The Creative Way: A Retrospective

8/9/2019 The Creative Way: A Retrospective

http://slidepdf.com/reader/full/the-creative-way-a-retrospective 1/52

Thurrockmollege

University of East London

rt Centre

The Creative Way™

A Retrospective

www.creativeway.org.uk



Section heading 2 The creative industries make the heart beat faster

Contents

1 Introduction

The Creative Way and this Report

The Thames Gateway and the Education a

The Creative and Cultural Industries and S

2 Progression

The Thames Gateway Guarantee o Assu

The Creative Way Progression Agre

Developing Progression Agreements

Communicating Progression OpportunitieProgression Agreements – Benets and C

Extending Progression Opportunities

3 Partnerships

Opening up Opportunities or Learners

Partnership Working – Benets, Challenge

4 Creativity, Innovation and Employer En

Innovating to Meet Creative Sector Skills N

Enhancing Employment Opportunities –

The Importance o Work Experience

Looking Forward …

Resources

Gallery

Creative Way Sta and Partners



2 The creative industries make the heart beat fasterAcknowledgements

Acknowledgements

This book draws on the expertise, energy

support sta working in universities, colleg

Thames Gateway. Inevitably, we have only

o their work. More inormation can be o

We have also drawn on research studies

Creative Way by Dr Pamela Percy and Ton

the University o East London (Moving On:

why learners ollowing level 3 vocational

subject areas choose not to progress to p

by Sid Hughes (Pathways into Learning in James Kewin, Tristram Hughes and Carol

Employer Demand or Skills: a research st

Thames Gateway – 2009). Each o these r

and invaluable in guiding our work.

But – most importantly – a shout to everyo

o The Creative Way!



Section heading 4

Sec

tion 1

Introduction

The creative industries make the heart beat faster



6 The creative industries make the heart beat fasterIntroduction

_ The Partnership section look

and explores some o the ch

commitment into practical, p

some examples o subject b

and give views rom sta an

working. We outline ongoing

employers and conclude by

collaborative activity can oe

to optimise specialisms and

dierent learning needs.

_ The Creativity, Innovation a

gives examples o new provbusiness activity and open u

to move into creative sector e

importance o work experien

learner condence and sens

explore some o the challeng

opportunities. We conclude

out o recession, innovative m

employment are o vital imp

To set the scene and put our work in cont

the Thames Gateway and its education a

outline o the economic importance o the

and their reliance on a highly skilled work

The Thames Gateway and theand Skills Landscape

The Thames Gateway is Europe’s largest r

along the banks o the Thames rom East

South Essex. Over the past ew years plac

changing rapidly and over the next decad

certainly accelerate as the economy shits

sectors and occupations.

The majority o new jobs to be created wi

require higher level skills. Most will need a

The Creative Way and this Report

The Creative Way is a partnership o universities, colleges and training

providers working together to provide progression routes through education

and training and on into employment in the creative and cultural sectors in

London and the Thames Gateway.

Established in 2006 with unding rom the Higher Education Council or

England’s Lielong Learning Network programme, our job has been to tackle

the skills and qualications decit across the Thames Gateway region through

piloting practical measures to better connect learning opportunities and

strengthen linkages with employment and creative sector business activity.

We work with a broad range o strategic partners including, GovernmentDepartments, Regional Development Agencies, local strategic partnerships

and Urban Development Corporations, plus Sector Skills Councils, the Arts

Council and numerous employers.

Since 2006 The Creative Way has put in place a pan-Thames Gateway

progression agreement ramework which is improving opportunities or

learners to move into and through higher education. New courses tailored

to vocational learners and the skill needs o the creative sector have been

developed, and links with employers have been strengthened. We recognised

that more needed to be done to raise awareness o work and learning

opportunities in the creative sector, and developed a creative courses and

careers website (www.creativeway.org.uk) linking this to a programme o

o-line inormation, advice and guidance support.

This book looks at our work in more detail. Creative and innovative practices

are highlighted, ongoing challenges explained, and priorities or the uture

are outlined. Contents are structured into three main chapters, with a gallery

and resources section providing urther inormation on projects and activities

sponsored and supported by The Creative Way.

_ The Progression section explains The Creative Way Progression

Agreement Scheme and gives examples o how progression

pathways have been developed and negotiated by partner

institutions. We highlight the views o students and tutors

and ocus on some o the benets and challenges o aligning

curriculum to improve progression. We conclude by outlining

some uture priorities or extending progression opportunities.




employment opportunities means that pro

education is o increasing importance – o

or regional economic prosperity.

Thames Gateway universities and college

o reducing the complexity o progression

to developing a Guarantee o Assured Pro

the transition to higher education. The Gu

seeks to ensure that every course in the T

but not exclusively at vocational Level 3 – w

appropriate Level 4 qualication.

Chapter 2 looks at how The Creative Way Agreement Scheme to implement the Gat

Progression and make the move into high

less complex process.

The Creative and Cultural Ind

The creative and cultural industries orm a

Creative Industries’ Task Force in 1998 as “

in individual creativity, skill and talent and

wealth creation and job creation through

o intellectual property.”5 The thirteen sect

architecture, the art and antiques market,lm, interactive leisure sotware, music, pe

sotware, TV and radio.

Some o these sub-sectors might not nece

as part o the creative industries – archite

common with construction than with art a

working in the sector might not necessari

in creative occupations.

Nonetheless, the point here is that when i

o the creative and cultural industries in th

signalled its intention to engage with crea

purpose o economic gain, essentially as p

the global knowledge economy.

qualication and indeed by 2020 hal o the region’s employment will require

a Level 4 (graduate level) qualication.1

Current evidence shows us that only just over 21% o Thames Gateway

residents are qualied to Level 4 or above, meaning that there is a

signicant gap between the skills and qualications levels in the Thames

Gateway and that which the region requires. This matters on a number

o levels, but critically, it means that unless skill and qualication levels

improve, the opportunities brought about by increased numbers o skill

and knowledge intensive jobs will be missed in the Thames Gateway and

pockets o unemployment could become a worryingly persistent problem.

Participation in higher education is increasing in the Thames Gateway butentry to higher education rests on levels o educational attainment in schools

and colleges and again, evidence shows that although perormance is

improving across the Thames Gateway, results at Level 3 are below those

or the greater south-east.2 Furthermore, there is a particular issue in the

Thames Gateway relating to progression between Levels 2 and 3. Evidence

shows that there is a drop o 9% between Thames Gateway young people

achieving at Level 2 at age 16 and Level 3 at age 19 – compared to a drop

o 1% in London.

Turning specically to the creative and cultural industries, we see the sector

prioritised as key to the uture economic prosperity o London and the

Thames Gateway.3 The next section looks in more detail at the skills needs

o the sector, but the main point to note here is that right across its many

dierent specialisms, the sector is overwhelmingly knowledge intensive,high skill and graduate-entry.

Research undertaken in the Thames Gateway in 2005 showed the draw

o courses in the creative sector, even among learners considered “hard

to reach”.4 The study showed that compared with the rest o England, in

the Thames Gateway there are more learners on Level 3 programmes in

creative subject areas and, in contrast with the general Thames Gateway

picture, progression to Level 3 rom Level 2 is consistently buoyant. However,

the same study showed that the rate o progression rom Level 3 to higher

education in creative subject areas alls below rates or the rest o the country.

Making the move through dierent levels o education can be a shaky

process but the move through to higher education can sometimes be

particularly challenging. However, the continued decline in lower skilled

Participation in

higher education

is increasing in theThames Gateway




As a high skill and knowledge intensive se

that right across its dierent specialisms, t

relies more than most on the knowledge,

Moreover, it is generally accepted that the

predominantly graduate entry and thereo

education to supply its workorce. The que

spotlight concerns the extent to which our

system actually supplies the creative secto

business activity to fourish.

Since 2001, Sector Skills Councils have had

employers’ voice in shaping education an

articulated uture skills needs through Secmain Sector Skills Councils covering the cu

sector are, Creative and Cultural Skills (ad

design, literature, music, perorming and

media) and Skillast9 (ashion and textiles

Council works across a dierent ootprint,

education and training to be relevant to in

diversity through opening up vocational a

industry. Each Sector Skill Council works w

providers in dierent ways, but currently h

not obliged to ensure provision is develop

have developed.

We can see then, that ‘creativity and cultu

Its importance as an economic sector is gquestions about the role and eectivenes

systems in the supply o a knowledgeable

In the Thames Gateway, regeneration and

on the shit to knowledge intensive emplo

improve general levels o educational atta

resident population . We are seeing impro

beginning to come through and as noted

progression rom Level 2 to Level 3 is actu

And yet, progression to higher education

across all subject areas, even in the creat

shown us that learners are engaged and

In the late 1990s, the Creative Industries Taskorce drew attention to the

signicance o the sector, noting that it was worth £60 billion, supported

1.5 million jobs, was growing at twice the rate o the rest o the economy

and had some notable but hidden successes, the UK games industry or

example, with 25,000 jobs and earnings o £500 million in exports.6

There have been considerable challenges over the past decade – oreign

exchange earnings have stalled in some areas and employment has allen

in others. However, despite such challenges, the creative economy has

remained at the oreront o national and re gional policy and digital and

creative industries are identied by the Department or Business, Innovation

and Skills as a key growth sector.

In 2007, the Government published ‘Staying Ahead’, which provided a

detailed economic analysis o the links between creative and cultural

industries and the wider economy.7 This was ollowed in 2008 by the

“Creative Britain” strategy paper, which rearmed the signicance o the

creative sector and set out a series o measures to strengthen the education

and skills pipeline. These included: 5 hours a week o cultural activity or

all children and young people, 5,000 ‘creative apprenticeships’ a year

by 2013, better support or young people leaving higher education and

moving into the creative industries and support or research and knowledge

transer.8 The same paper called or Regional Development Agencies to

develop mechanisms to support creative industries.

Most recently, Government’s response to recession continues to highlight

the importance o the creative sector, and demand or creative andcultural services looks set to grow internationally rom an increasingly

well educated and sophisticated consumer base. In this context, the 2009

Digital Britain report emphasises the critical importance o a rst rate

digital and communications inrastructure as a prerequisite to the success

o the UK’s creative industries and elsewhere there are reerences to the

importance o the nancial sector adapting to support the growth and

expansion o creative and knowledge based industries.

There is then, a broad consensus about the place o the cultural and

creative sector in the knowledge economy and its importance with

regard to uture national economic prosperity. However, debates about

the skills needs o the sector and how skills needs might best be met,

continue apace.

The creative and

cultural sector relies

more than most

on the knowledge,

skills and talento its workorce




Progression to higher level education is o real and critical importance i the

transormation o the Thames Gateway is to be achieved to its ull potential,

i the skills supply to support knowledge and skill intensive industries is not

to be constrained and i local people are to benet ully rom regeneration

and economic development.

It is against this complex and challenging background that The Creative Way

has been operating. The ollowing chapters explore our work in more detail.

1 Learning and Skills Council Strategic Analysis

2 Thames Gateway Skills Framework (2008) DCLG

3 Rising to the Challenge The Mayor’s Economic Development

Strategy or Greater London Public Consultation Drat (2009);

Thames Gateway Economic Development Investment Plan

(2008); EEDA; SEEDA; LDA

4 Feasibility Study – Lielong Learning Network or the Cultural

and Creative Industries (2005) DTZ Pieda Consulting

5 Creative Industries’ Task Force, DCMS (1998)

6 Creative Industries’ Task Force, DCMS (1998)

7 Staying Ahead (2007), DCMS

8 Creative Britain (2007) DCMS, BERR, DIUS

9 From April 1st 2010 the UK’s ashion and textile sector will

be represented by Skillset.Progression to hi

education is o re

importance i the

o The Thames G

be achieved to its




Section 2

Progression



16 The creative industries make the heart beat fasterProgression

Guarantee is that every Thames Gateway

qualication will be given the opportunity

qualication. The overall aim is that every

but not exclusively at vocational level 3, w

Level 4 course – essentially creating a reg

increase and open up learning opportunit

The Creative Way Progression Agreement

or institutions to implement the Thames G

Progression. Focusing particularly on the c

the Scheme is based on a set o core prin

_ institutional autonomy with radmissions criteria and any

to apply to their own progra

_ shared commitment to ensu

qualications are treated eq

process or entry to higher e

_ willingness to develop select

potential capability and thei

HE programme to which the

_ willingness to clearly set out

each programme within the

recognising that these may d

and/or institutions, but ensuunderstood by learners and

The Progression Agreement Scheme is bu

between providers o Level 3 and Level 4 p

progression agreement relating to a nam

Agreement sets out what the learner nee

entry on to a named Level 4 programme a

specic guarantees to be given to learner

o an interview or oer o a place).

The next section looks at how progression

and negotiated by partner institutions and

the sta and students who have been invo

The Thames Gateway Guarantee o AssuredProgression and The Creative Way ProgressionAgreement Scheme

Currently, the skill and qualication levels o the resident population o

the Thames Gateway are below averages or London and the greater

South-East.10 As the introduction explained, accelerating improvements in

education and skills attainment is a key priority, and while improvements

are needed across all levels o the education and training system, the

ocus or The Creative Way has been on increasing the numbers o people

with a Level 4 (graduate level) qualication through improving the rate o

progression to higher education.

A number o actors shape and infuence progression and entry into

higher education:

_ Firstly, individual actors such as prior educational experience

and attainment, socio-economic and amily circumstances,

employment status and perception o uture employment

opportunities;

_ Secondly, national policy on education and student nance.

In relation to nance, consideration o ees and loans and

learners’ attitudes to debt are signicant. In terms o policy,

until recently the drive has been to expand entry to HE, with

the skills needs o business becoming ever more central

post-Leitch;11

_ Thirdly, the policies and practices o individual institutions,

including admissions policies, the curriculum and student

support oer and progression arrangements with partner

schools and colleges.12

Individual colleges and universities across the Thames Gateway each

have their own autonomous arrangements with regard to admissions

and entry criteria and many have successul progression arrangements

with local schools and colleges. However, recognising the need to speed

up improvements in progression to higher education, in 2006 the regions’

universities and colleges, working through the Thames Gateway Further

and Higher Education Action Group, gave their commitment to a Guarantee

o Assured Progression within the Gateway area. The intention o this

The overall aim

is that every Level

3 course in the

Gateway will

lead directly to

an appropriate

Level 4 course




London Metropolitan Univers

College13 to create a progres

route into the University’s BA

rom the BTEC National Diplo

Details o these and all othe

can be seen at www.creativ

Course titles, however, are not always a c

course content. Courses with the same or

have very dierent content and in such ca

alignment is critically important i progress

work or learners.

> Canterbury Christ Church Un

new higher education progr

to build progression routes

the Thames Gateway creativ

progression routes were ide

dialogue with partners (Broo

Mid-Kent College, North-We

Music College) the University

to match the content o partn

and meet the interests and a

on each identied progressi

Development activities ran oon close working relationshi

HE. The rst exploratory pha

coming together in a series

each others’ programmes a

o curriculum development w

Early on, this process highlig

about the extent to which it r

coherent and clearly visible

rom vocational programme

at Level 4.

FE tutors expressed doubts a

study and its relevance to th

Developing Progression Agreements

In 2007, The Creative Way commissioned a detailed mapping exercise

and gathered data on all creative and cultural provision at Levels 3 and 4

delivered by Creative Way partner institutions. Data was structured by course

title, qualication, level, provider and location. Creative Way sta were then

able to use this curriculum map and course data to develop a detailed

knowledge o provision across the Thames Gateway and identiy potential

progression pathways.

At a very early stage, our analysis o provision indicated that relatively poor

rates o progression were not simply a unction o lack o provision – with

only one or two exceptions, the curriculum map showed a good range o Level 3 and 4 provision in the creative sector across the Thames Gateway.

We thereore ocused our attention on the curricular aspects o progression

and developed The Creative Way Progression Agreement Scheme as a

mechanism to identiy pathways built on aligned curriculum, compatible

teaching, learning and assessment strategies and an appreciation o the

equipment and acilities relating to particular programmes o study.

Sometimes progression pathways are immediately obvious. Frequently

associated with specic areas o practice and/or employment, such

progression routes are oten indicated by course title and usually oer a

close curriculum match between provision at Levels 3 and 4. In such cases,

progression agreements are relatively straightorward to negotiate.

> For example, Trinity Laban Conservatoire o Music and Dance

worked with Mid-Kent College to develop a progression

agreement which oers a clear and cohesive pathway into

Trinity’s FdA in Musical Theatre rom the BTEC National Diploma

Perorming Arts (Musical Theatre). Similarly, Canterbury Christ

Church University has developed a progression agreement

with Bexley College to enable learners to move onto their

BA(Hons) Photography programme rom the College’s BTEC

National Diploma Photography course. In the eld o music

technology, the University o Kent has worked with Newham

6th Form College (NewVIc) and a progression agreement

is now in place which oers a pathway rom the College’s

BTEC National Diploma in Music Technology into the University’s

BSc (Hons) in Music Technology. In the design subject area,

Poor rates o

progression were

not simply a unction

o lack o provision

The process o

curriculum alignment

is critically importanti progression to

higher education is

to work or learners




progressed to Canterbury Ch

2009–10. In the words o one

made the journey:

“ Canterbury Christ Church wa

and I came down to visit one

was a real breath o resh ai

or my peace o mind … The

standard here, I don’t have t

is exploit it while you can …

up a new avenue in the way

I look at my own music, the w

and the direction I want to tamore imaginative avenue it’s

Many Level 3 programmes aim to prepar

courses at Level 4. I n such cases, the deta

Way Programme Managers have o the c

Gateway has enabled many partner institu

opportunities or learners.

> For example, South Essex Co

Diploma in Fashion & Clothin

the College is now developin

Education programmes. This

knowledge and experience t

Photography, Style Futures, DFashion Promotion at SEC, bo

routes within the College an

or the Creative Arts, Canterb

London Metropolitan Univers

> Similarly, the BTEC National D

(Technical Theatre) run by Ba

progression routes into a ran

Rose Bruord College, includ

Design and Stage Managem

or entry onto Foundation De

in Technical Theatre at East 1

BA(Hons), in Creative Arts o

the Creative Arts.

would reject the prospect o an ‘academic’ course, with

its emphasis on essay writing. FE sta elt theirs were

vocational students, who, i they were going to consider

higher education at all, would be looking or a ‘vocational

sounding course’ which would help them move into their

chosen area o work.

This concern about the perceived abstract and theoretical

nature o higher education led to a rigorous interrogation o

course content at Levels 3 and 4 and resulted in the realisation

that while the content o the Level 4 courses would appeal to

vocational learners, the language used to describe it would

not. Gradually the HE team came to realise that the languageused to describe the content and approaches to learning

were critical and that the use o amiliar language would,

at a stroke, engender a sense o continuity in the skills and

techniques students were developing.

So, Canterbury Christ Church University changed the name

o its new fagship course and BA(Hons) Creative Music

Technology replaced the more opaque sounding ‘Sonic Arts’

as the course title. At the same time, the University changed

module titles and descriptors and reviewed inormation

provided to ensure clear and accurate guidance was provided

about what individual study programmes entailed and what

would be required o them as prospective students.

FE tutors also undertook to review the content o their courses

and the teaching and assessment methods used, with a view

to better preparing students or higher education study.

Collaborative work between FE and HE sta also highlighted

the importance o some o the ‘non-academic’ aspects o

progression and a series o student workshops were held to

reassure and counterbalance the general ear o the unknown

and unamiliar – a ear which FE tutors in particular elt was a

signicant actor in holding back their students.

This process o partnership working led to a package o

cohesive progression agreements and students are now

progressing rom FE courses to HE programmes – 22 students

The use o amiliar

language would,

at a stroke, engender

a sense o continuity

in the skills andtechniques students

were developing




The site is now widely recog

o good practice in the provis

inormation and eedback r

indicates the site is proving a

useul inormation.

“ The homepage o Creative W

to navigate. It is a very visua

learning style o creative stud

“ The Creative Way website is

can be used by anyone. The

presented and the site is ver

You can visit the site at www

Progression Agreements – Be

It is too soon to assess whether the Tham

Progression and the linked Creative Way P

will result in long term improvements in d

to HE and raising the region’s skill and qu

progression to HE is now increasing and w

tutors and advisers appreciate the increas

agreements provide.

> “ It’s brought the HE experienc

reinorced the value o progr

“ Progression Agreements rea

clear inormation about wha

into HE.” _ FE tutor

“ This has given me a much c

I wish to take into Higher Ed

Teaching sta in particular value the proce

connect learning opportunities.

Communicating Progression Opportunities

Identiying progression opportunities, building new academic partnerships

and brokering progression agreements between institutions is important –

but it is even more important to communicate opportunities so that learners,

their parents and advisers know exactly what is on oer.

Progression to HE can be a shaky and challenging process, particularly or

vocational learners, all the more so when the subject o study is in what is

oten perceived as the risky area o the creative industries. Concerns about

the nancial implications o higher education aect most students, but such

concerns can be exacerbated or young people who are uncertain about

employment opportunities and entry rotes in a sector without traditional orrecognisable employment patterns.

Our research showed us that learners want to know where higher level

creative courses might lead them in terms o employment. As well as

inormation about employment prospects – what jobs entail, earnings

prospects and entrance requirements – learners also want to know

the detail o what they will study at HE level and what exactly will be

required o them.

Our research also showed us that careers’ advice services tend to have a

relatively low prole among learners, who are instead relatively condent

o their ability to nd out about what is available to them. Young people

value accessible, accurate, up to the minute and detailed websites. Advice

rom others – tutors, parents, advisers and peers – is useul, but requently

tends to be sought out once an initial decision has been reached as to

the next step.14

> Against this backdrop, we developed The Creative Way

courses and careers website specically to provide accessible,

accurate, up to the minute and detailed inormation about

creative careers and courses. We gathered detailed proles

o industry sub-sectors and occupations and used course

mapping data to provide the core inormation about

courses on oer across the Thames Gateway. The site

contains inormation about progression opportunities and

progression agreements. The creative proles pages bring

inormation alive through interviews with a wide range o

creative practitioners.

It is important

to communicate

opportunities so

that learners, their

parents and advisers

know exactly what

is on oer




measures. Where this happens, progress

or vocational students.

However, work across The Creative Way p

questions about the extent to which align

with the ‘academic curriculum’ can achiev

skills attainment.

Our work has shown that many students w

subject areas have learned to dene them

many have a distinct preerence or ‘appli

‘academic’ learning. They fourish in inorm

organised vocational provision, which propractical and creative work. Teaching sta

in their skill and passion or creative work

BTEC courses shine and can oten start th

with greater levels o practical skills than t

A-level students, however, have other kind

and ultimately, the orientation o A-levels

move into and through higher education i

students rom an A-level pathway than it i

vocational qualications.

Some o the richest work undertaken acro

has ocused on entry requirements, curric

development to minimise the huge leap t

make when moving rom college to unive

“ The kind o students who ex

rom non-traditional backgro

hard about our entry proces

that we’ve put in place out o

some students because o th

nothing to do with their abili

students sheet music, that p

aren’t necessarily air or help

can do it that avoids that, bu

the music. It’s changed how

process, in good, interesting

to then beg all sorts o intere

> “ The past year has been so benecial in terms o building

some very strong relationships in our region. To be able to

meet FE teachers has given me so many new and exciting

ideas as to how my work can better support them and

ultimately their students.” _ HE tutor

“ Working with HE teaching sta has really helped us to plan

ways we can prepare our students or HE.” _ FE tutor

“ We’ve got similar views on a lot o things but also diverse

views … that’s made us strong as a partnership.” _ HE tutor

“ This reminds me why I came into teaching …” _ HE tutor

However, signicant challenges persist.

Traditionally, higher education courses have been designed with a ‘model’

student prole in mind – typically an A-level student with a minimum o

5 GCSEs at grades A–C, including Maths and English. We have had years

o discussion and debate about parity o esteem, and yet vocational

courses still seem not to be awarded the same status as academic courses.

All too oten students ollowing vocational programmes still nd themselves

categorised as ‘non-traditional’ when it comes to applying to HE.

The introduction o Foundation Degrees might have been expected to open

up progression opportunities or students entering higher education rom

vocational courses. However, many teaching sta comment that the original

aim that Foundation Degrees should be vocationally oriented with a strong

element o employer involvement, has not in practice, always happened.

Turning to pre-University qualications, the recent development and

introduction o the 14–19 Diplomas seemed to promise a vocationally

oriented alternative route into higher education but already questions are

being asked as to the extent to which this new qualication provides an

adequately robust preparation or HE study. This potentially undermines

the new qualication and maintains the A-level as the gold standard.

Evidence rom our work seems to indicate that it is not simply lack o interest,

aspiration or motivation that limits progression and we are now beginning

to see real benets coming through rom the careul process o aligning

curriculum and supplementing this with appropriate student support

Learners, tutors and

advisers appreciate

the increased clarity

that progression

agreements provide




the course would benet ro

to boost employment prospe

Development unding rom T

15 to develop working relatio

strengthen progression path

qualications. It also allowed

development so that course

with that o Level 3 vocationa

bring it into line with current

improving employability.

The project proved useul in partner colleges – although

diculties involved in attemp

activities with partners at the

practice-based technical the

such problems, good workin

with partner colleges and Ea

understanding o how traini

closely with its own industry-

course. New progression pa

students were accepted ont

vocational programmes in p

Equally signicantly, the pro

colleges enabled East 15 sta

designed to better prepare

course team reported that th

previously allowed students

a range that were not neces

thereore not in the best inte

employers. For example, ski

skills in Lighting resulted in a

one with both Sound and Lig

The technical theatre course

existing students through a s

discussions and surveys reg

aspirations and skills base. D

job opportunities was condu

as it progresses, even up to level 6 … What’s the point o me

asking my level 3 student to sit down and write an essay or

something, i I’m not going to be bothered about their writing

skills per se – they’re going to be musical theatre artists.

So, what are the implications or that at level 6? Should I still

be asking them to do dissertations? Should I be smarter and

think about other ways o them demonstrating their academic

prowess in perormance?” _ HE tutor

Some HE institutions have begun to question the extent to which some o

their programmes make the most o the skills and capabilities o students

with a leaning towards practical, vocational learning. In some cases, this

has resulted in the HE institution taking steps to develop a dierent kind o programme, more suited to students with a preerence or applied learning

and coming through to HE rom vocational study. Such developments

are particularly encouraging, given the seemingly stubborn persistence

o dierences in the experience and achievements o students in HE

with apparently similar levels o creative ability but who have ollowed

a vocational rather than academic route at Level 3.

> East 15 Acting School (part o the University o Essex since

2000) runs a technical theatre degree course which was

launched in 2004. From the outset, the two-year FdA course

with optional BA (Hons) top-up year was designed as a

practice-based course with an emphasis on learning through

practical application. The intention was to develop a course

which would reerence traditional theatre apprenticeship-style

training but which would allow or progression to a higher

level o training appropriate or undergraduate work.

As the course became established, East 15 realised that

the course could oer real opportunities to students

whose backgrounds and inclination were more ‘practical’

than ‘academic’.

However, the School recognised that the course was

relatively unknown to a large number o schools and colleges,

particularly in relation to what it elt were the less traditional

progression routes into HE rom BTEC and HNC programmes.

At the same time, East 15 sta elt that although industry links

were established with work placements oered to students,

The process o working

with partner colleges

enabled East 15 sta

to introduce curriculum

changes designed to

better prepare learners

or employment




“Success” by Nick Drake as p

Connections Festival. The aim

to develop a strand o interd

curriculum and the progress

the same time to enable Ros

their curriculum and teachin

The perormance gave the o

applications o this collabora

The perormance was succe

National Theatre’s New Con

that progression opportuniti

FE and HE tutors believing thincreased numbers o learne

workshops and the process

proved critical.

The workshops provided a ri

HE sta, enabling them to w

and so develop a close work

understanding and apprecia

teaching methods.

It was this process o joint w

partners conronting the limi

and adjustment. In the word

“ The question remains: what

cannot demonstrate at inter

perormance at HE level? In t

requisite skills this question m

they are not suited to this typ

advised to continue in anoth

on this project are in any wa

seems to be ar more comp

students we have worked w

potential as creative and cap

This is made possible by the

and specialist, interactive tea

The students are given very

appropriate level o discipline

consultations culminated in a series o meetings with sta

and student employers.

Arising rom these consultations the technical theatre course

team proposed amendments to the course structure using

established strands to guide students towards making good

vocational choices o compatible options.

Some theoretical written work was taken out o the curriculum

to provide scope or a greater emphasis on research and its

application to production processes as this was thought to be

more relevant to technical theatre. Methods o assessment

were redesigned to place more emphasis on students’ abilityto present arguments orally and to refect on their own practice.

Curriculum development was completed and in place by

the beginning o the academic year 2008–2009 and has

been well-received by students, work placement providers

and employers.

> Elsewhere in the eld o perorming arts, Rose Bruord

College and Lewisham College were interested in expanding

progression opportunities or National Diploma Perorming

Arts students.

Rose Bruord’s Actor Musicianship Programme was developed

to meet an identied need within the theatre industry.

Recognising that entry onto higher education music courses

traditionally avours students who have beneted rom extra

curricular musical activity and can be problematic or students

with non-traditional music making skills, the sta team at Rose

Bruord College sought explicitly to develop a curriculum which

moved beyond the playing o ‘traditional’ musical instruments

and which integrated urban music techniques.

Working with tutors rom Lewisham College, Rose Bruord

sta aimed to devise methods to acilitate the progression o

students with ‘non-traditional’ music making skills onto the

Actor Musicianship programme at Rose Bruord. The project

team planned to do this through a series o practice based

workshops culminating in a perormance o a new play called

It was this process o

joint working which

ultimately led to both

partners conronting

the limitations o curriculum alignment

and adjustment




Extending Progression Oppor

Across The Creative Way partnership, som

beginning to establish alternative progres

extremely interesting work now emerging

the HE oer beyond the traditional under-

As illustrated above, some notable work

perorming arts which chimes with curren

practical training and academic educatio

and in what balance, or uture creators, p

> At Lewisham College sta teeld are exploring alternativ

oriented higher education a

employment in technical role

Starting with a concern abou

students are prepared or hi

“ A university course is not or

successul matches, sometim

pegs into square holes …”

and asking a question

“ … Why should a high level t

level 4 academic qualicatio

The sta team at Lewisham

relationships with employers

learners to gain all-importan

Scheme was developed as t

portolio, which allows stude

and reerences alongside qu

been welcomed by students

“ I ound learning at work was

college, because I learnt skil

a real work space.”

time consuming and tangible pastoral support. In this

environment they thrive and I have ound them to be open,

adaptable and gited students. For many however, their

levels o ocus, sel-condence and sel discipline are not o

a level suitable or study on an HE vocational actor training

programme. They are also not in a position to be able to

demonstrate their level o skill within the constraints o the

current audition/interview procedures o most HE institutions.

The resulting dichotomy is that students like these have the

potential to develop lie enhancing creative skills; however,

or a number o complex reasons, many do not possess the

requisite competencies to gain entry onto the programmes

that can develop these skills.”

The ocus o the partnership between the two institutions

sharpened somewhat in the ace o this analysis.

The teaching teams in both institutions rearmed their

commitment to the continued development o progression

between vocational and academic programmes and

highlighted curriculum and study skills development and

work on interview and selection procedures as key areas

or continued collaboration.

However, sta at Rose Bruord College concluded that a

dierent orm o HE provision might be needed to enable

vocational students to benet ully rom HE study. Rose

Bruord College is currently exploring new models designed

to broaden its HE oer.

Why should a high

level technical skill be

grounded in a Level 4

academic qualication

– or even tied to one?




Other, less obvious, challeng

progressed. One signicant

process o integrating group

had as its overall aim the ob

independent practice. Stude

imagination and set up a we

collective promotion (www.p

Ultimately the combination o

regulatory rameworks and

have conspired to stall the d

Level 4 course.

However, the resounding su

Mary Ward Centre to adapt t

accredited course with OCN/

the College remains commit

o a fexible Level 4 oer. In t

“ The act we are here, at the

body o work with a degree

making something people w

is probably the best testame

we’ve developed. The tutors

world sound easy but it is, e

is something we have done

Equally important developments are now

structures to hold various progression opp

the work in this area is ocused on strengt

learning providers and ormal education e

in this chapter, creative and gited young

in an academic environment and can all

ormal education. Many o these young p

short courses in inormal learning settings

guidance and encouragement, they can m

urther training and education.

> “ Having this HNC in partners

University, we’ve now got qu

through to level 4. It’s really a

Employers are also responding avourably:

“ Your students are more receptive and adaptable than students

who have spent three years studying theory and practice at

drama school.”

> Working in a dierent area o specialism – art, design and

crat – sta at the Mary Ward Centre have also recognised the

need or an alternative to the 3-year, ull-time degree. In this

case, development work has ocused on developing a higher

skills oer to meet the needs o adult learners on the journey

to becoming a proessional artist.

“ The majority o our students are adult learners who have

commitments which mean they are unable to aord the

high costs o University. Many don’t see that the outcome o

higher education matches the ees charged or it … Whilst this

might seem an unnecessarily harsh view, as older learners,

our students are inclined to set high standards and have

high expectations.”

The Mary Ward Centre set out to explore the development o

a ‘aster’ higher education route and one tailored specically

to prepare learners or sel-employment as artists and

creative practitioners. The overall aim was to develop a new

fexible Level 4 course which would combine creative practice

development with business skills training to enable learners to

take the next steps to becoming proessional arts practitioners.

As a means to research learning needs and support the

design o the new course content and structure, the Mary

Ward Centre ran two pilot courses which provided important

insights and enabled teaching sta to ocus on a number o

key issues. Some o the challenges had been anticipated –

or example, the perennial challenge o ‘work experience’ in

proessional arts practice. The approach taken here was to

develop partnerships with a broad range o arts organisations,

galleries and individual artists and to develop work experience

opportunities. Work experience ran alongside structured

learning designed to enable students to progress their own

creative practice.




or those that may not have wanted to go down the traditional

path. They can still get qualications all the way through to level

4, and then on to a degree course. The benet o that is that it’s

an entirely dierent way o learning, but they can still achieve

exactly the same qualications. So, hopeully we’ll engage a

dierent type o learner, and one that wouldn’t have already

been engaged with what’s on oer in mainstream provision.”

The next section explores partnerships in greater detail but in concluding this

section it is important to note that collaborative work between educational

partners has been absolutely undamental in building opportunities or

learners to progress. As we turn our ocus to sustaining progression

pathways and extending the model o progression agreements to otherkey sectors, a strong Thames Gateway partnership will continue to be

vitally important.

10 Thames Gateway Skills Framework (2008) DCLG

11 Leitch Review o Skills (2006) HM Treasury

12 Source: Moving On: A study to explore the reasons why

learners ollowing Level 3 qualications in the creative

arts subject areas choose not to progress to programmes

at Level 4 (2007) Dr Pamela Percy & Tony Hudson or

The Creative Way

13 South East Essex College merged with Thurrock and

Basildon College with eect rom January 1st 2010.

The new institution is South Essex College.

14 Sid Hughes (2009) Pathways into Learning in the

Creative Arts

15 A Contribution to the Government’s HE Debate,

Nicholas Hytner (National Theatre) (2009) available at:

www.dius.gov.uk/higher education/shape and structure/

he debate

As we turn our o

progression paththe model o prog

to other key secto

Gateway partner

be vitally importa




Section 3

Partnership

h h hO i O t iti L



38 The creative industries make the heart beat fasterPartnerships

Through the Creative Way, many new par

are resulting in new ladders o opportunit

innovative are between neighbouring coll

with private training providers and employ

> In East London, the Creative

brings together urther and h

(NewVIc, the University o Ea

working with inormal learni

Stratord Circus, an innovativ

provides a strong anchor or

with Stratord Cultural Forum

Many o the partners who ca

partnership had a history o

– the University o East Londo

example, was well establish

senior management level, w

rom teaching sta in both in

The introduction o the 14–19

provided a urther impetus t

membership and scope o th

The initial intention o partne

o the diploma through bring

education and employers w

This led on to a shared intere

education and training inraso an overarching, connectin

training opportunities rom p

One o the rst initiatives CAN

publication o a prospectus w

inspire potential learners. Th

o the partner organisations

opportunities locally. Progre

through case studies and hig

to move rom inormal throu

The prospectus was underpi

o work to explore how cred

Opening up Opportunities or Learners

Partnerships and collaborative working are an established eature o the

education scene and in the Thames Gateway there are several examples o

high prole, strategic partnerships which have extended locally accessible

education opportunities and successully placed urther and higher

education at the heart o regional regeneration.

> The Universities at Medway partnership, bringing together the

University o Greenwich, the University o Kent and Canterbury

Christ Church University, was the rst collaborative venture o its

kind in the country and already this partnership development

has had a benecial impact on local participation in highereducation.16 The recent opening o the new Mid-Kent College

building on a co-located site urther strengthens the learning

inrastructure and provides increased capacity to deliver

real transormation to the education and skills prole o the

Medway towns.

> Similarly, the joint urther and higher education acilities in

Southend (a partnership between South Essex College and

the University o Essex) have created new opportunities

or progression to higher education, and learning campus

developments in Thurrock are now urther extending

opportunities in the Thames Gateway Essex sub-region.

> In the Thames Gateway London region, the new Ravensbourne

campus on the Greenwich Peninsula opens in 2010 and northo the river, the University o East London and Birkbeck College

are collaborating on the development o a signicant new

centre at Stratord Island.

Partnerships based on buildings are clearly important and the impact o

new educational acilities in opening up opportunities through the provision

o locally accessible higher education cannot be underestimated.

However, there are other, sometimes less visible, models o collaboration

in urther and higher education which arguably, are equally important in

creating an architecture o educational opportunity.

P i A t Cit & I lit b t t t ilit t l i




Perorming Arts, City & Isling

o East London.

Initial inormation sharing led

ocus on using the network t

Dance Network partners now

Days’ – practical events or d

on to HE. Students can learn

dance education and trainin

the Network and receive pra

the process o audition. Dan

in Toolkit Days, giving studen

about dierent career pathw

arts. Showcase perormance

Bonnie Bird Theatre and hav

observe and learn rom eac

proessional context.

For students, the opportunity

points o reerence has been

“ I really did enjoy the ballet cl

but as I participated, I had a

“ I thoroughly enjoyed the clas

they helped open my eyes to

“ I elt it was a very valuable e

my decision making.”

“ I ound that there is so many

take i perorming isn’t the r

For sta too there have been

“ The Dance Network has bou

in the classrooms and studio

developed relationships with

we talk about the classes we

we’ve seen, things we’re nd

operate between partners to acilitate learner progression

rom inormal, practice-based settings to more ormal learning

environments. This process engaged partners and learners

in innovative and highly creative learning projects which

demonstrated the unique benets to learners o multi-

partner working:

“ Studying dance courses at Stratord Circus has given me

experience o dierent kinds o dance”

“ It’s helped me become a stronger more collaborative

perormer and will benet me when I’m applying to drama

schools/University”

However, the aspiration to develop a cohesive credit transer

ramework as a device to connect learning opportunities

is proving challenging. The CAN partnership has identied

some very real dierences in assessment cultures, particularly

between ormal and inormal education providers and

employers, and in some cases, partners elt that the attempts

to accredit learning experiences had the unwelcome eect

o de-motivating learners. Work is continuing, with partners

particularly interested to investigate how ‘on the job’ learning

might to lead to entry to higher education.

Creative Arts Newham is an example o an area based partnership.

Through The Creative Way, partnerships and networks based on subject

disciplines and industry sectors have also developed.

> The Creative Way Dance Network has developed against

the backdrop o the growing interest nationally in dance

and dance education. The initial aim o the Dance Network

was to bring teaching sta together rom FE and HE dance

providers across the Thames Gateway to enable them to

learn more about each others’ programmes and to acilitate

communication between sta working in dierent institutions.

The Dance Network includes Trinity Laban Conservatoire o

Music and Dance, Lewisham College, Hackney Community

College, Newham 6th Form College (NewVIc), South Essex

College, Mid-Kent College, Brooke House 6th Form College,

Palmers College, London Metropolitan University, Reynolds

Some very real

dierences in

assessment cultures,

particularly between

ormal and inormal

education providers

and employers

Creative Way unded development projecIt’s conrmed or me that the uture o the network needs




Creative Way unded development projec

network there are numerous other examp

However, unding which allows or innova

enabling successul practice to be embed

term and indeed there can be very real ch

commitment to partnership arrangements

Sometimes external actors constrain pote

to extend learning opportunities can all v

dierent unding and quality assurance r

also impact negatively and undermine in

partnership activity.

There are complex challenges in developi

but our experience in the Thames Gatewa

benets rom approaches which enable i

others’ specialisms and resources. As we

public unding, the partnership experienc

Gateway institutions may well prove critic

changing learning needs and respond e

o stakeholder interests.

It s conrmed or me that the uture o the network needs

to be ull o sharing practice and ideas and supporting each

other so that students really get the best possible start to their

career in dance.” _ HE tutor

“ The project has reminded me that even though it wasn’t

that long ago I was training, things have changed so much.

Some o the things students have said to me recently about

their understanding o what it means to train and work

in dance have really surprised me. In some cases there’s

a huge desire to succeed but less enthusiasm towards a

9 hour day o classes! I’m condent that i students were more

psychologically prepared or HE training, they would be better

supported to make the transition into the sector.” _ FE tutor

Partnership Working –Benefts, Challenges and Opportunities

Successul partnerships at course level extend and enrich the range o

learning opportunities or students and can be a powerul stimulus to

learner progression. For sta, collaborative working provides invaluable

development opportunities and or institutions, partnerships can provide

an important way to stretch resources and secure local recruitment.

For students, cohesive partnerships between institutions can be critical in

supporting their transition to higher education, particularly where students

are supported in developing their understanding o what will be requiredo them as they move into higher level study.

Experience suggests that successul partnerships do not always derive

rom decisions taken at the level o senior management but instead rest

on relationships between innovative sta working in dierent organisations.

As a pan-Thames Gateway network, The Creative Way has provided a

uniquely successul mechanism to connect together teaching sta, policy

makers, employers and creative practitioners and as we have seen, tangible

benets can and do result or learners and or individual institutions.

Special unding, such as that that has been provided through The Creative

Way, has undoubtedly been important in enabling innovative, partnership

based developments. Many o the examples in this book are drawn rom

The Creative Way

has provided a

uniquely successul

mechanism to

connect teaching

sta and creative

practitioners

16 Source: Thames




Section 4

Creativity,Innovationand EmployEngagemen

or a career in the world o oSince setting up in 2006 The Creative Way has ocused on increasing the



46 The creative industries make the heart beat fasterCreativity, Innovation and Employer Engagement

or a career in the world o o

We are looking orward to c

course. We have already em

are very optimistic that the c

source o reelance crew.”

With such a relatively new a

the challenge is not just to p

and training experience whi

the sector. It is also to comm

o the range o careers and

eld provides. There is no sin

proessional practice or high

across the Thames Gateway

indicated a lack o awarenes

opportunities which might b

to study in the area.

Working with the University o

Way sta identied a numbe

Gateway which provided lea

to the University o Kent cour

with Level 3 course teams a

arranged. However, even th

considered useul by everyo

both FE and at the University

done to inorm and inspire s

involved in the eld o creativteam at the University o Ken

unds to commission a lm

the careers and opportunitie

creative events. Visually rich

interviews with proessional

the University o Kent course

or those studying and work

arts, stage management, de

and related elds.

The Creative Events course at the Universi

new higher level provision which ocuses

crat skills together with their creative and

Since setting up in 2006, The Creative Way has ocused on increasing the

pull through rom school and college through to higher education so that

opportunities or employment in the creative industries’ sector are increased

and creative sector business activity is enhanced. We have described our

approach to opening up opportunities or learners to move into higher

education through a progression ramework and outlined the benets that

collaborative, partnership based working can bring to creating a sustainable

architecture o opportunity.

This chapter ocuses on initiatives designed to match higher skills provision

to industry need and increase opportunities or Thames Gateway students

to move into creative sector employment.

Innovating to Meet Creative Sector Skills Needs

The curriculum mapping work we undertook in 2007 showed rich provision

across almost all creative sector subject areas. It also highlighted several areas

where Thames Gateway institutions are developing unique and innovative

provision to meet new and emerging areas o the creative economy.

One such emerging area is that o creative, celebratory and outdoor

arts and events – a diverse and growing area o economic activity,

requiring complex skillsets across creative, technical, management and

entrepreneurial areas.

> There are now several courses in the UK which addressevents management but the BA (Hons) programme in Creative

Events (Design and Production) at the University o Kent places

particular emphasis on creative ideas and event design.

The course has strong connections with industry partners

and seeks to develop students’ creative, intellectual and

crat skills as preparation or work in creating and shaping

environments, events and experiences.

The University o Kent course has established a strong

reputation with leading employers:

“ This course is a rst or the sector. The range o subjects and

the strong links with proessionals give a good oundation

Enhancing Employment Oppo> In the closely related eld o technical theatre, Creative Way




Enhancing Employment Oppo The Importance o Work Expe

The renewed emphasis on the importanc

students with economically valuable skills

– at least in some quarters – that too man

relevant to the labour market and all shor

requires. Against this dispiriting backgrou

note that evidence rom right across The C

sta in urther and higher education instit

ensure the relevance o their courses and

There has, o course, always been a stronwork in many creative subject areas. Crea

taught through industry set bries and ma

practitioners or the express purpose o in

ethos. Many courses also include units de

and business acumen closer together and

partnership there are also several examp

simulate workplace experience.

It is real work experience however, that m

and motivation and in helping learners de

Organised well and supervised eectively

the opportunity to practice skills, see the re

test out the reality o particular occupation

The opportunity to observe and experiencis important or all learners but can be pa

considering a move in to creative sector e

> Teaching sta in the School o

at Thurrock and Basildon Co

strengthening and promotin

career opportunities arising

their overall strategy o prom

to higher education to adult

Foundation Degree study.

Working with the University o

House and a range o emplo

y , W y

partners are collaborating on a number o other development

initiatives which have looked at the skills employers now require

o graduates, explored pan-Gateway progression routes rom

Level 2 through Level 3 and on to higher skill, HE-level provision,

and developed new modules and courses where gaps were

identied. Partner institutions rom across the Thames Gateway

have linked up and ormed a Technical Theatre Network17 which

now works with venues and production companies across the

Thames Gateway and has links with the new National Skills

Academy or Live Perormance based at Thurrock.

> Many creative sector practitioners operate as reelance

workers or run small companies. To meet their diverse needs

or graduate level proessional development, a small team

rom London Metropolitan University worked with perorming

arts and arts policy practitioners to develop and pilot a fexibly

delivered programme designed to enhance practitioner skills

and develop business and enterprise skills.

In the words o the course leader:

“ Since the idea was rst dreamt up, the poor state o our

economy has become apparent, and perversely makes the

need or a ocus on innovation and enterprise more compelling.”

The success o the pilot course run at London Metropolitan

University is an encouraging indication that interdisciplinaryapproaches to enterprise development in the creative and

cultural sector are very much possible.

Essex College tended to resiat Thurrock and Basildon College ocused on integrating work




g

preerring instead to respon

experience requests rom in

enabled them to spot the ch

esteem, namely independen

Students themselves elt em

many have become more in

some cases, national arts pr

a greater awareness o pote

The South Essex College cou

produce a DIY guide – ‘Takin

Artist’ – a resource designed

region who are interested in

> In the eld o live music, a pa

o Further and Higher Educa

industry proessionals and ‘M

provided a valuable opportu

practitioners to come togeth

For Level 4 learners, work experience is a

o many programmes o study. It adds to

valued opportunity to practice skills and e

tentative, within proessional networks.

For Level 3 learners, however, work exper

it motivates and builds condence, and it how skills are used and applied in the wo

or Level 3 learners however, can be dic

Gateway region where the majority o cre

can sometimes struggle to aord the opp

experience placements.

> The DIY guide produced by S

example o practical advice

work experience.

Finding ways or students at all levels to b

been an important ocus, and across the C

are notable examples o initiatives design

g g g

experience and work-related learning into the Foundation

Degree in Textiles with Fashion oered at the college. O

particular note, is the emphasis given by the course team

to building links and arranging work experience with SMEs.

Although challenging, the sta team eel that such work

experience oers students the chance to experience how

designer/makers are required to develop skills across all

aspects o running a business.

Although the course is still in its early stages, eedback rom

students is extremely encouraging:

“ My experience at Baxter Fawcett (print design studio) massively

aected my uture plans. This was a road I hadn’t wanted to

go down, but now I think I do there’s a broader range o jobs

and opportunities than I’d realised.”

“ I got to see how Designers speak to people in a textile studio –

how to get cooperation; what works and what doesn’t.”

For adult learners on creative programmes, the opportunity to observe and

experience proessional work practice can be extremely rewarding and can

be particularly useul in determining whether or not to progress through HE

and then on to creative sector employment.

> In the visual arts eld, many learners, particularly adults, can

be concerned that a visual arts degree will oer only a highlyspecialised and insecure set o career options. To address this

particular issue, sta in the School o Art and Design at South

Essex College used Creative Way development unds to build

partnerships with galleries, studios and arts organisations

with the aim o strengthening a work related curriculum and

generating work experience opportunities.

A vibrant guest speaker programme is now in place and work

experience opportunities continue to be developed, although

not in the way the course team envisaged when they started

the project. The initial aim had been to establish a structured

work placement scheme. However, it soon became clear

that the galleries and arts organisations working with South

Sta in urther and

higher education

institutions go to great

lengths to ensure

the relevance o their

courses and develop

learner employability

students whose circumstances can limit opportunities. The two initiatives 17 The Technical Th

E t 15 t th U




rom South Essex provide examples but right across the Thames Gateway,

similarly imaginative schemes are being developed.

It is clear that more could be done to nd ways or students to benet rom

work experience. It is equally clear that more needs to be done to support

new entrants to creative sector employment as they seek to establish

themselves as proessional practitioners.

Research undertaken by CE on behal o The Creative Way 19 suggested

that taking on work placement students was the most common interaction

creative sector employers, particularly SMEs, had with universities and

colleges. Our ongoing eorts to strengthen work placement links with

employers is thereore critical in giving learners vital work experienceand strengthening the recruitment pipeline.

More recently, research evidence rom CE suggests a slowing down

in graduate recruitment by SMEs.20 CE’s research report highlights the

impact o recession indicating that it is lack o demand rather than concern

about the suitability o graduates which is behind this slow down in

recruitment. While this research is not specic to the creative and cultural

industries’ sector, it is nonetheless noteworthy and points to an urgent

need to stimulate the demand or graduates. One possibility here is to

deploy The Creative Way partnership inrastructure as a mechanism to

urther strengthen and support work with creative sector companies. As a

predominantly SME based sector, working with creative sector businesses

requires a particular approach. However, as we move out o recession,

all the evidence suggests that knowledge based employment growth willincrease most rapidly in SMEs.

East 15 at the Un

College, Univers

College o Furthe

College, North-W

Palmers College

o the Creative A

production com

18 Thurrock and Ba

Essex College to

January 1st 2010

19 CE (2009) ‘Unde

a research study

20 CE (2010) Genergraduates rom

Looking Forward … _ the development o fexible

h b



54 The creative industries make the heart beat fasterLooking Forward …

g

The Creative Way partnership has sparked some highly innovative work and

stimulated new partnerships which have proved interesting and rewarding

or the students, sta institutions and employers involved. Most importantly,

the partnership has shown real commitment to developing progression

opportunities which connect experientially rewarding learning to equally

rewarding employment in the creative and cultural industries.

The work we have undertaken now nds a wider voice as emerging policy

emphasises the importance o a strong skills base and calls or a closer

alignment between skills, knowledge and qualications so that condence

in the value o qualications ,and willingness to invest in them, is improved

amongst both employers and individual learners.

Thames Gateway institutions have shown how collaboration can deliver

a skills ramework which makes the match between skills and knowledge

intensive employment and strengthens the position o the Gateway as

a highly competitive location. As a partnership we have demonstrated

how investment in a cohesive skills ramework as a key Thames Gateway

asset delivers results.

Regional innovation capacity is now strengthened as skills supply is ocused

progressively on productive growth sectors and areas o creative and

technological advance, and the solid progression pathways now in place

across the Gateway provide a real and tangible mechanism to enable

Gateway residents to move into higher education and gain the skills and

qualications or jobs in new knowledge based industries.

As a region o key strategic importance to the UK’s economy and a

destination area or increasing numbers o people, we argue that the

case or investment in the higher education sector in the Thames Gateway

remains extremely strong.

Our work in the creative sector suggests some immediate priorities or action:

_ the development o fexible, parallel pathways into higher

education and higher skills training based on a close and

demonstrable alignment between the skills and knowledge

required or employment and creative enterprise activity;

partnerships between creati

and universities and colleges

investment unding model;

_ the development o a region

capacity o new graduates t

and employment through th

copyrightable activity.

We hope we have shown in this book tha

have the commitment and capacity to con

which ollows shows some o their creativ

University o East London (UEL)

Vi l A t (C ti P ti W k hResources



56 The creative industries make the heart beat fasterResources

Visual Arts (Creative Practice Workshops

www.creativeway.org.uk/cpw

Materials: Report

South Essex College

Fine Art

(Developing Proessional Pathways in F

www.creativeway.org.uk/dpp

Materials: Report / Film / IAG Doc

(DIY Portolio Building or Fine Art)

Mary Ward Centre

Arts & Crats (Providing Proessional Pra

or Artists and Designers)

www.creativeway.org.uk/pad

Materials: Report / Course inormation

East 15 Acting School (University o Essex)

Technical Theatre

(A Way Forward – New progression Pat

www.creativeway.org.uk/aw

Materials: Report

University o Kent

Celebratory and Outdoor Arts

(Creative Events: Design & Production)

www.creativeway.org.uk/coa

Materials: Report / DVD – Film

University or the Creative Arts

Technical Theatre

(Creative Arts or Theatre & Film)

www.creativeway.org.uk/cat

Materials: Report / Film / Project Comme

Lewisham College

Acting (Mind the Gap)

www.creativeway.org.uk/mtg

Materials: Report / DVD – Film

Trinity Laban Conservatoire o Music and Dance

Musical Theatre (All the Way to the West End)

www.creativeway.org.uk/awwe

Materials: Report /www.musicaltheatretraining.com

NewVIc (Newham 6th Form College)

Perormance Progression

(Creative Arts Newham)

www.creativeway.org.uk/can

Materials: Report

London Metropolitan University

Dance and Perormance

(Perormance Innovations)

www.creativeway.org.uk/pi

Materials: Report /www.perormanceinnovations.org

Rose Bruord College o Theatre & Perormance

Music/Acting

(Urban Music & Actor Musicianship)

www.creativeway.org.uk/umam

Materials: Report

Barking & Dagenham College

Technical Theatre (Raising the Bar)

South Essex College

Fashion Promotion (Fashion Promotion or L3)



58 The creative industries make the heart beat fasterResources

Technical Theatre (Raising the Bar)

www.creativeway.org.uk/rtb

Materials: Report / DVD

Lewisham College

Technical Theatre

(Vocational Training – Alternatives that W

www.creativeway.org.uk/vt

Materials: Report

South Essex College

Technical Theatre

(Production Arts & Technical Theatre)

www.creativeway.org.uk/patt

Materials: Report

(Thurrock& Basildon College) South Essex

Fashion (Textiles & Fashion Foundation D

www.creativeway.org.uk/t

Materials: Report / Course IAG leafet

Open University – London RegionProgression (Bridging the Learning Skills

www.creativeway.org.uk/blsd

Materials: Report

Greenwich Community College

Creative Events (Foundation Degree in V

Events & Hospitality Management)

www.creativeway.org.uk/dv

Materials: Report

Fashion Promotion (Fashion Promotion or L3)

www.creativeway.org.uk/p

Materials: Report / IAG Leafet /

www.ashion-promotion.co.uk

Trinity Laban Conservatoire o Music & Dance

in collaboration with The Creative Way

Dance Network

Dance (Higher Education Progression Toolkit)

www.creativeway.org.uk/hept

Materials: Report

Canterbury Christ Church University

Music (Making Tracks 1)

www.creativeway.org.uk/mt1

Materials: Report / www.making-tracks.ino

Point Blank Music College in collaboration

with Canterbury Christ Church University

Music Promotion (Making Tracks 2)

www.creativeway.org.uk/mt2

Materials: Report

Havering College o Further & Higher Education

with IMT

Music (Music Industry Live)

www.creativeway.org.uk/mil

Materials: Report / www.musicindustrylive.org

Canterbury Christ Church University

Photography (New Visions: Promoting

Progression in Photography)

www.creativeway.org.uk/nv

Materials: Report / www.getashot.co.uk

Moving On: a study to explore the reasons




60 The creative industries make the heart beat faster


programmes in the creative arts subject areas

choose not to progress to programmes at level 4

(2007) Dr Pamela Percy and Tony Hudson,

Continuum, University o East London

www.creativeway.org.uk/en/About-us/

Careers-advice/Research

Pathways into Learning in the Creative Arts

(2009) Sid Hughes



Understanding Employer Demand or Skills:

a research study into CCI businesses in the

Thames Gateway

James Kewin, Tristram Hughes and Carole

Sanchez, CE (2009)



Resources



The creative industries make the heart beat faster

Gallery



Thurrock & Basildon

(South Essex College)

FdA Textiles and Fashion

Spiral hat: Hand & Lock

competition shortlist

Canterbury Christ Church

University

BA (Hons) Photography

Progression workshops

for FE college students



Creative Way Dance Network

Dance Toolkit Event

@ Laban Centre

Photograph by Bahi Paraling

www.paraling.co.uk

University o Kent

BA (Hons) Creative Events

Design and Production



South Essex College

FdA Textiles & Fashion

Fabrics and costumes for

Chicken Shed Inclusive Theatre

iD East

Media Skills presentation

@ Four Corners Film

www.creativeway.org.uk/id-East


www.paraling.co.uk



iD East

Media Skills Summer School at

Ravensbourne College of Design

and Communication


South Essex College

BTEC National Diploma in

Technical Theatre (Production)

Ha

an

Ins

Mu

Ha

Oc



University o Kent



Lewisham College /

Rose Bruord College o

Theatre and Perormance

BTEC National Diploma in

Perorming Arts / Acting



University o Kent





Creative Way

Dance Network

Dance Toolkit Event

@ Laban Centre

Photograph by Bah

www.paraling.co.u



iD East

Media Skills Summer School at

Ravensbourne College of Design

and Communication


Mary Ward Centre

Proessional Practice or

Artists (PPA)

Thierry Alexandre’s jewellery

exhibited for Coutts, London

Jewellery week 2009

Photograph by Robert Taylorwww.taylor-robert.co.uk




University

BA (Hons) Photography

Images from ‘The Little People’

and ‘Polaroid Transfer’ workshops

Mary Ward Centre

Proessional Practice or Artists

and Designers (PPA)

Student Sarah Bayes on work

placement with textile artist

Abigail Brown at Cockpit Arts



East 15 (University o Essex)

FdA/BA (Hons) Technical Theatre

Mary Ward Centre

Proessional Practice or

Artists (PPA)

Thierry Alexandre’s jewellery

exhibited for Coutts, London

Jewellery week 2009

Photograph by Robert Taylorwww.taylor-robert.co.uk





Creative Way Dance Network

Dance Toolkit Event

@ Laban Centre


www.paraling.co.uk

Previous page:

South Essex College

BTEC National Diploma

Fashion Promotion

South Essex College

FdA Textiles and Fashion

Making costumes for Royal

Opera House production




University


South Essex College

BA (Hons) Fine Art

Free Range exhibition

Brick Lane



iD East


@ Four Corners Film


www.paraling.co.uk





South Essex College

BTEC National Diploma

Technical Theatre Production

Technical Theatre students

setting up for NSA Founder

College launch event


University


Previous page:

South Essex College

BA (Hons) Fine Art



Trinity Music College /

Reynolds Perorming Arts

Foundation Degree

Musical Theatre


www.paraling.co.uk

iD East


@ Four Corners Film


www.paraling.co.uk



University o Kent



South Essex College

BA (Hons) Fine Art

Creative Way Sta

Matt Ball Careers AdviserSarah Comerord Careers Adviser

Dw

P



100Creative Way Staff and Partners

Andy Forrest Web Writer & Editor

Judy Kenney Programme Manager – Art, Design and Technical Theatre Judy Morgan AdministratorLiz Pearson DirectorLindsey Pugh Programme Manager – Perorming Arts and MusicRichard Pyle Policy and Communications ManagerSarah Williams Programme Manager – Communication Media

Creative Way Partners

w

PEsrP

ao

_ Access to Music _ Anglia Ruskin University _ Barking & Dagenham College _ Bexley College _ Birkbeck College,

University o London _ Brooke House 6th Form College _ Canterbury Christ Church University _ Christ the King 6th Form College _ City & Islington College _ East 15 (University o Essex) _ Goldsmiths, University o London _ Greenwich Community College

_ Hackney Community College _ Havering 6th Form College _ Havering College o Further and

Higher Education _ Immediate Theatre _ Institute o Contemporary Music

Perormance _ Institute o Music & Technology

at Hurricane Studios _ Lewisham College _ London Metropolitan University _ The Mary Ward Centre _ Mid Kent College _ Newam 6th Form College (NewVIc)

_ Newham College _ North West Kent College _ Open University, London Region _ Palmer’s College _ Point Blank Music College _ Queen Mary, University o London _ Ravensbourne College o Design

and Communication _ Redbridge College _ Rolling Sound _ Rose Bruord College o Theatre

& Perormance _ Rosetta Arts Centre

_ SEEVIC College _ South Essex College _ The Stephen Lawrence

Charitable Trust _ Tower Hamlets College _ Trinity Laban Conservatoire o

Music and Dance _ University or the Creative Arts _ University o East London _ University o Essex _ University o Greenwich _ University o Kent _ WAC Perorming Arts &

Media College

Documents

The Creative Way: A Retrospective