Development.pdf Editor Diamond Jubilee & Lifestyle Journalism The will to be a professional: how a life-wide Cara Lee Roth London College of Fashion curriculum might encourage important features of will. Kemp and Atfield (Eds) (2011) BA Surface Design students Institute of Education, University of London Enhancing Graduate Impact in Business and Research & Editorial Team create Valentine’s Day cards Sylvia Mulder, Postgraduate Certificate Available at: http://learningtobeprofessional.pbworks. Management, Hospitality, Leisure, Sport, Tourism. Catherine Dearden: for Paperchase Fashion & Lifestyle Journalism com/w/page/15915027/Ron%20Barnett Newbury Berks: Threshold Press London College of Fashion  Graduate, Major Project Ellen Hanceri: BA Surface Design students take Biggs, J (2003) Pegg, A, Waldock, J, Hendy-Isaac, London College of Communication part in Grayson Perry Late at the BA (Hons) Fashion Management Teaching for Quality Learning at University. S and Lawton, R. (2012) Yvonne Kulagowski: British Museum London College of Fashion Buckingham: Open University Press Pedagogy for Employability. Camberwell College of Arts York: The Higher Education Academy Tim Sokolow: MFA Fine Art Danielle Groom, BA (Hons) Collini, Stefan (2012) Available at: http://www.heacademy.ac.uk/resources/ Central Saint Martins College Wimbledon College of Fashion Fashion Management Final Year student, What are Universities For? London: Penguin detail/employability/pedagogy_for_employability_ of Art and Design BAA Ralph Lauren update_2012 Duna Sabri: Fine Art Futureproof Handbook Farthing, S and Bonaventura, P (Eds) (2004) Educational Researcher BA (Hons) Theatre and Screen A Curriculum for Artists. The Quality Assurance Agency BA Textile Design Technical Arts and Special Effects The Laboratory at the Ruskin School of Drawing for Higher Education (2012) Design Chelsea College of Art and Design Wimbledon College of Art and Fine Art, and the New York Academy of Art Enterprise and entrepreneurship education: Alphabetical Guidance for UK higher education providers. Indigo Theatre, Technical Arts and Hannon, P (2006) Glouster With Special Thanks To Special Effects TASE Life modelling Teaching Pigeons to Dance: Sense and Meaning Available at: http://www.qaa.ac.uk/Publications/ Shân Wareing MA Graphic Moving Image Autumn 2011 in Entrepreneurship Education, Education + Training. InformationAndGuidance/Documents/enterprise- Antony Johnston London College of Communication Special Issue on Entrepreneurship Education, edited guidance.pdf Alison James by Matlay, H 48(5), 296-308 Jason Copley Public Conversation of Science Poster: Designer Pradnya Dighe LCC. Researcher Martin Bauer LSE

USA Withdrawal Plans Poster: Designer Lee Tesche LCC. Researcher Aurelie Basha LSE