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.
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The 5 things the Tories aren't telling you about their manifesto

Turns out the NHS is something you really have to pay for after all. 

When Theresa May launched the Conservative 2017 manifesto, she borrowed the most popular policies from across the political spectrum. Some anti-immigrant rhetoric? Some strong action on rip-off energy firms? The message is clear - you can have it all if you vote Tory.

But can you? The respected thinktank the Institute for Fiscal Studies has now been through the manifesto with a fine tooth comb, and it turns out there are some things the Tory manifesto just doesn't mention...

1. How budgeting works

They say: "a balanced budget by the middle of the next decade"

What they don't say: The Conservatives don't talk very much about new taxes or spending commitments in the manifesto. But the IFS argues that balancing the budget "would likely require more spending cuts or tax rises even beyond the end of the next parliament."

2. How this isn't the end of austerity

They say: "We will always be guided by what matters to the ordinary, working families of this nation."

What they don't say: The manifesto does not backtrack on existing planned cuts to working-age welfare benefits. According to the IFS, these cuts will "reduce the incomes of the lowest income working age households significantly – and by more than the cuts seen since 2010".

3. Why some policies don't make a difference

They say: "The Triple Lock has worked: it is now time to set pensions on an even course."

What they don't say: The argument behind scrapping the "triple lock" on pensions is that it provides an unneccessarily generous subsidy to pensioners (including superbly wealthy ones) at the expense of the taxpayer.

However, the IFS found that the Conservatives' proposed solution - a "double lock" which rises with earnings or inflation - will cost the taxpayer just as much over the coming Parliament. After all, Brexit has caused a drop in the value of sterling, which is now causing price inflation...

4. That healthcare can't be done cheap

They say: "The next Conservative government will give the NHS the resources it needs."

What they don't say: The £8bn more promised for the NHS over the next five years is a continuation of underinvestment in the NHS. The IFS says: "Conservative plans for NHS spending look very tight indeed and may well be undeliverable."

5. Cutting immigration costs us

They say: "We will therefore establish an immigration policy that allows us to reduce and control the number of people who come to Britain from the European Union, while still allowing us to attract the skilled workers our economy needs." 

What they don't say: The Office for Budget Responsibility has already calculated that lower immigration as a result of the Brexit vote could reduce tax revenues by £6bn a year in four years' time. The IFS calculates that getting net immigration down to the tens of thousands, as the Tories pledge, could double that loss.

Julia Rampen is the digital news editor of the New Statesman (previously editor of The Staggers, The New Statesman's online rolling politics blog). She has also been deputy editor at Mirror Money Online and has worked as a financial journalist for several trade magazines. 

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