Industry Practitioners in Higher Education: Values, Identities and Cultural Work

Ashton, Daniel

doi:10.1057/9781137013941_9

Cited by 16 publications

(22 citation statements)

References 14 publications

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“…activities such as offering consultancy and commercial research, funding of start-up and spinout companies (certainly at the technology end of the 'creative and media' disciplines), sale of intellectual property, and the growth of student placements, internships and other forms of what once was called 'work experience,' but increasingly is just unpaid work (Allen, et al, 2012;Ashton, 2013;Noonan, forthcoming). This is not to say that valuable and worthwhile collaborations between arts colleges and industry do not exist -far from it -but to suggest that the kinds of multiple, indeterminate and open-ended engagements that characterised an earlier period (and as Frith and Horne showed, proved so productive) appear under threat from a more instrumental imperative that often fails to deliver what it promises.…”

Section: Training Contra Practicementioning

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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Section: Training Contra Practicementioning

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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“…Engaging students with issues of unstable employment conditions is not a case of 'smashing childlike wonder' (Noonan 2013). Indeed, research by Ashton (2013a) with teacher practitioners articulated the importance of exploring with students the challenges they would face in industry. Along these lines, raising the challenges of working in the creative industries opens up a space for students to consider 'not becoming' creative workers (see Gill and Pratt 2008).…”

Section: Workforce Expectationsmentioning

confidence: 99%

“…This scenario, in which students from creative courses reassess working in the creative industries, might be usefully contrasted with those graduating from courses that are less obviously linked, through course content and accreditation, to the creative industries. This seems especially important if the higher education experience of these students covers less the kinds of critical interventions that might be possible within creative courses (Ashton 2013a(Ashton , 2013b.…”

Section: Workforce Expectationsmentioning

confidence: 99%

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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“…This is also found in the contribution of practitioners to the creative curricula, through introduction of their practice as knowledge transfer back into HEIs from the sector. The role of the practitioners is also directed at maximising the effectiveness of entrepreneurship education, embedding entrepreneurship teaching into practice-based modules within the core curriculum in close collaboration with industry (Ashton, 2013;NESTA, 2007;Brown, 2007).…”

Section: Creative Human Capital: Graduates and Academic Practitionersmentioning

confidence: 99%

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2015

Geography Compass

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Industry Practitioners in Higher Education: Values, Identities and Cultural Work

Cited by 16 publications

References 14 publications

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

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

Creative work careers: pathways and portfolios for the creative economy

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