Introduction
The Creative Innovator programme, launched in 2022 at the University of the Arts London (UAL), aims to empower students to explore diverse career paths beyond traditional employment. While the 2023 iteration received positive feedback, challenges in student attendance due to scheduling conflicts highlighted the need for a more inclusive and representative curriculum. This report outlines the steps taken to revise the Creative Innovator programme to enhance inclusivity and representation, reflecting on my positionality and its influence on this intervention. Drawing on appropriate research and data, the intervention addresses inequities in the creative industry and applies intersectional social justice principles within the teaching context.
Background and Context
The Creative Innovator programme is an extracurricular initiative designed to equip students with valuable employability skills. However, the programme’s initial iterations revealed a lack of representation and inclusivity, particularly concerning disability, race, and faith. To address these gaps, I conducted a curriculum audit and gathered feedback from previous sessions and the employability education team.
As a disabled female and employability educator with a coaching background in the creative industry, my positionality influences my approach to inclusive teaching. My personal experiences with disability inform my commitment to accessibility, while my professional background coaching leaders in the creative industry meant I witnessed the importance of diverse representation first-hand and the lack thereof. This dual perspective guided the development of an intervention to create an inclusive learning environment for all students in seeking careers in the creative industries.
Research and Data
The intervention drew on key readings and research, including:
- “Creative Justice: Cultural Industries, Work and Inequality” by Mark Banks
- “Representation and Diversity in the Creative Industries: The Case of the UK” by Niels Kornum and John Chrysostomou
Additionally, statistics from the Creative Industries Federation highlighted the stark disparities within the industry:
- The “more advantaged groups” (two-thirds of the UK workforce) occupy 91.9% of roles in the creative economy. This group has seen 17% employment growth since 2011, compared to just 2% growth for the “less advantaged group” (Creative Industries Federation Access & Diversity Booklet).
- An 11% BAME workforce may appear close to the national average, but given the high percentage of BAME workers in London, the sector’s workforce should be around 17.8% BAME to match local diversity. Many businesses are still not representative of their communities, missing out on the creative and financial benefits of true representation (Creative Industries Federation Access & Diversity Booklet).
These resources and statistics underscore the importance of addressing inequalities within the creative industries and inform the design of the revised curriculum.
Intervention Implementation Steps
- Curriculum Audit
- Reviewed materials, identifying gaps in representation and inclusivity.
- Reflected on feedback from past sessions to revise the curriculum.
- Inclusive Content Integration
- Developed a diverse four-person panel to share their journeys in the creative industries, ensuring students feel represented.
- Sourced diverse case studies to provide context to difficult topics and reduce the predominance of whiteness in course materials.
- Enhanced Interactive Elements
- Maintained the experiential learning approach with accessible interactive exercises.
- Made pre-event materials available in multiple formats to cater to diverse learning styles and abilities.
- Introduced a flexible, personalized career development plan, customizable to reflect students’ unique goals and circumstances.
- Networking Opportunities
- Colleague feedback encouraged the incorporation of a networking lunch followed by the panel discussion to facilitate connections and collaboration among participants.
- Tutor Feedback and STEM Integration
- Incorporated tutor feedback to include STEM career options in case studies and discussions, highlighting creative roles in STEM fields.
Implications and Actions
The intervention aimed to create a more inclusive space for learning and career development within the creative industries. Although, I believe, the changes implemented can enhance employability for all students. To address the need for diversifying the creative industries workforce more effectively, I have concluded that interventions should begin earlier in students’ educational journeys. Implementing a similar programme to Creative Innovator at the UAL Foundation College could significantly impact students on foundation diploma courses. This initiative could support students in deciding whether the creative industries align with their values and interests, with diverse representation in case studies and speakers. Earlier exposure can help students from underrepresented backgrounds see possibilities rather than barriers, supporting their progression into creative degrees and later leadership roles. The success of this intervention will be evaluated through ongoing feedback from participants and staff and I am hoping to explore the possibility of engaging students in this type of programme at the foundation level in the future.
Conclusion and Next Steps
Reflecting on the implementation of this intervention, I have learned the importance of continually reassessing and adapting teaching practices to ensure inclusivity. But this practice also has the added benefit of opening up new ideas which was the part I personally enjoyed the most. The next steps include:
- Continuously gathering feedback to refine the programme.
- Expanding the diversity of our guest speakers and case studies not just on Creative Innovator but as a wider team.
- Monitoring the impact of the intervention on student engagement and career outcomes.
By embedding inclusivity into the Creative Innovator programme, we aim to foster a more equitable and diverse creative industry, empowering all students to explore and develop their career potential.
References
Banks, M. (2017). Creative Justice: Cultural Industries, Work and Inequality. Rowman & Littlefield International.
Crenshaw, K. (1989). Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics. University of Chicago Legal Forum.
Kornum, N., & Chrysostomou, J. (2018). Representation and Diversity in the Creative Industries: The Case of the UK. International Journal of Cultural Policy.
Creative Industries Federation. (2020). Access & Diversity Booklet.
Happer, C., & Philo, G. (2013). Cultural Diversity and Inclusion in Creative Industries: A Systematic Literature Review. Journal of Communication.
Creative Industries Federation. (2020). Breaking Down Barriers: Tackling Racism in the Creative Industries.
Lewin, A. (2019). The Diversity Disconnect in the Creative Industries. Tech Nation.
British Film Institute (BFI). (2018). Workforce Diversity in the UK Screen Sector.
Creative Diversity Network. (2020). A Creative Industries Perspective on Disability Inclusion.
Adichie, C. N. (2009). The Danger of a Single Story. TED Talk.
Creative Industries Federation. (2020). Diversity in the Creative Industries. YouTube.