Access, learning and development in the creative and cultural sectors: from ‘creative apprenticeship’ to ‘being apprenticed’ (original) (raw)
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Learning to work in the creative and cultural sector: new spaces, pedagogies and expertise
Journal of Education Policy, 2010
The paper questions the link that policymakers assume exists between qualifications and access to employment in the creative and cultural (C&C) sector. It (i) identifies how labour market conditions in the C&C sector undermine this assumption and how the UK"s policy formation process inhibits education and training (E&T) actors from countering these labour market conditions, and (ii) demonstrates how non-government agencies-"intermediary organisations"-are creating new spaces to assist aspiring entrants to develop the requisite forms of "vocational practice", "social capital" and ""moebius-strip" (ie entrepreneurial) expertise to enter and succeed in the sector. It concludes by identifying a number of (i) new principles for the governance of the national E&T sector (ii) pedagogic strategies to facilitate "horizontal" transitions into and within the C&C sector, and (iii) skill formation issues for all E&T stakeholders to address.
British Educational Research Journal, 2009
The paper argues that: (i) the demise of 'occupational' and 'internal' and the spread of 'external' labour markets in growth areas of UK economy such as the creative and cultural (C&C) sector, coupled with the massification of higher education which has created a new type of post-degree 'vocational need', means that the transition from education to work should be rethought as the development of vocational practice rather than the acquisition of qualifications; and, (ii) in order to rethink transition as the development of vocational practice it is necessary to eviscerate the legacy of the 'traditional' conception of practice in UK educational policy. The paper reviews a number of alternative social scientific conceptions of practice, formulates more multi-faceted conceptions of vocational practice, and discusses their implications for UK and EU educational policy. proxy measure for vocational practice, and as such facilitate transition into all sectors of the economy. The most recent example of this article of faith is the draft report circulating from the Department of Culture, Media and Sport The World's Creative Hub (DCMS, 2008). The report argues the Government will help the C&C sector to realise its perceived economic potential by strengthening the development of 'creative skills' in schools (DCMS, 2008, page. 10) and refreshing craft skills through an expansion of apprenticeship (ibid, page, 12) and/or through the further development of 'vocational' skills in higher education (ibid, page. 13). Moreover, it concludes that the creation of new 'creative apprenticeships' will 'put an end to
Pathways Within and Beyond the Creative Industries
2017
Scholarly discussions of the creative workforce invariably take one of two seemingly incompatible positions. First, cultural studies scholars have spent considerable time describing the ongoing employment insecurity of those involved in creative work, and the antecedents and effects of this employment ‘precarity’. In striking contrast to this position is a significant body of policy and large scale empirical work that demonstrates the importance of creative work and workers to the innovation economy and economic growth. These two positions are typically presented as incompatible with one another, and remarkably few attempts have been made to achieve any kind of rapprochement between the two. However, recent investigations propose that the creative workforce is much more heterogeneous than either of these positions suggest: that creative workers are found throughout the economy and not just within the creative and cultural sectors; that certain creative activities, industry segments ...
Since the DCMS Creative Industries Mapping Document highlighted the key role played by creative activities in the UK economy and society, the creative industries agenda has expanded across Europe and internationally. It has the support of local authorities, regional development agencies, research councils, arts and cultural agencies and other sector organisations. Within this framework, higher education institutions have also engaged in the creative agenda but have struggled to define their role in this growing sphere of activities. Higher Education and the Creative Economy critically engages with the complex interconnections between higher education, geography, cultural policy and the creative economy. This book is organised into four sections which articulate the range of dynamics that can emerge between higher education and the creative economy: partnership and collaboration across higher education institutions and the creative and cultural industries; the development of creative human capital; connections between arts schools and local art scenes; and links with broader policy directions and work. While it has a strong UK component, it also includes international perspectives, specifically from Australia, Singapore, Europe and the USA. This authoritative collection challenges the boundaries of creative and cultural industry development by bringing together international experts from a range of subject areas, presenting researchers with a unique multidisciplinary approach to the topic. This edited collection will be of interest to researchers and policy-makers working in the area of creative and cultural industries development.
My aim in this chapter is to explore how talent is understood in the realms where it is obsessively sought after, those of the arts and sciences, and to find out to what extent the talent factor can help explain differences in reputation and earnings that attain extreme levels. I’ll show that in creative undertakings initial education does explain far less of occupational achievement than elsewhere in the economy. When it comes to define talent, the standard answer is cast in terms of gift and calling: talent is the expression of abilities that seem to originate in the genetic lottery, especially if they manifest themselves early in the artist’s life; this genetic capital enters into a nurturing family and social environment that fosters its development. With this posited, all that has to be done is inventory the unique traits of exceptional talent and see what reactions its products elicit, thereby determining whether the creative activity of the genius in question is supported, ignored or thwarted in the world of his or her contemporaries or the most influential of them. A biographical account of this sort amounts to a narrative of the adventures and misadventures of expressions of pure talent in favorable or less-than-favorable environments. But if “talent” is just another name for ability, as contrasted with skill, and as such represents the point of origin to which all other factors implicated in success should be tied, in accordance with a determinist schema of propulsive causality, then what remains to be explained?
reative Work beyond the Creative Industries: Innovation, Employment, and Education. Aldershot and London: Edward Elgar , 2015
This is the prepublication draft version of Freeman, A. 2014. 'London's Creative Workforce'. The final version is available in Creative Work beyond the Creative Industries: Innovation, Employment, and Education. Aldershot and London: Edward Elgar edited by Gregory Hearn, Ruth Bridgstock, Ben Goldsmith, Jessica Rodgers. (eds.). published in 2014 by Edward Elgar Publishing Ltd. https://doi.org/10.4337/9781782545705.00013
Creative work careers: pathways and portfolios for the creative economy
Journal of Education and Work, 2015
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 that go 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.
Creative graduate pathways within and beyond the creative industries
Journal of Education and Work, 2015
Scholarly discussions of the creative workforce invariably take one of two seemingly incompatible positions. First, cultural studies scholars have spent considerable time describing the ongoing employment insecurity of those involved in creative work, and the antecedents and effects of this employment 'precarity'. In striking contrast to this position is a significant body of policy and large scale empirical work that demonstrates the importance of creative work and workers to the innovation economy and economic growth. These two positions are typically presented as incompatible with one another, and remarkably few attempts have been made to achieve any kind of rapprochement between the two. However, recent investigations propose that the creative workforce is much more heterogeneous than either of these positions suggest: that creative workers are found throughout the economy and not just within the creative and cultural sectors; that certain creative activities, industry segments and sectors are associated with greater precarity and/or greater economic growth than others; that, therefore, creative careers are far more complex and diverse than previously thought; and following on from all of this, that the task of creative educators is much more challenging than previously supposed.