Redefining employability: student voices mapping their dance journeys and futures

Abstract

This paper explores dance students’ understanding of employability and their views about their dance futures in order to inform higher education curricula and workforce development. The investigation focuses on the student experience on a Bachelor of Arts Honours degree course in Dance at an English university. First and final year undergraduate voices were sought, transcribed and analysed using grounded theory methodology. A key theme, explicit in the student data was that of journeying. Students referred to metaphors that related to journeys, travel, routes, roads and paths. The undergraduate students interviewed conceived of employability in dance as a journey from the beginning of the dance experience towards gaining and sustaining employment. The beginning stage of the journey was getting to university and in the liminal space of the first year, students focused solely on their dance experiences. By the final year, the students perceive their dance futures as diverse journeys of continuous development. The onward journey out of university for final year students is fuelled by a passion for dance, self-reliance and continuous learning. The student voice revealed a determination to forge a future in dance whilst recognising the obstacles; financial, emotional and physical that lay in their way.

Keywords:

• Higher education
• employability
• dance
• cultural and creative industries
• undergraduates

Notes

1. In the UK the Creative Industries were defined ‘as those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property’ (Department for Culture Media and Sport 2001, 5). The Department of Culture, Media and Sport in the UK recognised thirteen sectors in the Creative Industries: ‘Advertising, Architecture, Art and Antiques Market, Crafts, Design, Designer Fashion, Film and Video, Interactive Leisure Software, Music, Performing Arts, Publishing, Software and Computer services, Television and Radio’ (Department for Culture Media and Sport 2001, 5).

Later in 2014, the Creative Industries became a subset of the Creative Economy that represents all creative work. The creative economy groups are: ‘Advertising and marketing; architecture; crafts; design: products, graphic and fashion design; film, TV, radio and photography; IT, software and computer services; publishing; museums, galleries and libraries and music, performing and visual arts’ (Department for Culture Media and Sport 2014, 9).

2. The HEFCE-funded CAREER Project (2003–2004) was undertaken by PALATINE, at the time the Higher Education Subject Centre for Dance, Drama and Music.

The Performing Arts Creative Enterprise Project (2004–2006), funded by the National Council for Graduate Entrepreneurship, was also undertaken by PALATINE.

3. The Performing Arts Creative Enterprise Project (2004–2006), funded by the National Council for Graduate Entrepreneurship, was also undertaken by PALATINE.

4. For example, a series of courses throughout the three year dance programme at De Montfort University enables students to understand the dance infrastructure and working practices; to gain pedagogic and managerial skills; to develop expertise in communication technologies and to devise creative, enterprising interventions. In addition, supported by the University, students at every level have an opportunity to gain an international experience through # DMU global.

5. The majority of undergraduate dance programmes in English universities are designed to equip graduates to work in a range of dance related careers, which may involve performance, education and therapy, youth and community service, production and management. Unlike more vocational, conservatoire based programmes they are not principally concerned with training dance performers. It is increasingly the case that UK dance artists work as freelance, independent creatives across a range of economic, social and cultural sectors and university dance curricula reflect this reality.

6. The dance programme at De Montfort Univerity enables students to study dance practice and performance, choreography, critical analysis and dance history, anatomy/physiology and professional practice throughout their three years of study. In the second year of the programme students engage with broad international and cultural perspectives on dance; they make dance for screen as well as for live performance and they may study dance management, dance education and community practice. The second year is also a time when faculty encourage students to take advantage of work experience opportunities with local arts organisations and practitioners. Student feedback suggests that this is a time when students become more aware of the diversity of the dance field and the opportunities it presents.