Login
- You are not logged in
- Login
Web stats
Figures for Prospects.ac.uk
March 2010:
ABCE audited figures
Unique Browsers:
1,167,672
Page Impressions:
5,828,244
(Note: ABCE are now using the term Unique Browsers instead of Unique Users)
What do arts and design postgraduates do? (Spring 09)
- What do arts and design postgraduates do?
- Summary
- Introduction
- Methodology
- Findings - A look at the numbers
- Mapping provision
- Mapping participation
- Under-representation of black and minority ethnic backgrounds
- Looking at pathways
- Outcomes for postgraduates
- Need for further research
What do arts and design postgraduates do?
Mapping provision and participation in postgraduate creative arts and design
Summary
Emma Pollard and Will Hunt from the Institute for Employment Studies (IES) report on a study for the National Arts Learning Network that involved a statistical analysis of the provision of postgraduate study in creative arts and design subjects across the UK and participation in such study by learners from different backgrounds. The project also explored pathways to and from such postgraduate study and suggests the need for further research into creative arts and design students’ careers. Some key findings are that creative arts and design postgraduates mostly study full time, approximately one third study in London and students with black and minority ethnic backgrounds are under-represented. Benefits to postgraduate study were considered to be self confidence, increased attractiveness to employers, and development of skills for self employment. The professional networking potential of creative arts and design postgraduate study is highly important to students. Furthermore the research show that among creative arts and design postgraduates there are higher levels of part-time working, voluntary or unpaid working as well as self employment or freelance working than for all postgraduates.
Introduction
The higher education sector has changed dramatically over the past decades with greater numbers studying in universities and colleges of HE, and students coming from a wider range of backgrounds than ever before. Much work has been undertaken to explore these changes and to examine where the sector has truly widened its access and where improvements are still needed, however this tends to be focused at undergraduate level. Little research has been targeted at postgraduate level and nothing specifically targeted at postgraduate creative arts and design – yet postgraduate study is an important route to careers in the creative industries, a set of sectors which, in the main, have a highly qualified work force and have considerable and growing importance to the national economy. The National Arts Learning Network (NALN) under the management of the Royal College of Art and with the support of its member institutions commissioned research to fill this information gap.
Methodology
The research involved two projects: a qualitative research project undertaken by investigators from the Open University employing a narrative-discursive approach to explore creative careers and non-traditional trajectories and perceptions of postgraduate study within these; and a quantitative research project undertaken by IES to map provision and participation in creative arts and design postgraduate study.
The IES research used HESA postgraduate student data for three cohorts (2003/04; 2004/05 and 2005/06) and HESA destinations data for undergraduates and postgraduates who graduated in 2005/06. This was supplemented by small surveys of potential creative arts and design postgraduate students to explore pathways, motivations and access:
- a survey of 107 final year undergraduates studying creative arts and design subjects across ten specialist arts and design institutions (biased towards those with vocational level entry qualifications).
- a survey of 450 applicants to creative arts and design taught masters courses across eleven specialist arts and design institutions.
In exploring creative arts and design (CAD), two definitions were used. A narrow definition that corresponds to perhaps a more traditional view of the ‘arts’ and one used regularly in HE statistics which includes visual arts, performing arts, crafts and design. A wider definition was established to correspond more closely with the range of courses offered in specialist arts and design HEIs and with the definition of the creative industries used by the Department of Culture Media and Sports (DCMS). This broader definition adds the related subjects of architecture, media, advertising, journalism and publishing.
Findings - A look at the numbers
There are well over half a million postgraduate students studying at UK institutions and the numbers have been increasing over the years. Creative arts and design students account for between three and five per cent of the postgraduate population, depending on whether you define creative arts and design narrowly or more broadly to encompass related subjects. The field has been growing in popularity and has seen faster growth than found across postgraduate study as a whole – mainly through an increase in overseas students. In 2006/07 there were 11,410 home domiciled postgraduate students following narrow courses in creative arts and design and an additional 6,480 from wider EU/further overseas. Since 2002/03 Home student numbers have increased by 20 per cent and for international student numbers by over 40 per cent.
Mapping provision
Creative arts and design is offered at a wide range of institutions across the UK, in more than four out of five UK HEIs. It is delivered in both specialist art and design institutions providing courses in a few key subjects (many of whom are represented by the National Arts Learning Network, NALN), and in general HE institutions offering a wider range of creative arts and design courses within a wide portfolio (represented by the Council for Higher Education in Arts and Design, CHEAD). However, there is a heavy regional bias in provision, with approximately one third of all home postgraduate creative arts and design students studying in London. Provision in creative arts and design is also skewed towards masters level study. Although the most common level of postgraduate study is the taught masters degree programme, accounting for two in five postgraduates (44 per cent), the dominance of masters level study is even more pronounced in creative arts and design study – where two in every three (65 per cent) postgraduate students are undertaking a course of this type – and this appears to be a growing trend. In addition, whilst part-time study is the norm, it is under-represented in creative arts and design. Across all subjects of postgraduate study over two-thirds (69 per cent) of students study part-time, yet in creative arts and design this falls to just over half (56 per cent). This pattern of provision has implications for potential creative arts and design postgraduate students, particularly those located outside of the South East and less able to relocate, and for those preferring a different pattern or level of study beyond the two year full-time masters level course, and may affect the make-up of the postgraduate student body.
Mapping participation
The average home domiciled postgraduate creative art and design student is young, white and female which follows the pattern for postgraduate students overall. Creative arts and design postgraduates are younger than the average postgraduate student, however, there is a sizeable minority (one in ten) who come to creative arts and design postgraduate study later in their careers, aged fifty years plus. Many of these older postgraduates choose to study traditional creative arts subjects of fine art, music and imaginative writing, at both taught masters level and at doctoral level. Although the average creative arts and design postgraduate is female, representation of men, at 45 per cent (when taking into account subjects relating to creative arts and design), is marginally higher than found across all postgraduate level study (43 per cent). Men tend to be particularly drawn to architecture, where they outnumber women by two to one, and also to music, media studies (which includes film studies and film production) and cinematics. Women are relatively more likely to study information services (including curatorial studies), fine art, drama, journalism and imaginative writing. Design studies are popular with both men and women.
Under-representation of black and minority ethnic backgrounds
A key issue for creative arts and design postgraduate study is an under-representation of students from black and minority ethnic backgrounds. Across all postgraduate study, students from black and minority ethnic backgrounds make up 14 per cent, yet in creative arts and design they account for only eight per cent of students rising to eleven per cent when including subjects related to creative arts and design. Indeed, black students are relatively more likely than other students to be studying media studies, publicity studies and journalism – all subjects outside of the traditional view of creative arts and design; and Asian students are most likely to be studying architecture and design. Given the high concentration of provision in London, this under-representation of ethnic minority individuals appears particularly severe.
Figure 1: Mapping Participation: gender, age and ethnicity
Looking at pathways
Most creative arts and design postgraduates come with a first degree qualification, more so than found across postgraduate students as a whole. However, fewer move directly from undergraduate to postgraduate study – spending some time preparing a portfolio and/or in the labour market getting work experience before returning to study. HESA undergraduate destinations data (for 2005/06) reveal that although 12 per cent of undergraduates are in postgraduate level study after six months, this applies to only 10 per cent of creative arts and design graduates. A survey of final year creative arts and design undergraduates shows a much greater intention to study at postgraduate level at some point in the future than in the months after graduating – giving time to save up and/or to gain life experience. Similarly, a survey of applicants to postgraduate study shows that only one quarter were aiming to move directly from one period of study to postgraduate study. The majority had finished their studies more than one year ago and were working (mainly in the creative arts and design sector) at the time of applying, and had been working in the previous one or two years. The work of the Open University team also indicated the importance of spending time in work before embarking on further study. Noting how individuals felt this enabled them to be more motivated, more appreciative of postgraduate level study and also better prepared for the transition to the higher level of study required. The surveys of potential postgraduates showed that those with time in the labour market appeared to have clearer career plans, seeing postgraduate study as a way to boost employability, than those coming to the end of their undergraduate level study. Time in the labour market could also enable individuals to build savings to afford postgraduate level study.
The desire to continue studying is high and, generally, study preferences among potential creative arts and design postgraduates match provision – in the main full-time taught masters courses. It would appear that potential students want to continue with the subject they had studied at undergraduate level and to specialise rather than change disciplines and a key driver or motivation to study at postgraduate level was to develop further knowledge and skills. However, movement between institutions is common, with only one in six applicants to postgraduate study opting for an institution that they had previously studied in. Course content and institutional reputation are the key factors for potential postgraduates in choosing where to study, followed by location, facilities and links with industry. Indeed, the professional networking potential of creative arts and design postgraduate study is highly important to students. Networking is regarded as the foremost benefit of postgraduate study and may be driving movement between institutions from undergraduate to postgraduate study.
Figure 2: Motivations for deciding to apply for postgraduate study
Postgraduate study in creative arts and design is generally considered to be within potential students’ reach although it is considered very expensive and funding somewhat difficult to find, leading to individuals funding their own study. The surveys indicated that individuals were confident that if they applied for a place they would get accepted, and those that had applied were undaunted by the application and selection process. Individuals recognised the importance of the portfolio in selection, along with giving a good interview, having a ‘good’ degree and relevant work experience – the latter linking with the desire to take time out to build work experience before returning to study. Applying to one institution only is common but the survey of applicants found that those applying to more than one university or college had a greater chance of securing a place.
Outcomes for postgraduates
HESA data and survey results indicated that key drivers to postgraduate study in creative arts and design were to enhance employability (to boost career prospects in general, long term employment prospects, and help gain entry to a particular field), alongside more personal motivators such as following a personal interest or to continue with study they enjoyed. Benefits to postgraduate study were considered to be self confidence, increased attractiveness to employers, and development of skills for self employment. Yet, potential postgraduates were unsure whether a postgraduate qualification was necessary or essential. They were undecided whether it could make them over-qualified for some jobs or whether perhaps it was work experience that was more useful in the labour market than the postgraduate qualification, and they tended to feel that a postgraduate qualification was not necessary to compete in the labour market or that employers would not expect a postgraduate qualification.
Outcomes for postgraduates, in the short term, are measured through the HESA destinations survey and this shows the majority of creative arts and design postgraduates move into full-time permanent work. However, among creative arts and design postgraduates there are higher levels of part-time working, voluntary or unpaid working, and unemployment than found for all postgraduates; and higher levels of self employment or freelance working – indicating greater flexibility of work patterns but also less employment stability. In addition, creative arts and design postgraduates (using the narrow definition) are less likely than working postgraduates, as a whole, to feel that their qualification was a formal entry requirement for their job, which corresponds with the views of potential postgraduates about the necessity of a postgraduate level qualification, but are as likely to feel it was an advantage.
The majority (approximately one half) of creative arts and design graduates in work are working in creative occupations, and two fifths are working in creative industries – suggesting that some individuals are working as ‘creatives’ in non-creative sectors. Jobs are very concentrated in London, more so than found across postgraduate employment destinations as a whole. A key way of finding employment for creative arts and design postgraduates is through personal contacts/networks, and the development of networks, as noted earlier, is an important anticipated benefit from study at this level. With the importance of networks and London for employment, arguable the London-centric nature of creative arts and design study could be placing students in the right environment to access employment, conversely it could be perpetuating this geographic concentration of opportunities.
Figure 3: Working patterns: work duration, location, occupation and industry
Need for further research
In terms of the stability and quality of employment, the outcomes for creative arts and design postgraduates appear less favourable than those for postgraduates overall, but this is likely to result from the way outcomes are captured. The destinations data focuses on activities six months after graduating and creative arts and design postgraduates could take longer to settle into a career. Measuring activities further from the point of graduating could see the differences for creative arts and design postgraduates disappear. The destinations data focuses on one activity yet research, including the Open University study, indicates that creative arts and design graduates and postgraduates engage in portfolio working or a ‘double life’ – where they support their creative work through earnings from other work. Exploring the full range of activities would illustrate the complete and complex employment pattern for creative arts and design postgraduates rather than a narrow slice. Finally, there is an inherent hierarchy in employment outcomes with full-time permanent employment in a graduate level occupation at the top, yet for some, particularly those engaging in creative arts and design, there may be other ways to define and achieve success.
New ways of exploring careers are perhaps needed for creative arts and design graduates and postgraduates. The new HESA follow-up destinations survey will provide an opportunity to explore outcomes further into postgraduates’ careers, but it is the Creative Graduates Creative Futures study that provides the best opportunities to really explore the outcomes for creative arts and design students. This study is funded by a partnership of 26 universities and colleges providing first degree arts, design, craft and media courses and CHEAD, and is led by the University of Arts London. It is based on the seminal study ‘Destinations and Reflections’ undertaken in 1998 and has surveyed over 3,500 graduates up to six years into their careers. It will explore graduate careers to find out what really happens to graduates, how their careers are shaping up and the impact they have on the creative industries and beyond, and how their HE experience has influenced and shaped their careers and plans for the future. It therefore provides the opportunity to explore the importance of further study and continued professional development within early careers, routes to postgraduate study and preferences and motivations, and also the full range of activities and measures of success.
Please see the project website for further details and findings as they emerge:
http://www.employment-studies.co.uk/projects/creative/creative.php
References:
Pollard E, Connor H, Hunt W (2008) Mapping Provision and Participation in Postgraduate Creative Arts and Design, National Arts Learning Network
Taylor S, Littleton K (2008) Creative Careers and Non-traditional Trajectories, National Arts Learning Network
Harvey L, Blackwell A (1999) Destinations and Reflections: Careers of British Art, Craft and Design Graduates, Centre for Research into Quality, University of Central England, Birmingham
Feedback
If you have any comments or suggestions about the Prospects Net website please email support@prospects.ac.uk.
About Graduate Prospects · accessibility information · terms and conditions
