The fall in student applications could devastate the UK’s creative economy

The changes to student finance, the promotion of STEM subjects through the EBacc and visa issues for international students are all discouraging potential students from realising their talents by following a creative arts degree.

It is now clear that the hoped for "bounce back" in university applications has not happened in creative arts courses, which could lead to a further drop in enrolments in 2013. This is nothing short of a tragedy because the changes to student finance and the introduction of full-fee loans is discouraging potential students from realising their talents by following a creative arts degree. 

The reduction is more than a personal loss; it will be a loss to the UK’s creative industries and arts sector. More, it is a loss to other sectors which employ arts graduates because they are creative, enterprising, critical and independent.

Just a few years ago, many of us thought the longstanding links between UK creative arts education and creative industries and the strengths of this country’s creative sector had finally been recognised. However, either by accident or design, it feels from my perspective as the Vice-Chancellor of the University for the Creative Arts (UCA), that memories are short and it is once again essential to make our case to government and indeed to prospective students.

In itself, the changes to student finance would be challenge enough, but when combined with that of international recruitment caused by real and perceived visa issues, and the potential introduction of the EBacc that promotes the importance of STEM subjects at the expense of the creative arts, universities like mine are potentially feeling the breeze from an impending perfect storm.

It is vital that we reaffirm the links between our form of education and the strengths of the UK’s creative economy. We need to make it clear that the success of this sector is intimately related to the 175-year history of art and design education in this country. It needs to be recognised that there is no incidental relationship between what happens in creative arts institutions each and every day and the international strength and recognition the UK has across art, design and media – movingly and repeatedly recognised in the cultural aspects of our incredible Olympic Games this summer.

Each and every day we teach students how to be creative and enterprising, by asking them to produce work for which there is no prescription, by requiring them to work individually and collectively in an environment of studios, workshops, galleries and libraries, supported by project briefs, lectures, seminars, crits and exhibitions. Most importantly, students engage with staff – who are themselves working within the arts sector and the creative industries – and the student is formed by a rich diet of industry led collaborations, projects and competitions.

While the content and outcomes have changed hugely, the core challenging experience of the environment and its real engagement with industry and the world beyond the campus has been remarkably stable for more than 100 years – and it works.

So, it is frustrating to be required to make the case repeatedly that what government wants in terms of real engagement between universities and industry is happening within creative arts institutions and has been for more than a century – there is a model of great practice that should be recognised rather than left to suffer from uncoordinated policy initiatives from different government departments.

The recent announcement that creative arts colleges at Norwich, Bournemouth and Falmouth are to become universities is great, well deserved and long awaited – but this is just window dressing if the real threats facing creative arts higher education are not addressed.

So, what needs to happen? Schools need to be judged on the quality of their creative arts provision, providing this formative experience for every child and not only those from families who can afford to buy it after school. The government then needs to make it clear to prospective international students that they are welcome and integral to the university experience of home students who need to understand other cultures and develop international ambitions. And finally, more needs to be done to protect small specialist institutions across the disciplinary spectrum who simply may not have the resources and flexibility to withstand the current perfect storm.

At UCA we recently heard that yet another graduate from our BA in Animation had been nominated for an Academy Award – Chris Butler for ParaNorman – and if he wins he will be the fifth former student to win an Oscar. The tragedy is that we are just about to undermine this possibility for the creative stars of the future.

Simon Ofield-Kerr is Vice-Chancellor of the University for the Creative Arts (UCA)

A still from "ParaNorman" by Chris Butler, a UCA alumnus, which has been nominated for an Oscar.
Getty Images.
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How worried are Labour MPs about losing their seats?

Despite their party's abysmal poll ratings, MPs find cause for optimism on the campaign trail. 

Labour enters the general election with subterranean expectations. A "good result", MPs say, would be to retain 180-200 of their 229 MPs. Some fear a worse result than 1935, when the party won just 154 seats. Rather than falling, the Conservatives' poll lead has risen as the prospect of electing a government concentrates minds (last night's YouGov survey, showing the Tories a mere 16 points ahead, was an exception).

Though Conservative strategists insist they could lose the election, in an attempt to incentivise turnout, their decision to target Labour MPs with majorities as high as 8,000 shows the scale of their ambitions (a Commons majority of circa 150 seats). But as well as despair, there is hope to be found in the opposition's ranks.

Though MPs lament that Jeremy Corbyn is an unavoidable drag on their support, they cite four reasons for optimism. The first is their local reputation, which allows them to differentiate themselves from the national party (some quip that the only leaflets on which Corbyn will feature are Tory ones). The second is that since few voters believe the Labour leader can become Prime Minister, there is less risk attached to voting for the party (a point some MPs make explicit) "The problem with Ed Miliband and the SNP in 2015 was that it was a plausible scenario," a shadow minister told me. "It was quite legitimate for voters to ask us the question we didn't want to answer: 'what would you do in a hung parliament?' If voters have a complaint it's usually about Jeremy but it's not the case that he looks like he can become prime minister."

The third reason is the spectre of an omnipotent Tory government. MPs appeal to voters not to give Theresa May a "free hand" and to ensure there is some semblance of an opposition remains. Finally, MPs believe there is an enduring tribal loyalty to Labour, which will assert itself as polling day approaches. Some liken such voters to sports fans, who support their team through thick and thin, regardless of whether they like the manager. Outgoing MP Michael Dugher (who I interviewed this week) was told by an elderly woman: "Don't worry, love, I will still vote Labour. I vote for you even when you're rubbish."

Ben Bradshaw, the long-serving MP for Exter, who has a majority of 7,183, told me: "We're not anything for granted of course. On the current national polling, the Tories would take Exeter. But having covered five polling districts, although the leadership is undoubtedly a big issue on the doorstep, most people say they'll still vote for me as their local MP and we're not detecting any significant shift away from 2015. Which is slightly puzzling given the chasm in the opinion polls." Bradshaw also promotes himself as "the only non-Tory MP in the south-west outside Bristol": a leaflet shows a blue-splattered map with a lone red dot. The Labour MP warns voters not to be left in a "one-party state". 

As in 2010, Labour may yet retain more seats than its vote share suggests (aided by unchanged boundaries). But the fate of the Liberal Democrats in 2015 - when the party was reduced from 56 MPs to eight - shows that local reputations are worth less than many suppose. Theresa May has succeeded in framing herself as a figure above party interests, who needs a "strong hand" in the Brexit negotiations. At the very moment when a vigorous opposition is needed most, Labour has rarely been weaker. And when the public turn resolutely against a party, even the best men and women are not spared.  

George Eaton is political editor of the New Statesman.

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