to be or not to be: the outcomes of research into the policy and practice of widening participation...

Open University Widening Participation Conference 2012:Discourses of Inclusion in Higher Education

(‘Inclusive policy and practice’ theme)

TO BE OR NOT TO BE: THE OUTCOMES OF RESEARCH INTO

THE POLICY AND PRACTICE OF WIDENING PARTICIPATION IN DRAMA

Richard HarrisonSchool and Community Liaison Officer

Aims of the session

- Provide a context for the research: institutional, governmental and theoretical.

- Provide an overview of WP activity at Central

- Describe Central’s Career Pathways Mapping Project

- Present findings and recommendations from the Career Pathways Mapping Project

- Consider further research opportunities

Outline

- Contexts for the research: researcher; institutional; policy; theory

- Research aims and questions

- Operation of the research

- Research findings and recommendations

- Further research

- Concluding remarks

Autobiography of the researcher

- Currently School and Community Liaison Officer at CSSD

- Formerly Undergraduate Recruitment and Admissions Officer at The University of Warwick

- Worked in theatre marketing/audience development at Birmingham Repertory Theatre

- Also youth theatre: Warwick Arts Centre and Allesley Children’s Theatre

- BA (Hons) English and Theatre Studies, MA Arts Policy and Management and MA Advanced Educational Practice

- Prior to that, A Level Theatre Studies and BTEC Performing Arts

- School governor

The same but different…

- ‘Widening participation’ in higher education and the arts:

- in HE it is called ‘widening participation’; in the arts it is called ‘audience development’ and ‘community engagement’.

- The aims, though, are similar: to broaden access to HE/the arts.

Institutional context (1)

- Central has a history of engaging with a diverse range of groups.

- Central engages in a range of activities to promote widening participation to HE and to drama in particular.

Institutional context (2)

- Driver for this project is the commitment made in Central’s access agreement.

…development of a model for mapping the pathways taken by school students into the study of drama and theatre in higher education, enabling measurement of success of outreach activities in attracting applicants to HE and to the School… (Section 1.1)

The School would aim to establish its mapping model over five years and then present the findings to other institutions and agencies in the sector. A key aim would be to identify which activities are most effective in attracting under-represented groups in HE in order to target funding more effectively and to invest in the most effective strategies. (Section 7.5.2)

- This has been a longitudinal research project, which has utilised both quantitative and qualitative data.

Key areas of focus for access at Central

- Age

- BAME (as %age of declarations)

- Disability

- Gender

- Socio-economic status - NS SEC 4, 5, 6, 7 (location adjusted)- POLAR2- Students from state schools and colleges (location adjusted)

Why does Central engage in this activity?

- Broaden access to Central, and the subject area of drama in general.

- Institutional belief in the importance of access and widening participation.

- Helps us access potential students who may not otherwise engage with Central.

- Desire to develop a diverse student – and staff – base that contributes to Central being an exciting place to study and work.

- There is an expectation on publicly-funded organisations (whether HE or the arts) that they will make themselves as accessible as possible to the communities they serve.

Why drama? (1)

‘Drama is a collaborative group artform where people transform, act, and reflect upon the human condition. In drama, people are the instruments of inquiry.’ (Taylor, 2002, 1) ‘Drama … invites its students to learn about themselves, each other and the world in which they are living; it is an ‘exploratory medium’ (Hornbrook, 1991, 19). It asks students to respond to that world, and to challenge it, not to accept the status quo but to be agents for change. It draws from deep inside the learner to encourage the most passionate response… It reduces all learners to their base selves: humans engaged in a dialogue with, between and beyond themselves, and encourages appreciation of an individual’s differences. Drama ‘relies on social interaction and collaborative practices’ (Kempe and Nicholson, 2007, 92).’

R. Harrison. ‘Homotopia? Recognising and understanding: how are young gay male subjectivities constituted in the school drama studio, and what are the implications of these constitutions and identifications for participation in learning?’ [Unpublished MA

assignment] London, 2010.

Why drama? (2)

- Despite its dialogic approach, drama can be viewed as operating within an elitist arena; Central has an expectation that its applicants are conversant with live theatre, despite the physical and psychological barriers to participation experienced by some young people.

- ‘While lack of time and cost are frequently cited barriers… research finds that psychological barriers are more

important overall than practical concerns… Caught up with this are questions of intellectual nervousness and lack of cultural self-confidence… Many people report feeling that the arts are ‘not for people like me’ and are concerned about not fitting in or being looked down on in some way.’ (Creative Research, 2007, cited in Bunting, 2010, p.27, quoted in Harrison, 2011)

Why drama? (3)

- ‘‘Process drama’ therefore offers young people a chance to learn ‘through drama’ (Murphy in Downes et al, 2007,

p.309) and has the potential to transmit knowledge and power to the ‘oppressed’, disrupting notions of ‘reproduction’ and hegemony.’ (Harrison, 2011)

Widening participation: a policy context: social justice…

“Widening participation addresses the large discrepancies in the take-up of higher education opportunities between different social groups. Under-representation is closely connected with broader issues of equity and social inclusion, so we are concerned with ensuring equality of opportunity for disabled students, mature students, women and men, and all ethnic groups.

“We work with higher education institutions and other organisations to raise aspirations and educational attainment among people from under-represented communities to prepare them for higher education, ensure success on their programme of study, improve their employment prospects and open possibilities for postgraduate study, and give them opportunities to return to learning throughout their lives.”

HEFCE, ‘Widening Participation’ [Online}. Available from <http://www.hefce.ac.uk/widen/>. 29 March 2012.

[Accessed 4 April 2012].

Widening participation: a policy context: …versus economic imperative

“Britain can only succeed in a rapidly changing world if we develop the skills of our people to the fullest possible extent … to create an innovative and competitive economy.”

John Denham,

Former Secretary of State for Innovation, Universities and Skills,

at the Action on Access conference in December 2007

Policy drivers for WP activity in 2006

- Government aim to achieve up to 50% of 18-30 year olds having an

experience of higher education.

- Institutional desire to broaden and diversify student population.

- Impact on learning environment for students and staff.

- Positive effect of more diverse student - and staff - populations.

Policy drivers: the Government’s perspective in 2006

- New Labour imperative (born in c.1999), though not a New Labour invention.

- Open University, P/T degrees, open studies have existed for a number of years.

- Office for Fair Access (OFFA) inaugurated in 2004 following The Higher Education Act 2004, with powers increasing following implementation of increased fees

- Funding linked to WP and achieving targets set by HEFCE/OFFA/DBIS

Policy drivers for WP activity in 2012: a mixed picture?

- Greater focus on notion of ‘fair access’ as opposed to ‘widening participation’.

- Social mobility a key driver, but what form does that mobility take, and for whom?

- Abolition of Aimhigher and other networks.

- Increased role for OFFA following student funding changes.

- Appointment of Prof Les Ebdon as Director of Fair Access to Higher Education.

L Archer, M Hutchings, and A Ross. Higher Education and Social Class: Issues of Exclusion and Inclusion. London:

RoutledgeFalmer, 2003

WP: the academic discourse

“…There is a growing concern to increase, and diversify, the numbers of students in higher education… These drives to widen participation are motivated by a number of factors, including economic, institutional and social justice concerns… To achieve this target of widened (not merely increased) participation, new students will need to be recruited from previously under-represented groups.”

L Archer, M Hutchings, and A Ross. Higher Education and Social Class: Issues of Exclusion and Inclusion. London:

RoutledgeFalmer, 2003


“Currently, almost all young people from middle-class and professional families go on to university. Participation among young people from working-class groups are a key target of initiatives aimed at widening participation in post-compulsory education.”

P.J. Burke. ‘Fair access? Exploring gender, access and participation beyond entry to higher education’ in Leathwood C.

and Francis, B. (Eds) Gender and Lifelong Learning: Critical Feminist Engagements. Abingdon: Routledge, 2006


“Widening participation policy and practice must move away from deficit discourses and perspectives that hide the complex power relations tied to certain values to developing policies and practices that begin to challenge deeply embedded inequalities and exclusion in higher education.”

WP: the implications of WP/outreach

AGAINST FOR

Lowering standards Equality of opportunity for the individual

Costly for Universities and society

(interventions, extra support etc.)

Limits social exclusion and the associated problems (Social mobility)

WP students more likely to drop out Employment / economic benefits

(Good for individual, good for society)

Mass HE lowers the market value of a degree (less delineation between individuals)

Avoiding ‘waste of natural resources’

(not missing out on talent)

Social engineering that disadvantages Independent School students

Better relations between staff and student

Devalues non-University education/career paths

Greater diversity = healthier learning environment

Source: Lewis, K. ‘Widening Participation: Philosophy, policy and practice’.

Conference Proceedings, ‘AUA London Region Conference’, Birkbeck, University of London, 12.11.08.

M. Hall, Inequality and higher education: marketplace or social justice? Stimulus paper. Leadership Foundation for Higher

Education, London, 2012.

WP: the current context

“Universities serve both as gatekeepers for established orders of inequality, and as transformative institutions that enable social justice through inter-generational changes in circumstance. Because of this ambiguity, the currently prevalent metaphor of the competitive marketplace is both wrong and ultimately self-defeating. The model of the market first renders a higher education qualification as a positional good, and then devalues the currency. Reasserting the transformational role of higher education through universities’ role in building the capabilities of a person to lead the life that they value both re-establishes the core qualities of education and provides for visionary public policy.”

M. Harris, ‘Targeted outreach is the key to widening access at highly selective universities’ [Press release]. Available from

<http://www.offa.org.uk/press-releases/targeted-outreach-is-the-key-to-widening-access-at-highly-selective-universities-says-offa/>

Office for Fair Access, Bristol, 2010.

WP outreach: the practice

“There is now mounting evidence that targeted outreach which boosts achievement and aspirations among disadvantaged young people at a much earlier stage is a more effective way of widening access…”

T. Oates, M. James, A. Pollard and D William. The Framework for the National Curriculum: A report by the Expert Panel for the National Curriculum review. Department for Education, London, 2011.

The broader educational context (1)

English Baccalaureate versus…

“Apart from the intrinsic worth of including art and music in the statutory curriculum from 5 to 16 because of the importance of pupils acquiring knowledge of their cultural heritage(s), there is now substantial evidence that a good art and music education benefits individuals, their communities and the nation as a whole in other ways…”

“In other words, the arts subjects in the curriculum have the potential to meet aims and purposes in all of the domains mentioned in Chapter 2 (i.e. economic, cultural, social and personal). We therefore recommend that education in art and music should be supported in Key Stage 4 through statutory requirement (separately or in combination), i.e. as part of the Basic Curriculum, as broad responsibilities; content should be determined by the school.”

D. Henley. Cultural Education in England: An independent review by Darren Henley for the Department of Culture, Media and Sport and the Department for

Education. Department for Culture, Media and Sport, London, 2012.


“Recommendation 1: Broad Cultural Education for all children

There should be a minimum level of Cultural Education that a child should expect to receive during his or her schooling as a whole. For children to leave full-time education without having engaged in the spectrum of Cultural Education outlined below would be a failure of a system which sets out to create young people who are not only academically able, but also have a fully-rounded appreciation of the world around them.” (p.23)

Arts Council England. (2012) ‘Bridge organisations’. [Online]. Available from <http://www.artscouncil.org.uk/what-we-do/our-priorities-2011-15/children-and-

young-people/bridge-organisations/>/. [Accessed 4 April 2012].


“As part of our mission, 'Achieving great art for everyone', we have a goal to make sure that every child and young person has the opportunity to experience the richness of the arts and culture.

To help us achieve this we will fund a network of 10 'bridge' organisations… that will use their experience and expertise to connect children and young people, schools and communities with art and culture.”

An additional theoretical context

‘The theoretical underpinning for this investigation draws on the writings of Pierre Bourdieu and Michel Foucault; Bourdieu argued that ‘capitals’ circulate in society, and accumulate in the middle-classes, and that these ‘capitals’ buy privilege in education and work. Foucault wrote that power also circulates in society, and that power can result from the possession of knowledge. Access to power is restricted, though if it is shared can support a more equal society, just as the acquisition of Bourdieurian capital can too lead to social mobility. Thus, the role that theatres can play in supporting the acquisition of capital and power is discussed, to understand the sociological reason for engagement practice, and its link to the social inclusion drivers of recent participatory activity.’

R. Harrison. Models of Engagement: How Producing Theatres Engage Young People as Makers and Spectators. [Unpublished MA dissertation]

London, 2011.

WP activity at Central

• Work of Central Connects: Community Drama Officer (short courses, NST, Aimhigher, projects), business development (communication and presentation training, voice classes), Saturday Classes, Summer Schools (funded and private).

• Other outreach at Central: placements, public productions, research seminars and lectures, consultancy work, external lettings, UG/PG programmes.

• Bursary and scholarship support.

The role of the SCLO

• Governed by OFFA and our access agreements.

• Two areas of activity at Central: workshops and research. Innovative in drama subject area.

• ‘Higher Education Audition/Interview Workshops’

• ‘Career Pathways Mapping Project’

• Audition Vouchers Scheme

• Also a member of the Equality and Diversity Committee, author of safeguarding policy, Access HE, Aimhigher, Meteor project

Outline





- Further research


A response:

Career Pathways Mapping Project

Research aim

- To develop a model for mapping career pathways into the study of drama/theatre in higher education.

Research questions

- What experiences are available to young people who show an interest in drama/theatre during their secondary

schooling?

- What drama/theatre-related opportunities are open to young people in London?

- What advice is, or is not, available to young people interested in progressing within drama/theatre?

- How are young people’s aspirations in drama explored and met?

- How effective are participatory widening participation interventions in encouraging young people to consider study and work pathways in drama?

Outline





- Further research


Stages of the research project

- The research project has been conducted over five academic years, and comprised three main stages:

- Pre-pilot stage (2006-2007) during which sampling was explored, and methodologies established.

- Pilot stage (2007-2008) during which methodologies were tested, and literature reviewed.

- Study (2008-2011).

- Data collection was concluded in July 2011, and the final research report will be published in

summer 2012.

Sampling

- Data has been collected from two primary sources:- students, their teachers, professionals (primary);- literature/web based (secondary).

- The project involves students from seven London secondary schools, one sixth form college and one FE

college (both London), and one non-London school.

- Six Year 10/12 students were chosen by their teachers – with guidance from researcher – to be interviewed in

KS4/KS5 and through their post-16 study into higher education.

- Year 10/11 students attending Central’s HEFCE-funded summer schools (since 2007) have also been tracked.

- Existing literature and web resources are being used to compile information about the opportunities available to students wanting to pursue an interest in drama.

Research sites

Inner London

Outer London

Non-London

Co-educationa Girls only Boys only 11-16 11-18 16-19 Specialism

Site A Site B Site C Site D Site E Site F Site G ArtsSite H Site I Site J

Summer School

Professionals interviewed

Professor Jonathan Neelands, University of Warwick

Oliver Benjamin, A New Direction

Caroline Bray, Arts Award

Paul Webster, EdExcel

Careers adviser (e-mail response)

AQA (e-mail response)

Methodology

- This is a practitioner-led research project, which may more accurately be considered a case

study.

- A mixed-method approach – thus enabling the collection of quantitative and qualitative data – has been employed, comprising:

- initial questionnaire and interview;- workshop intervention;- follow-up questionnaire and interview;- questionnaire and face-to-face interview

or written answer questions in subsequent years.

- Statistical data is also being analysed and used.

Data gathering stages

Year 10:- Initial group interview- Workshop intervention- Follow-up interview

Year 11:- End-of-L2 study interview

Year 12:- Progress update interview (can be postal questionnaire)

Year 13:- End-of-L3 study interview (can be postal questionnaire)

Year 1 HE:- E-mail/postal questionnaire to students

Interviews conducted (Year 5: 2010-2011)

Year 10: Initial interview (questionnaire)

Year 10: Initial interview (interview)

1. What are your ideas for what you would like to do after Year 11? Tell me if they involve studying, working, or both, and whether your plans involve studying Drama further?

2. How are you going about achieving these ideas?

3. What advice have you been given relating to what you would like to do after Year 11? This might be in your Drama lessons, careers sessions, or from another source.

4. Are you involved in drama outside of lessons? If so, tell me about it.

5. How have your ideas for post-16 ideas developed?

Higher Education Audition/Interview Workshops

Year 10: Initial interview (questionnaire)

A post-workshop legacy

Year 10: Follow-up interview (questionnaire)

Year 10: Follow-up interview (interview)

1. Now that you’ve taken part in the workshop, how have your ideas for what you would like to do after Year 11 changed?

Tell me if they now involve studying, working – or both – and whether your plans involve studying Drama further.

2. How will you now go about achieving these aims?

3. What extra advice and information do you think you would you like to help with making choices for after GCSE? This might be in your Drama lessons, careers sessions, or from elsewhere.

4. Might you now get involved in drama activities outside of lessons? If so, tell me about it.

5. How have your ideas for what you might do after Year 13 changed?

Year 11: Follow-up interview (questionnaire)

Year 11: Follow-up interview (interview)

1. Now that you are almost at the end of Year 11, how have your ideas for what you would like to do next year changed from last summer? Tell me if they involve studying,

working – or both – and whether your plans involve studying Drama further.

2. How are you going about achieving these aims?

3. What extra advice and information have you sought during this year to help with making choices for after Year 11?

This might be in your Drama lessons, careers sessions, or from elsewhere.

4. Since the workshop, have you become involved in drama activities outside of your lessons? If so, what activities

have you participated in?

5. How have your ideas for what you might do after Year 13 changed?

Pros/cons of chosen methodology

PROS CONS

Has enabled project to track small number of learners

The outcomes cannot be broadly translated because of case study approach

Allows for detailed understanding of participants

The design is too ambitious

Allows for obtaining of both quantitative and qualitative data

It is difficult (impossible!) for a single researcher to collate, record and transcribe all of the data

A case study design provides an opportunity to understand the context of the institutions and the learners

It is difficult to maintain input from young people as they progress through school/college and into HE

It is a low-cost model The design relies on a certain level of literacy among participants

The methodology is discursive, which is appropriate to subject area

Pressures in schools/colleges can impact on the smooth running of the data collection cycle!

Outline





- Further research


Limitations of analysis

- The following findings and recommendations are derived from generalised interpretation of the research data.

- As it has not been possible to transcribe the interviews and tabulate the questionnaire responses, the findings and recommendations are based on themes that have been repeatedly discussed across the interviews.

- The analysis also draws on my outreach practice, and the conversations held with students and their teachers/advisers during workshops.

- The theoretical positions established earlier also provide an impetus to the analysis and interpretation.

Research findings (1)

- Students select to study drama at L2 (GCSE equivalent) and L3 (A Level equivalent) for a variety of reasons, not always related to a desire to work in the creative industries. The instrumental application of drama through the transferrable skills that are developed in studying the subject are as important as the artistic skills acquired.

- Preparation for higher education does not start early enough in schools/colleges. There is a desire from students for it to begin much earlier in their secondary school careers.

- Careers advice in state-maintained schools and colleges is woefully inadequate, and where provision is available, advisers often lack robust knowledge of drama-related pathways.

- Students greatly value opportunities to engage with creative industries organisations, particularly through work experience placements and outreach opportunities.

Research findings (2)

- Different curricular/examination courses are better suited to particular study routes in higher education; information, advice and guidance needs to be improved to assist students in making the most adequate choices.

- Programmes such as Arts Award offer students very valuable opportunities to further independence and leadership in arts contexts; such opportunities should be encouraged by schools and colleges, and should be recognised by HEIs/employers.

- The current policy context, which focuses on success in EBacc subjects, is marginalising drama study at L2.

- The outcomes of the Henley Review of Cultural Education provide a valuable opportunity to emphasise the value

(instrumental and artistic) of drama study in schools.

Recommendations (1)

- Central must continue to provide opportunities for young people to learn more about the School and its application and audition/interview procedures. This needs to begin from, ideally, upper primary age, or at least during KS3.

- Central and other HEIs must make explicit their audition/interview criteria and convey this in suitable language for the intended audiences.

- Central and other HEIs must maintain a dialogue with young people to understand the support they need, and the format that support should take.

- Central should provide recognised support on drama-related careers pathways in the form of CPD and information for careers advisers. This recommendation must be pursued in dialogue with careers professionals.

Recommendations (2)

- Central should work with partners to develop resources that are freely and widely available to help young people in investigating drama-related courses and careers. Any such resources should supplement, not duplicate, existing provision. This may also include a work experience provision database.

- Central should support increased access to extra-curricular opportunities within drama so that young people are able

to pursue interests independently of school/college. This may be through providing opportunities or information.

- Central should explore how it might link more closely with Arts Award to emphasise the benefits of participating in

such a programme.

- Central should seek to support the recommendations of the Henley Review to ensure that drama and other arts subjects are given appropriate recognition in school curricula.

A model for mapping career pathways? (1)

- This research has demonstrated that there is no single model for mapping young people’s journeys into studying drama in higher education, and then into theatre-related careers.

- The variety of curricular and extra-curricular opportunities in drama mean that young people can access drama in HE and/or as a career from a variety of starting points.

- One dominant model has, however, appeared: the study of drama at L2 and L3, which then leads in to studying drama at university or drama school, before embarking on an arts-related career. This may or may not be supplemented by participation in extra-curricular drama opportunities, yet

those who progress into specialised training and employment are more likely to have participated in extra-curricular drama activities at some point.

A model for mapping career pathways? (2)

- Bourdieu’s ‘capitals’ theory suggests, though, that those most able to access extra-curricular opportunities already possess the social and cultural capital needed to study and work in drama.

- What this research suggests, therefore, is that greater access needs to be provided for those from ‘widening `participation’ backgrounds to access extra-curricular opportunities to increase their social and cultural capital, and thus their chance of accessing specialist training and employment.

- Similarly, institutions like Central must review their practices, policies and expectations to ensure that potential can be recognised independently of ability to participate in a certain set of experiences.

Outline





- Further research


‘Career Pathways Mapping Project’: a future?

This project has been, to date, conceived, managed and delivered by one member of staff with a varied job role. The ambitious design of the project means that there is scope for building on the work to date, to maximise the input of the participating young people.

- Central should invest the resource needed to fully transcribe and analyse the interviews conducted during this research project.

- Central should also invest the resource needed to tabulate the quantitative data obtained through the research, and

analyse for patters within individuals and across cohorts.

- Central should then seek to make this resource open to other researchers, so that the participants’ contributions exist beyond the publication of the final report.

- Attention would need to be paid to issues of consent.

Further research (2011-2012) (1)

- Driver for this project is the commitment made in Central’s 2011-2012 access agreement.

Central will institute a time-limited impact study, following completion and dissemination of its ‘Career Pathways Mapping Project’, to measure the impact and effect of its outreach activities since the inauguration of the first access agreement in 2006-2007. This study will work with new and continuing students, graduates and postgraduate students to continue from the focus on pre-applicants in the previous research project. This research will also enable to School to plan its outreach commitments from 2012-2013 onwards. (Section 7.5.3)

- This will be a short-term study using both quantitative and qualitative data gained from e- mail questionnaires and focus groups.

Further research (2011-2012) (2)

- ‘Shift’ session at PSi #18 (Performance Studies International) conference, 2012

Journeys and their ends: Training, social division and quality

The shift will open up the concept of the training ‘journey’ by suggesting that it is something much larger than a course within an institution. It will look at the range of extra-institutional journeys and blockages to them, the effects on what is trained and learnt, and the emergence of aesthetic choices from what is negotiated. It will try to gather together and map the journeys of all in the session, to produce a more complex collective understanding of the sociality of training.

- This session will be both discursive and collaborative, two key features of our subject area. It will bring together young people from Leeds and surrounding areas, teachers, PSi delegates, staff from partner institutions (Liverpool Community College and Graeae), a Central alum, and staff from across the School.

Outline





- Further research


Why does Central engage in this activity?

- Broaden access to Central, and the subject area of drama in general.

- Institutional belief in the importance of access and widening participation.

- Helps us access potential students who may not otherwise engage with Central.

- Desire to develop a diverse student – and staff – base that contributes to Central being an exciting place to study and work.

- There is an expectation on publicly-funded organisations (whether HE or the arts) that they will make themselves as accessible as possible to the communities they serve.

Conclusions

- WP in HE is driven by both institutional and governmental imperatives

- WP is essential, not simply to fulfil Government objectives, but to ensure diversity of the student body

- WP is the ‘philosophy’ behind this activity, and outreach the way of enacting it

- The aim is to broaden access to higher education, and specifically at Central to drama as a subject area

- Beware of the ‘deficit model’ approach

- The individual is of paramount importance

- We’re already doing a lot of good work, but there is much room for improvement!

Concluding remarks

- This has been an ambitious – and unique – piece of research.

- There is very little similar research available.

- The mixture of approaches has provided a broad picture of access to participation in drama.

- It is envisaged that this research will be relevant to Central, as well as other drama schools/HEIs and related bodies (CDS/NCDT, DfE, DBIS,

HEFCE, Action on Access, examination boards, ACE).

What were the aims of the session?

- Provide a context for the research: institutional, governmental and theoretical.

- Provide an overview of WP activity at Central

- Describe Central’s Career Pathways Mapping Project

- Present findings and recommendations from the Career Pathways Mapping Project

- Consider further research opportunities

What have we covered?





- Further research


Any questions?

Bibliography (1)

• Go to www.cssd.ac.uk to read Central’s WP Strategy

• Go to www.cssd.ac.uk to read more about our school and community liaison activity. You’ll also see links to some of our other outreach activity.

• See the HEFCE website for further information on the strategic drivers behind WP: http://www.hefce.ac.uk/widen/

• Go to www.offa.org.uk to read Central’s access agreement

• Archer, L, M Hutchings, and A Ross. Higher Education and Social Class: Issues of Exclusion and Inclusion. London: RoutledgeFalmer, 2003

• Arts Council England. (2012) ‘Bridge organisations’. [Online]. Available from <http://www.artscouncil.org.uk/what-we-do/our-priorities-2011-15/children-and-young-people/bridge-organisations/>/. [Accessed 4 April 2012].

• Bourdieu, P. (1984; 2010) Distinction: A Social Critique of the Judgement of Taste. Trans Nice, R. Abingdon: Routledge Classics.

• Bourdieu, P. (2006) ‘The Forms of Capital’. In: Lauder, H., Brown, P., Dillabough, J.A., and Halsey, A. H.

(eds). Education, Globalization and Social Change. Oxford: Oxford University Press. pp105-118.

• Burke, P.J. (2002) Accessing Education effectively widening participation. Stoke-on-Trent, Trentham Books.

• Burke, P.J. ‘Fair access? Exploring gender, access and participation beyond entry to higher education’ in Leathwood C. and Francis, B. (Eds) Gender and Lifelong Learning: Critical Feminist Engagements. Abingdon: Routledge, 2006

• Bunting, C. (2010) Achieving great art for everyone: A review of research and literature to inform the Arts Council’s 10-year strategic framework. London: Arts Council England.

Bibliography (2)

• Denham, J. (2007) ‘Speech’, Conference Proceedings, Action on Access Annual Conference, 11.12.07.

• Foucault, M. (1982) The Subject and Power (1982) Excerpt. [Online] Available from <http://foucault.info/documents/foucault.power.en.html>. [Accessed 17 September 2011].

• Gillborn, D. (2008) ‘What Happened to Race Equality?’, Conference Proceedings, ‘Widening Participation: Challenging Educational Inequalities’, Institute of Education, 7.1.08.

• Gordon, C. (ed) (1980) Michel Foucault: Power/Knowledge: Selected Interviews and Other Writings 1972-1977 By Michel Foucault. Harlow: Pearson Education Limited.

• Hall, M. (2012) Inequality and higher education: marketplace or social justice? Stimulus paper. London: Leadership Foundation for Higher Education.

• Harris, M. (2010) ‘Targeted outreach is the key to widening access at highly selective universities’ [Press release]. Available from <http://www.offa.org.uk/press-releases/targeted-outreach-is-the-key-to-widening-access-at-highly-selective-universities-says-offa/> Bristol: Office for Fair Access.

• Harrison, R. (2010) ‘Homotopia? Recognising and understanding: how are young gay male subjectivities constituted in the school drama studio, and what are the implications of these constitutions and identifications for participation in learning?’ [Unpublished MA assignment] London.

• Harrison, R. (2011) Models of Engagement: How Producing Theatres Engage Young People as Makers and Spectators. [Unpublished MA dissertation]. London.

• Henley, D. (2012) Cultural Education in England: An independent review by Darren Henley for the Department of Culture, Media and Sport and the Department for Education. London: Department for Culture, Media and Sport.

• Hornbrook, D. (1991) Education in Drama: Casting the Dramatic Curriculum. ‘The Falmer Press Library on Aesthetic Education: The Individual Studies’ series. London: The Falmer Press.

Bibliography (3)

• Kempe, A. and Nicholson, H. (2007) Learning to Teach Drama 11-18. Second edition. London: Continuum.

• Lewis, K. ‘Widening Participation: Philosophy, policy and practice’. Conference Proceedings, ‘AUA London Region Conference’, Birkbeck, University of London, 12.11.08.

• Murphy, P. (2007) ‘Drama as Radical Pedagogy’ in Downes, P. and Gilliagan, A.L. (eds) (2007) Beyond educational disadvantage. Dublin: Institute of Public Administration.

• Oates, T., M. James, A. Pollard and D William. (2011) The Framework for the National Curriculum: A report by the Expert Panel for the National Curriculum review. London: Department for Education.

• Reay, D, M. E. David and S Ball. (2005) Degrees of Choice: Social Class, Race and Gender in Higher Education. Stoke-on-Trent, Trentham Books.

• Taylor, P. (2000) The Drama Classroom: Action, Reflection, Transformation. London: RoutledgeFalmer.

If you’d like to read a copy of the finalised research report, and the research report for the one-year

impact study, visit

www.cssd.ac.uk/schools

If you have any comments or questions, contact me on:

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Tel: +44 (0) 20 7449 1597Mob: +44 (0) 7887 691 937

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