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.
Photo: Getty
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Are the Conservatives getting ready to learn to love the EEA?

You can see the shape of the deal that the right would accept. 

In an early morning address aimed half reassuring the markets and half at salvaging his own legacy, George Osborne set out the government’s stall.

The difficulty was that the two halves were hard to reconcile. Talk of “fixing the roof” and getting Britain’s finances in control, an established part of Treasury setpieces under Osborne, are usually merely wrong. With the prospect of further downgrades in Britain’s credit rating and thus its ability to borrow cheaply, the £1.6 trillion that Britain still owes and the country’s deficit in day-to-day spending, they acquired a fresh layer of black humour. It made for uneasy listening.

But more importantly, it offered further signs of what post-Brexit deal the Conservatives will attempt to strike. Boris Johnson, the frontrunner for the Conservative leadership, set out the deal he wants in his Telegraph column: British access to the single market, free movement of British workers within the European Union but border control for workers from the EU within Britain.

There is no chance of that deal – in fact, reading Johnson’s Telegraph column called to mind the exasperated response that Arsene Wenger, manager of Arsenal and a supporter of a Remain vote, gave upon hearing that one of his players wanted to move to Real Madrid: “It's like you wanting to marry Miss World and she doesn't want you, what can I do about it? I can try to help you, but if she does not want to marry you what can I do?”

But Osborne, who has yet to rule out a bid for the top job and confirmed his intention to serve in the post-Cameron government, hinted at the deal that seems most likely – or, at least, the most optimistic: one that keeps Britain in the single market and therefore protects Britain’s financial services and manufacturing sectors.

For the Conservatives, you can see how such a deal might not prove electorally disastrous – it would allow them to maintain the idea with its own voters that they had voted for greater “sovereignty” while maintaining their easy continental holidays, au pairs and access to the Erasmus scheme.  They might be able to secure a few votes from relieved supporters of Remain who backed the Liberal Democrats or Labour at the last election – but, in any case, you can see how a deal of that kind would be sellable to their coalition of the vote. For Johnson, further disillusionment and anger among the voters of Sunderland, Hull and so on are a price that a Tory government can happily pay – and indeed, has, during both of the Conservatives’ recent long stays in government from 1951 to 1964 and from 1979 to 1997.

It feels unlikely that it will be a price that those Labour voters who backed a Leave vote – or the ethnic and social minorities that may take the blame – can happily pay.  

Stephen Bush is special correspondent at the New Statesman. He usually writes about politics.