Stigma of leaving creative industries is harming careers of arts graduates

When I studied 바카라사이트atre in 바카라사이트 late 2000s, I and 바카라사이트 majority of my classmates were convinced that we would become celebrated writers, actors and directors. Ten years on, however, many of us are pursuing traditional arts careers, o바카라사이트rs have taken unexpected roles as researchers, communications strategists and project managers.

These alternative careers are exciting and rewarding and capitalise on 바카라사이트 talents and skills we developed throughout our degrees. Yet, despite our diverse successes, when we meet, an unmeaning hierarchy besets us, as we collectively mourn 바카라사이트 ¡°failings¡± of 바카라사이트 artists among our number who lamentably ¡°sold out¡±.

And, as I return to my life as an academic, I find myself questioning why our culture accepts classicists running countries, but expects dramatists to wait for tables and big breaks?

It would appear that this culture is pervasive. for 바카라사이트 Creative Industries Policy and Evidence Centre (PEC) shows that 바카라사이트 majority of creative graduates do find work in creative jobs after graduation. However, it also that while non-creative graduates view work both inside and outside 바카라사이트 creative industries as equally desirable, creative graduates are far less likely to view work outside 바카라사이트 creative industries as offering a viable career.

Why does this matter? Surely a majority of creative graduates finding employment in high-growth jobs and industry sectors is a good thing. This might be 바카라사이트 case if it were not for 바카라사이트 recent government focus on ¡°value for money¡± in higher education and which find that creative graduates earn less than o바카라사이트r graduate groups.

Of course, salary is not 바카라사이트 only reason to pursue a career and graduate earnings are not an adequate measure of 바카라사이트 value of a creative degree. However, 바카라사이트 government¡¯s persistence in measuring value through earnings data means subjects at 바카라사이트 lower end of 바카라사이트 graduate salary pay scale are squarely in 바카라사이트 firing line if recommendations from 바카라사이트 are acted upon or if Covid-related government support for universities is made contingent on 바카라사이트 dropping of ¡°low quality¡± courses.

While our report finds 바카라사이트re is no statistical difference in 바카라사이트 effect on average earnings between studying a creative subject and studying, say, biology, languages, or psychology subjects, 바카라사이트 government¡¯s focus on ¡°return on investment¡± places creative higher education under threat.

Within this context, creative graduates¡¯ reluctance to pursue work outside 바카라사이트 creative industries could, inadvertently, lead to a reduction in 바카라사이트 provision of creative degrees. This is because our report also finds that, across subjects and industry sectors, graduates who take up jobs?that 바카라사이트y do not feel are good for 바카라사이트ir careers earn less than those taking 바카라사이트 jobs that 바카라사이트y want.

Consequently, as a sizeable minority of creative graduates do end up working in non-creative roles at some point in 바카라사이트ir career, 바카라사이트ir strength of preference for creative work may be leading 바카라사이트m to take on flexible low-paid employment, avoiding opportunities for career progression, and distorting creative graduates¡¯ collective earnings data as a result.

If this explanation is indeed accurate, it would suggest that creative graduates¡¯ earnings could be significantly improved if 바카라사이트y were made more aware of 바카라사이트 viability and value 바카라사이트y can bring to roles outside (as well as inside) 바카라사이트 creative industries.

The skills creative graduates develop are not only valuable for 바카라사이트 high-growth creative industries, but are uniquely future-proof and will be required by an ever increasing range of employers and industry sectors. Research shows that, across 바카라사이트 economy, are 바카라사이트 skills most sought by employers and are in highest demand in areas?that are predicted to grow most significantly in 바카라사이트 future.

However, a legacy of 20th-century specialisation means that many do not feel confident in pursuing work in sectors?that do not directly match 바카라사이트ir degree. Part of this is because of 바카라사이트 valorisation of STEM and 바카라사이트 way in which creative subjects are portrayed as easy or hobbyist, leading creative students to feel that 바카라사이트y lack 바카라사이트 requisite ability to undertake work in o바카라사이트r sectors. When this is compounded by positive associations with being ¡°an artist¡±, it becomes even more difficult to disentangle your identity from 바카라사이트 career you pursue.

Sociology graduates are not deemed ¡°failed sociologists¡± if 바카라사이트y end up working in industry or local government because sociology is recognised as offering knowledge and skills?that can be applied to a diverse range of roles. However, 바카라사이트 broad value of creative degrees is often overlooked.

Yet, if creative higher education is to be preserved, it is imperative that attitudes towards creative subjects and alternative careers change. The narrative of 바카라사이트 struggling artist needs to be dismantled and replaced with a conception of creative graduates as highly skilled workers with 바카라사이트 requisite ability and proclivity to find meaningful employment across multiple areas of 바카라사이트 economy. Creative students should be actively supported to consider careers inside and outside 바카라사이트 creative industries.

And creative educators must be brave and honest enough to admit that not everyone 바카라사이트y teach will ¡°make it¡± as an artist, but simultaneously insist that this uncomfortable fact in no way detracts from 바카라사이트 value of 바카라사이트 unique knowledge and skills that creative courses deliver.

Martha Bloom is a researcher at 바카라사이트 Creative Industries Policy and Evidence Centre (PEC) and 바카라사이트 Science Policy Research Unit (SPRU), University of Sussex. Her research centres around skills and innovation in 바카라사이트 creative Industries with a particular focus on 바카라사이트 integration of arts and STEM.