The Importance of Advanced and Progressive Learning in the Arts and Sciences

The Importance of Advanced and Progressive Learning in the Arts and Sciences

The Creative Industries Policy and Evidence Centre (PEC) recently convened an Industry Panel to discuss the recruitment of talent from post-18 Higher and Further Education. Chaired by Caroline Julian, the panel consisted of industry experts who shared their insights on the importance and value of creative education in the UK.

One of the key insights from the panel was the generational and class divide in perceptions of creativity, with many young people, especially those from disadvantaged backgrounds, seeing creative careers as out of reach. To address this issue, the panel emphasised the need for stronger career guidance and access to creative apprenticeships.

Another significant point discussed was the economic contribution and social benefits of the creative industries. While the sector contributes significantly to the economy, with a Gross Value Added (GVA) of around £125 billion annually, it is the social benefits that are highly valued by the public.

The panel also focused on rebuilding the skills pipeline in the creative industries. Initiatives like the £10 million investment in the National Film and Television School aim to train new apprentices and address the need for a strong talent pipeline. The Creative Industries Sector Plan includes commitments to create a high-quality, inclusive skills system.

Industry champions also stressed the need to safeguard traditional and craft skills, despite the rapid advancement of AI. The UK government sees AI as integral to education, aiming to enhance opportunities for young people.

The findings from this panel, along with additional research from the PEC, will be used to inform policy commissions, the Department for Education, and All-Party Parliamentary Groups. The Minister for Universities, Science, Research and Innovation, Gavin Williamson MP, has expressed concerns about students getting 'value for money'. As such, the outcomes of this research may have a direct impact on both Williamson's ministerial team and the Office for Students (OfS).

Eliza Easton, the founder of Erskine Analysis, authored the policy briefs presented at the panel. Other briefs, such as "Audiences and Workforce in Arts, Culture and Heritage", "Creative industries innovation in seaside resorts and country towns", and "Authors' Earnings in the UK", also provide recommendations for policy action.

The policy brief titled "Transitioning to Sustainable Production across the UK Theatre Sector" outlines recommendations for transitioning to more sustainable theatre production. Meanwhile, the brief titled "Television production, international trade and pressures to consolidate" discusses the UK television production sector as one of Britain's leading creative export sectors.

Overall, industry champions are driving policy discussions by highlighting the economic and social value of creative education, advocating for inclusive access to training, and promoting the integration of technology while preserving traditional skills. Examples of these policy commissions include Yvette Cooper's Commission for Workers and Technology, Estelle Morris's Lifelong Learning Commission, and the APPG for students.

1. The Creative Industries Policy and Evidence Centre (PEC) underscored the significance of creative education in the UK, emphasizing its potential influence on talent recruitment from Higher and Further Education.
2. The panel discussed a generational and class divide in perceptions of creativity, suggesting a necessity for stronger career guidance and access to creative apprenticeships for young people, particularly those from disadvantaged backgrounds.
3. The creative industries contribute substantially to the economy, with an annual Gross Value Added (GVA) of around £125 billion, but it's their social benefits, greatly valued by the public, that were highlighted in the discussion.
4. To rebuild the skills pipeline in the creative industries, initiatives like the £10 million investment in the National Film and Television School are geared towards training new apprentices and ensuring a robust talent pipeline.
5. Industry experts stressed the importance of safeguarding traditional and craft skills amid the rapid advancement of AI, with the UK government acknowledging AI's integral role in education.
6. Research findings from the PEC will inform policy commissions, including the Department for Education, All-Party Parliamentary Groups, and ministerial teams such as Gavin Williamson MP's, who have expressed concerns about students getting 'value for money'.
7. Eliza Easton, founder of Erskine Analysis, authored the policy briefs presented at the panel, providing recommendations for policy action on topics like audiences in arts, culture, and heritage, innovation in seaside resorts and country towns, and authors' earnings in the UK.
8. Specific policy briefs, such as those on transitioning to sustainable theatre production and the UK television production sector as a leading creative export, present recommendations for action in those areas.
9. Policy discussions are being driven by industry champions, who are advocating for the economic and social value of creative education, promoting inclusive access to training, and encouraging the integration of technology while preserving traditional skills.
10. Examples of these policy commissions include Yvette Cooper's Commission for Workers and Technology, Estelle Morris's Lifelong Learning Commission, and the APPG for students.
11. Education, self-development, policy, politics, general news, learning, arts, technology, data, industries, clusters, creativity, culture, heritage, and research are all interconnected in the conversation around the value of creative education and its impact on the creative industries.

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