NiTRO Creative Matters

Perspectives on creative arts in higher education

Edition 9, 2017 – Tertiary arts graduates and alumni: Forging a fabulous creative future

Over the last ten years, I have engaged in a number of research projects exploring the impact of a higher education degree in the creative and performing arts for graduates seeking a career in the creative industries. In essence, I have discovered that a creative arts degree provides students with three significant career-building opportunities. . . On the other side of the coin, . . . graduates in industry often report that they are insufficiently prepared for the complex nature of the creative industries work environments

Georgie Meagher graduated with undergraduate and masters degrees in Creative Arts (Performance) from the University of Wollongong in 2008. She is now CEO of Next Wave Australia’s most comprehensive platform for emerging artists whichincludes learning programs and a biennial festival.  NiTRO editor, Jenny Wilson, spoke with her about the influence of her university years, her role as an alumni and her advice for graduating students.

After six decades of music education, Queensland Conservatorium Griffith University graduates are making their mark in the performing arts industry, both in Australia and abroad. its alumni include players in leading positions in every Australian state orchestra, and a host of Grammy and ARIA award winners and many internationally recognised musicians including Dami Im, Jayson Gillham, Katie Noonan, Piers Lane, Megan Washington, Kate Miller-Heidke, Lisa Gasteen and Brett Dean have all passed through the Queensland Conservatorium.

LinkedIn has been described as the non-sexy, sleeping dragon of social media (Buck, 2012).  It has become the premiere social media site for professionals; most employers in the UK will search for a job candidate on LinkedIn.  This makes it very useful when searching for jobs internships, exploring careers or accessing company information. Yet, while students may be active on other social media platforms they are less engaged with LinkedIn. Certainly our creative students report that LinkedIn has little appeal

What do students of art need to know and be able to do today in order to flourish tomorrow? For the past ten years I have been exploring this question within the context of US art schools (Salazar, 2013a, 2013b, 2014, 2016). Reflecting on this body of research, three strategies stand out by which we, as educators, can better prepare art students to meet future challenges. We need to prompt inquiry, nurture entrepreneurial dispositions, and facilitate creative communities of practice.

Independent artists are faced with a challenging and transforming landscape that requires adaptive resilience in order to thrive creatively, today and in the future. How do we, as tertiary educators, empower and enable artists to build strong and flexible, professional contemporary art practices? To address this issue, my current research draws models of praxis from artist-run initiatives (ARI) in the Visual Arts industry, specifically from my experience as director of Boxcopy Contemporary Art Space.

If one was to believe the various reports emanating from the popular media, creative arts schools provide a waiting room for global graduate unemployment.  As we all know, nothing could be further from the truth or, as the US Herberger Institute for Design and the Arts puts it ‘Uncle Henry is Wrong’.

In higher education, we like to throw around the term “successful” when referring to our alumni, but what do we really mean by that?  Employed, certainly (if that is their goal).  Financially stable, making enough money to have a decent quality of life.  But beyond that, is more money really the best way to measure more success?  What else should we consider in this assessment?

Writing twenty years ago, Neumann (1996) questioned the existence of a nexus between research and teaching roles. Reviewing the literature up until the late-1980s, she asserted that few academics find a nexus because of the privileging of research over teaching. From the 1990s, however, she found the research-teaching nexus to be bi-directional and multi-level, with many students identifying the nexus as an opportunity for scholarly interactions. . . . This short discussion paper retains the focus on the artist academic and further extends the ART nexus through the addition of employability.

In the last thirty to forty years there has been a concerted drive in the Australian academy, to justify creative arts training in forms that articulate with economic worth, vocational function and government policy. . . . While there have been great gains in recognising the value of creative work within academic frameworks, their effect on the creative academics who deliver these graduate outcomes remains underexplored. . .