<strong>Creat<strong>in</strong>g</strong> <strong>Prosperity</strong>: <strong>the</strong> <strong>role</strong> <strong>of</strong> <strong>higher</strong> <strong>education</strong><strong>in</strong> driv<strong>in</strong>g <strong>the</strong> <strong>UK</strong>’s creative economy384.73 There is, however, a reported tendency to consider creative and artistic talent as someth<strong>in</strong>g that<strong>in</strong>dividuals are simply born with. This is, to some extent, a myth. Talent needs to be nurtured anddeveloped. This is quite specifically <strong>the</strong> <strong>role</strong> <strong>of</strong> <strong>higher</strong> <strong>education</strong>, and one that is too easily taken forgranted <strong>in</strong> wider debates about <strong>the</strong> production <strong>of</strong> skilled graduates. It is important, <strong>the</strong>refore, to bear<strong>in</strong> m<strong>in</strong>d that a crucial part <strong>of</strong> <strong>the</strong> contribution that <strong>UK</strong> <strong>higher</strong> <strong>education</strong> makes to <strong>the</strong> creative economyis its world-renowned creative <strong>education</strong>, nurtur<strong>in</strong>g and develop<strong>in</strong>g creative talent.4.74 It is also important to recognise <strong>the</strong> high unit costs <strong>of</strong> <strong>education</strong> <strong>in</strong> some <strong>of</strong> <strong>the</strong> creative discipl<strong>in</strong>es,particularly <strong>in</strong> studio-based <strong>education</strong> where <strong>the</strong>re is a large space requirement, and <strong>in</strong> areas <strong>of</strong> <strong>the</strong>perform<strong>in</strong>g arts. Some <strong>of</strong> <strong>the</strong> <strong>in</strong>stitutions with <strong>the</strong> strongest global stand<strong>in</strong>g <strong>in</strong> this area, and whotra<strong>in</strong> <strong>the</strong> greatest number <strong>of</strong> students to become successful pr<strong>of</strong>essionals with<strong>in</strong> this <strong>in</strong>dustry, havetraditionally received targeted fund<strong>in</strong>g on <strong>the</strong> basis that <strong>the</strong> <strong>higher</strong> costs <strong>of</strong> <strong>the</strong>se subjects werejustified <strong>in</strong> relation to <strong>the</strong> public good <strong>the</strong>y delivered. The almost exclusive focus <strong>of</strong> <strong>the</strong> Browne Reviewand <strong>the</strong> CSR on STEM and medic<strong>in</strong>e means that this fund<strong>in</strong>g is likely to be removed, despite <strong>the</strong>potential <strong>of</strong> <strong>the</strong> creative discipl<strong>in</strong>es to ‘deliver significant social returns’ (Browne 2010, p 47) as wellas contribut<strong>in</strong>g to <strong>the</strong> <strong>UK</strong>’s economic growth and global competitiveness.4.75 Research shows that graduates <strong>in</strong> creative arts and design subjects typically consider <strong>the</strong>ir <strong>education</strong>to be valuable <strong>in</strong> develop<strong>in</strong>g creativity and <strong>in</strong>novation, and visual and presentation skills. There is alsogrow<strong>in</strong>g evidence to suggest that many <strong>of</strong> <strong>the</strong> attributes required for employment, <strong>in</strong>clud<strong>in</strong>g creativity,problem solv<strong>in</strong>g, <strong>in</strong>dependence, <strong>in</strong>novation and collaborative work<strong>in</strong>g are <strong>in</strong>tr<strong>in</strong>sic to a creative<strong>education</strong>, particularly <strong>in</strong> practice-based creative and perform<strong>in</strong>g arts.p Pr<strong>of</strong>essional-standard video edit<strong>in</strong>g suite at <strong>the</strong> University <strong>of</strong> Bolton4.0 Higher <strong>education</strong>’s contribution
<strong>Creat<strong>in</strong>g</strong> <strong>Prosperity</strong>: <strong>the</strong> <strong>role</strong> <strong>of</strong> <strong>higher</strong> <strong>education</strong><strong>in</strong> driv<strong>in</strong>g <strong>the</strong> <strong>UK</strong>’s creative economy394.76 However, this still conflicts with <strong>the</strong> reported view <strong>of</strong> <strong>in</strong>dustry that graduates are unprepared for<strong>in</strong>dustry. This is <strong>of</strong>ten presented as a tension between <strong>the</strong> pursuit <strong>of</strong> creative practice for its <strong>in</strong>tr<strong>in</strong>sicvalue and <strong>the</strong> preparation <strong>of</strong> graduates for employment. In fact, <strong>the</strong>se are not <strong>in</strong>compatible goals,and <strong>higher</strong> <strong>education</strong> is well placed to deliver on both.4.77 There is evidence <strong>of</strong> <strong>in</strong>creas<strong>in</strong>g engagement between <strong>higher</strong> <strong>education</strong> and <strong>in</strong>dustry <strong>in</strong> coursedevelopment and delivery. Over 60 per cent <strong>of</strong> <strong>higher</strong> <strong>education</strong> <strong>in</strong>stitutions <strong>in</strong>volved <strong>in</strong> creativearts and design reported that external engagement impacts on <strong>the</strong>ir teach<strong>in</strong>g – more than anyo<strong>the</strong>r group <strong>of</strong> <strong>in</strong>stitutions (PACEC, 2010).11. CASE STUDYThe Skillset Media and Screen AcademiesThe Skillset Media and Screen Academiesprovide a clear example <strong>of</strong> this engagement<strong>in</strong> practice, br<strong>in</strong>g<strong>in</strong>g toge<strong>the</strong>r <strong>in</strong>dustry andacademic partners to develop and deliverworld-class <strong>in</strong>dustry-relevant <strong>education</strong>.Skillset is work<strong>in</strong>g with universities andcolleges to collaborate with <strong>in</strong>dustry partnersto develop new curricula, <strong>in</strong>novative teach<strong>in</strong>g,world-class research and development, andenhanced bus<strong>in</strong>ess acumen.The model is based on accessibility, flexibility,adaptability, <strong>in</strong>tegration and responsivenessto address <strong>the</strong> needs <strong>of</strong> a fast-paced,digitally-enhanced <strong>in</strong>dustry. It is anchoredby <strong>the</strong> Skillset Academy Networks (Mediaand Screen), and a correspond<strong>in</strong>g system<strong>of</strong> degree and course accreditation tobenchmark standards <strong>of</strong> excellence. Thereare now 22 Media Academies across <strong>the</strong> <strong>UK</strong>,some led by <strong>in</strong>dividual <strong>in</strong>stitutions and o<strong>the</strong>rsthrough partnerships across <strong>higher</strong> andfur<strong>the</strong>r <strong>education</strong>.The model is based on partnership and realdialogue between <strong>in</strong>dustry and <strong>education</strong>and is already hav<strong>in</strong>g a positive impact onuniversities, <strong>in</strong>dustry and <strong>in</strong>dividuals. Byforg<strong>in</strong>g strong l<strong>in</strong>ks between <strong>education</strong>and <strong>in</strong>dustry, <strong>the</strong> Skillset Media AcademyNetwork has transformed <strong>the</strong> capability <strong>of</strong>universities <strong>of</strong>fer<strong>in</strong>g practice-based media<strong>education</strong> to produce, market and deliverhigh-quality, <strong>in</strong>dustry-focused tra<strong>in</strong><strong>in</strong>g.<strong>Universities</strong> have also benefitted from acloser relationship with <strong>in</strong>dustry <strong>in</strong> terms <strong>of</strong>enterprise <strong>in</strong>come and contemporary <strong>in</strong>sights<strong>in</strong>to current practices.In June 2010, Skillset launched acommunications campaign to promote<strong>the</strong> accredited courses with<strong>in</strong> <strong>the</strong> MediaAcademies (Pick <strong>the</strong> Tick). Post-Browne,this k<strong>in</strong>d <strong>of</strong> <strong>in</strong>dustry endorsement may helpto demonstrate <strong>the</strong> strategic importance <strong>of</strong>subjects relevant to <strong>the</strong> creative economy.q‘We approached <strong>the</strong> University <strong>of</strong> Gloucestershire with a project to <strong>in</strong>volve some second-year students on a liveclient-led production. The University’s response was everyth<strong>in</strong>g we would have hoped for, <strong>in</strong> terms <strong>of</strong> recognis<strong>in</strong>g<strong>the</strong> significance <strong>of</strong> <strong>the</strong> opportunity for <strong>the</strong> students, <strong>in</strong> assist<strong>in</strong>g with <strong>the</strong> recruitment and ongo<strong>in</strong>g support <strong>of</strong> <strong>the</strong>students <strong>in</strong>volved <strong>in</strong> <strong>the</strong> production, and also <strong>in</strong> <strong>the</strong>ir responsiveness and flexibility <strong>in</strong> work<strong>in</strong>g with an externalproduction company. I believe it is exactly <strong>the</strong> k<strong>in</strong>d <strong>of</strong> approach that will enhance <strong>the</strong> University’s ability to workwith pr<strong>of</strong>essional companies to <strong>the</strong> ongo<strong>in</strong>g benefit <strong>of</strong> students, <strong>the</strong> University and <strong>the</strong> commercial sector, whichcan only improve <strong>the</strong> <strong>in</strong>terface between <strong>education</strong> and employment.’Chris Kemp, Director, Suited and Booted4.0 Higher <strong>education</strong>’s contribution