Arts as Motivational Entry Points for Non Academic Students

Topic: Are the Arts Motivational Entry Points for Non-Academic Students?

Introduction

For a long time, academic courses, specifically STEM programs (i.e. science, technology, engineering, and mathematics) have often been favored because of their real (and perceived) employability chances. It is indeed true that most societal undertakings are driven by specializations in these academic courses. However, this does not necessarily mean that there is no place for artistic specializations for non-academic students. It is important to note, from the onset, that there are a wide range of factors that influence the desires of academic students to pursue higher education. It would be prudent to highlights these with an aim of setting the stage for the assessment of arts as motivational entry points for non-academic students. Some of these include, but they are not limited to, the need to further enhance employability, the need to fulfill parental or familial expectations, the need to satisfy as well as fulfill personal ambitions or aspirations, etc. With regard to employability, it is important to note that in today’s job market, the relevance of tertiary level education cannot be overstated. In the words of Dubert (2015), “in the job market, above all in career trajectories, everything depends on the prestige of one’s academic credentials.” (62). The job market demands that applicants for various positions hold some kind of professional academic qualification so as to secure employment. Academic students could be motivated to pursue higher education by those closest to them (Banks, 2012). Parents and guardians play a huge role on this front as in most cases, they invest a great deal of financial resources in an effort to ensure that their children pursue education beyond the high school level. This is more so the case given the perceived positive relationship between education attainment and success. Lastly, academic students could also pursue higher education with an aim of fulfilling personal ambitions or aspirations. This is particularly the case when it comes to the desire for expertise and enhanced knowledge in a specific area of interest. Non-academic students also pursue arts for a wide range of reasons. While some of these reasons overlap with those highlighted above for academic students, some are inherently unique. It should be noted that the problems often encountered by artists in both career development and advancement have not dampened the resolve of non-academic students to pursue arts. This review of literature sufficiently demonstrates that indeed, arts are motivational entry points for non-academic students. This is more so the case given the rising interest in arts, particularly performing and creative arts, as demonstrated by high enrolment rates in the same in recent times (Daniel and Johnston, 2015). Also, this is despite there being studies indicating “that a higher education degree does not necessarily lead to enhanced career success for graduates of these programs” (Daniel and Johnston, 2015). The present paper will be in reference to not only performing arts, but also other forms of arts including, but not limited to, fine art, photography, animation, graphic design, and arts administration. Performing arts are largely focused upon live performances and in most cases include, but they are not limited to, dance, music, as well as drama. It should also be noted that in all instances, the terms programs and courses will be used in reference to the practice-based nature of artistic pursuits, as opposed to academic basis. Learning in this case, therefore, takes the form of active practice in real or simulated settings.

A Review of Literature

In basic terms, art could be described as the expression of a person’s creative self via the utilization of not only skill, but also imagination (Wagner and Sherwin, 2013). Items or concepts brought forth through artistic capabilities seek to either make certain representations or portray specific ideas. By dint of its application and nature, Wagner and Sherwin (2013) are of the opinion that art happens to be intertwined with several other disciplines including, but not limited to, theology, geography and history. The specific fields of art that non-academic students could pursue are varied and diverse. While some artistic fields happen to be largely demanding and call for undivided attention, others are not and could therefore be pursued on a part-time basis. It is however important to note that even then, like most academic specializations, artistic fields call for a healthy dose of perseverance as well as determination (Clark and Zimmerman, 1997). This is particularly the case given the level of creativity as well as insight required to produce or partner in truly masterful pieces or undertakings.

For non-academic students, there are various motivations that drive their pursuance of arts. The most prominent motivation on this front is interest and enjoyment. As a matter of fact, Clark and Zimmerman (1997) are of the opinion that “student desire and interest is probably the most salient indicator for identification of artistically talented students” (41). Those who, for instance, opt to pursue fine arts do so because of their love for creative and visual arts. They do so because they are interested in challenging their imaginative prowess and further enhance their creative abilities. Pursuing an art program could be deemed as just a path towards self-expression. In that regard, as Clark and Zimmerman (1997) further point out, arts offer a creative outlet for such persons. For instance, due to the highly practical nature of specializations in performing arts (such as music and drama), a student in the same is likely to develop skills that are largely interdisciplinary and pragmatic. The skills gathered in performing arts are varied and diverse. A few of the specializations whose skill arsenal we could assess include dancing, musical theatre performance, and acting. With regard to dancing, the focus, as Clark and Zimmerman (1997) point out is typically on the interpretation of music by way of dance movements. The said movements could be used to not only entertain, but also to express emotions, or narrate stories. In most cases, performances are done before a large, live audience. However, in other instances, performance could be recorded for television of film. In dance school, dancers learn a wide range of dance techniques, timing and rhythm (Clark and Zimmerman, 1997). They, however, specialize on the specific forms they are most comfortable with. Acting, on the other hand, typically involves an engagement with an audience through various formats (such as body language and dialogue) with an aim of presenting various characters. Acting, according to Jensen (2001) is one of the fields whereby an inborn talent could be further refined by way of skilled instruction and practice. When it comes to screenwriting, the role largely involves the creation of stories that are engaging enough for utilization in various formats.

Still, there are those who pursue arts in an attempt to improve on a skill that they already possess – which effectively means that enrollment is deemed a logical move towards the further refinement of existing skills and knowhow (Jensen, 2001). The most important thing on this front remains the further development of a student’s core competencies. Essentially, pursuing an arts specialization permits a student to gain access to key resources (such as tools and workshops) as well as skilled persons in specific artistic field. It is the feedback received from such an engagement that comes in handy towards the refinement of an individual’s skills. Similarly, the connections those who enroll for artistic studies gather could be utilized later on in practical settings. In general, these are benefits that students have no access to before accessing art school, regardless of the raw skill they possess. It is also important to note that in addition to learning performance skills, students could also learn other soft skills such as problem solving strategies and collaborative tactics. Those who enroll are also likely to be equipped with superior critical thinking skills. These skills have been discussed at length in the next paragraph.

In addition to the typical artistic capabilities, students also enroll for arts so as to learn a wide range of other critical skills that have the ability to further enhance their skill and capability output – while at the same time further enhancing their relevance in an increasingly competitive world (Emery, 2002). As Emery (2002) further points out, arts - such as fine arts specializations – equip the person pursuing them with other skills beyond the “hand-eye coordination”, “the use of materials” to other equally handy and important skills (143). The first of such skills is communication. Communication could be described as the ability of an individual to effectively transmit a message via a specific medium i.e. spoken word or in writing. The communication skills those who pursue arts gain include the effective utilization of technology to communicate, effective interaction in a team setting, etc. (Emery, 2002). By joining art school, therefore, individuals develop the capability to communicate effectively in various formats. This is s skill that would come in handy in practical settings as they seek to make contact with the outside world via their artistic creations and forms. Yet another critical skill those who attend arts school attain, as Emery (2002) further observes, is cultural awareness. Today, we live in a diverse world whereby we interact with people from all walks of life. The relevance of cultural awareness on this front cannot therefore be overrated. Cultural awareness has got to do with gaining the understating of not only our cultural perceptions, beliefs, and values, but also those of others. According to Deardorff (as cited in Levitt, Wisdom, and Levitt, 2017), “attitudes (respect and curiosity) are the bedrock of cultural competence on which an individual builds knowledge and comprehension (including self-awareness), skills, desired internal outcomes (adaptability, flexibility, ethnorelative view, and empathy) and desired external outcomes” (327). Culturally aware people respect other people’s perceptions and viewpoints and do not rely on stereotypes in their engagements with other people who do not share the same viewpoints as their own. In art school, as Emery (2002) points out, students are immersed in a diverse communal setting and are taught how to collaborate with others in various aspects and formats of artistic undertakings. It should also be noted that students joining art school also learn critical analytical skills. The critical skills gathered in this case include the ability to disintegrate issues and ideas into their most basic parts so as to effectively assess and evaluate them. This is a critical skill in problem solving, as it is in creativity enhancement. It is also important to note that according to Emery (2002), analytical skills also encompass the ability to properly assess the available information while at the same time weighing the solutions at hand with an aim of adopting the best course of action. Armed with superior analytical skills, those who attend art school become flexible thinkers and can be able to cross-fertilize ideas with an aim of further enhancing their creative and intuitive abilities (Emery, 2002).

In basic terms, not every person is a high-achiever on the academic front. This is to say that there are those of us who are more inclined towards artistry than conventional academic pursuits. Art school provides those who are not academically gifted with an opportunity to fully realize their capabilities. Arts, therefore, serve as motivational entry points for such persons. In the art school environment, such persons realize their full potential and become achievers in the truest meaning of the word.

There are various factors that make art exiting and worthwhile to pursue for those motivated enough to acquire various artistic skills and capabilities. To begin with, thanks to the internet, a huge opportunity exists for both multimedia artists and digital designers (Wagner and Sherwin, 2013). As it has been pointed out elsewhere in this text, technology has had a significant impact on both our private and professional lives. Towards this end, most businesses today have online presence and are seeking to connect with their customers in creative and unique ways. This effectively means that such businesses need multimedia artists as well as digital illustrators to enable them package their message to customers and make product offerings more appealing to customers. Essentially, those who adapt their skills to the new realities are likely to reap big in this ongoing online revolution. As a matter of fact, as the National Endowment for Arts (2011) observes, “a surge in demand for multimedia artists, animators, and illustrators—especially those who are computer – and technology-savvy—is projected for 2018, due to companies’ demand for advertising in online and digital formats.” It is also important to note that thanks to advances in online payment systems and communication networks, it is possible for those with the required skill set to work from any location and serve a diverse clientele regardless of geographical distance. In fact, at a click of a button, photographers, sculptors, fine artists, and many other persons with the relevant skills and capabilities can gain access to a worldwide market for their products and services. Competition, however, remains tough and only those who are best adapted and most skillful are likely to remain relevant going forward. The playing field, however, remains level.

In seeking to select the most appropriate institution in which to pursue their interests, well-informed students are likely to take a couple of factors into consideration. Diversity comes first amongst the most critical factors (Wagner and Sherwin, 2013). As it has already been pointed out elsewhere in this text, in most cases, arts courses are crowded by students of similar demographics. This effectively stifles creativity and cultural exchanges that could further enrich the learning process. Technology is yet another key consideration. It is important to note that in recent times, technology has permeated every aspect of our lives – from our private lives, to our professional lives. Both academic and non-academic pursuits have also been affected in one way or another by technology. Towards this end, informed students of art are likely to seek out institutions that have modern-day hardware and software items as this has a higher chance of putting them on the global map as far as their artistic skills and capabilities are concerned. However, like is the case in various academic specializations, the relevance of handwork, perseverance, and focus cannot be overstated in artistic pursuits as well. As much as external considerations are critical, internal assessments are also of great relevance on this front. Although we have persons whose artistic prowess could be deemed genius despite not having sought any known professional training or guidance, some of the more notable personalities who pursued various forms of art education or apprenticeship, as it has been pointed out by (Barnard, 2013), include Tracey Emin and Damien Hirst. Others are Adam Sandler and Sharon Stone who are holders of degrees in fine art (New York University), and creative writing and fine art (University of Pennsylvania) respectively. While these individuals could have been born with some innate skill or capability that made them great artisans in whatever it is that they sought to pursue, it could be argued that they further enhanced their skills by attending art courses. This is a fact that that could further motivate students to commit to follow their interests in artistic courses and programs.

It is important to note that there are studies disputing Daniel’s and Johnson’s claim (as has been highlighted elsewhere in this text) to the effect that enrolment rates for creative subjects have increased in recent times, particularly in the U.K.. Figures from UCAS indicate that the number of students enrolling for creative subjects have, as a matter of fact, gone down. According to UCAS (as cited in Dawood, 2017), the number of students who applied for courses in arts in 2017 went down by approximately 30,000. The courses affected by the said slump include, but they are not necessarily limited to, creative writing, photography, design, dance and fine art. Others are drama and music. This begs the question; is there a crisis as far as higher education in the arts is concerned? Some insights into this question could be obtained from recent happenings. To begin with, a number of art courses have been scrapped in recent times – with one particular example on this front being the 2012 closure of the Emory University Visual Arts Program. One year later, a premier arts institution, St. Paul’s College of Visual Arts, also ended its operations. In the United Kingdom, there have been reports to the effect that one of the world’s top education institutions in arts, i.e. the Royal College of Art (RCA), was experiencing challenges that could significantly affect its ability to deliver on its mission and educational objectives (Clark, 2015). According to the author, the challenges in this case emanate from a myriad of factors including, but not limited to, student protests over what they term as decision by the institution to decrease the time allocated for exhibitions. Also, there is the issue of cuts in government funding with Clark (2015) pointing out that “like other universities, the RCA is looking for ways to cope with cuts to its Government grant.” It should, however, be noted that for an institution of this nature, surviving without government funding is likely to be a challenging task and it could call for layoffs and the scrapping off of some programs. The institution has also been rocked by staff and faculty departures – effectively meaning that the students-to-teacher ratios keep increasing. The later concern is not limited to arts colleges in the U.K. alone. Closer home, the Education Management Corporation (EDMC) in 2015 laid off more than 100 staff and faculty members in some of its Arts Institutes (Levitt, Wisdom, and Levitt, 2017). EDMC has also expressed its intention to close approximately a quarter of its campuses across the nation (Levitt, Wisdom, and Levitt, 2017). In essence, such moves put to question not only the relevance, but also the sustainability of art courses in higher education going forward. The situation is likely to get worse going in the days to come, with more arts programs and courses likely to be dismantled. This is more so the case taking into consideration both the impending curricular stagnation and an escalating student debt crisis.

There are various other factors that could impede arts sustainability in the future. A brief analysis of these factors would come in handy in seeking to further understand the issue at hand with an aim of remedying the situation. in Dawood (2017) is of the opinion that the sustained increase in tuition fees for arts courses has the effect of keeping them beyond the financial reach of most who would want to pursue such courses. This, coupled with the perception that STEM subjects (i.e. science, technology, engineering, and mathematics) have better outcomes as far as future career options are concerned, could make students more inclined to pursue STEM subjects, as opposed to art subjects. Next, there is also the concern that little has been done to motivate students at the high school level to embrace creativity and the arts. This is more so the case given that as Bernard (2013) points out, it is rare for schools to, for instance, invite speakers in arts to come and give students key insights about the industry. In the final analysis, it remains clear that there is systemic failure at both the policy as well as educational level to not only support, but also motivate interest in arts. Diversity is also a concern that ought to be mentioned on this front. According to Cazeaux (2017), arts courses are in most cases crowded by students from similar demographic backgrounds. The fact that such students often have values, experiences, as well as perspectives that are similar (or identical in some instances) gets in the way of the further advancement of art as an expression of creativity via the utilization of specific skills and imagination. The work produced in this case could bear striking semblance. The relevance of diversity initiatives on this front cannot therefore be overstated.

In the final analysis, it is important to note that deliberate measures should be undertaken in an attempt to ensure that the relevance of art is sustained for posterity. It should however be noted that in so doing, there is need to disassociate art courses with direct economic benefits. As it has been pointed out elsewhere in this text, one of the motivating factors for students to pursue arts is deep interest and passion for the artistic skills to be aquired. Towards this end, there is need for institutions of learning (specifically at the high school level) to see to it that students’ expectations are merged with reality by way of delinking pursuance of arts with economic benefits. This effectively makes students reconcile their expectations with reality before enrolling for arts. For those who pursue arts with the right intentions, the possibilities and opportunities that come by as a consequence are endless. Those with well-refined artistic skills could perform well in a wide range of fields such as education, television and film, fashion, etc. The debate on employability, however, cannot be escaped. In general, employability, according to McQuaid and Lindsay (2005) could be defined as “the capability to move self-sufficiently within the labor market to realize potential through sustainable employment.” Currently, across the board, the emphasis appears be on preparing students for the job market. While there are employment opportunities for those with specific artistic skills and capabilities (i.e. in leisure companies, education institutions, arts organizations, etc.), the narrative ought to be adapted to focus more on skills development for any matching role – be it self-employment or formal employment. This would ensure that students are not programmed to look forward to landing a job after skills acquisition, but putting the skills acquired to use in a wide range of settings. This is more so the case given that the job market is also undergoing some changes – with career prospects in the long-term being less certain and secure.

The arts are not vocational undertakings. This is to say that they are not pursued with an aim of settling in a specific career. In that regard, therefore, skills learnt in this case are often transferable to a wide range of other undertakings. For instance, when it comes to fine art, roles that are specifically adapted for this specialization are exhibition design, illustration, curating, and print making. However, other roles an individual skilled in fine arts could undertake include art therapy, interior design, multimedia programing, gallery management, and arts administration (Barnard, 2013). Multi-activity also ought to be encouraged – in which case those who acquire the necessary artistic skills play multiple roles. A good example of this would be combining dancing or acting with part-time teaching. There are also roles outside the rigid confines of the artistic courses undertaken. According to Cazeaux (2017), most of those who study performing arts tend to largely focus their attention and capabilities to, for instance, stage performances. The skills gathered on this front, however, prepare persons for a wide range of roles far beyond the core definition of the program (i.e. music or film). While there are is an abundance of roles in acting, dancing, and theatre performances for those who have the relevant skills in performance arts, other roles that ought to be taken into consideration include, but they are not limited to therapy, teaching, and arts administration.