Becoming employable students and ‘ideal’ creative workers: exclusion and inequality in higher education work placements

Allen, Kimberly; Quinn, Jocey; Hollingworth, Sumi; Rose, Anthea

doi:10.1080/01425692.2012.714249

Cited by 155 publications

(112 citation statements)

References 20 publications

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“…Creative labour market conditions may also be addressed through questions of identity and those who are able to regularly secure employment. For example, issues of ethnic, gender and social underrepresentation have specifically been identified in relation to the creative industries (Creative and Cultural Skills 2008; see also: Allen et al 2012;Lee 2013;Saha 2013). Issues of underrepresentation can also be considered as a question of 'fitting in' and, for Tomlinson (2007), the subjective dimensions of employability are continually overlooked within employability discourse.…”

Section: Challenges and Barriers To Creative Occupations In The Creatmentioning

confidence: 97%

Creative work careers: pathways and portfolios for the creative economy

Ashton

2015

Journal of Education and Work

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This article examines the career opportunities, challenges and trajectories of creative work. As part of the Creative Trident approach to creative workforce measurements, the embedded mode draws attention to creative work as it is undertaken outside of the creative industries. This article further considers and conceptualises the complex careers pathways of creative workers. Firstly, creative workers in non-creative occupations in other industries are discussed to highlight the challenges and barriers to securing creative employment and the balance creative workers establish with other forms of employment. Secondly, students from creative courses going into non-creative occupations in other industries are discussed to highlight challenges students face in making the transition from higher education to creative employment in terms of workforce expectations and the competition amongst graduates. This article critically evaluates assumptions about transitions from education into creative work employment and associated career trajectories.

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Section: Challenges and Barriers To Creative Occupations In The Creatmentioning

confidence: 97%

Creative work careers: pathways and portfolios for the creative economy

Ashton

2015

Journal of Education and Work

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“…Research has shown consistently that the best guarantee of success in the creative industries is not to be possessed of a personal artistic 'talent', that one has been able to develop at art school, and then express naturally under the meritocratic affordances of the free market, but to draw benefit from the intergenerational transmission of advantage -to have wealthy parents, attended a 'good' school and been to a 'decent' university (Allen, et al, 2013;Creative and Cultural Skills, 2014;Sayer, 2009;Sutton Trust, 2006). In industries well-known for their informal and individualised recruitment processes, to have the right 'face', 'image' and social background is to be regarded as being the right 'type'.…”

Section: Getting Into Workmentioning

confidence: 99%

The dance goes on forever? Art schools, class and UK higher education

Banks

Oakley

2015

International Journal of Cultural Policy

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For most of the 20 th century, the UK 'art school' was widely seen as an accessible alternative to University. In Art into Pop (1987), Simon Frith and Howard Horne revealed how this state-funded art and design training, linked to manufacturing industries and backed by relatively low or informal entry requirements, offered the prospect of social and economic uplift for hitherto marginalised working-class youth. More recently, however, while enrolments have expanded, art schools have become absorbed into conventional universities and the class profile, at least at the more prestigious colleges, has changed significantly.Simultaneously, art schools, together with other forms of higher education (HE) have been yoked to a broader public policy agenda of the 'creative economy' -one that often marginalises working-class people. This paper takes the changing nature of the art school as its starting point for discussion of class, higher education and the creative economy workforce.

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“…She found employers recruited an elite cohort to their fast track leadership programmes specifically via internships. However, there are clear patterns of inequality in students' experience of such opportunities (Allen et al, 2012;Browne, 2006;Lehmann, 2012), which raise concerns about the implications for social mobility. Allen et al's study of undergraduate work placements in arts and creative disciplines in England found that students needed a fund of social, cultural and economic capital to successfully access placements in the creative industries.…”

Section: Introductionmentioning

confidence: 99%