Optimising the Evidence: Year 1 Scoping the territory The Creative Arts Cluster Lead by GSA & RSC With University of Edinburgh, Dundee University, Napier University, and QMU

…how we evidence the transformations of our students through learning and teaching enhancement and how we communicate the data we build and receive in a meaningful way to prospective and continuing students, funding bodies, employers, and collaborators.   Ecology of Culture: “the complex interdependencies that shape the demand for and production of arts and cultural offerings” (Holden, 2015)

Systematic processes: Optimising the use of existing evidence for this activity Creative programmes collect, curate, and use a range of evidence to understand and assess the enhancements they have made to teaching and learning. These include: Systematic processes: Annual programme monitoring (into subject review and Enhancement-led Institutional Review). Qualitative documentation as a result of scholarship of learning and teaching, teaching excellence projects, pedagogic research. Outcome agreements. Metricised data sets used within these Learning analytics Student Achievement Rates (SAR), Programme Completion Rates (PCR) Widening participation statistics Equalities statistics Outcomes metrics: NSS, DLHE-GO & LEO

Additional metrics on the horizon Grade inflation Teaching intensity? Universities accused of awarding too many firsts The Times July 2017

Longitudinal Educational Outcomes Data by degree, subject, gender & institution Data – earnings & employment status 1, 3, 5 years after graduation Links DfE Schools data, benefits data (DWP), tax records (HMRC) DLHE to Graduate Outcomes GO JACS3-HECOS? The National Pupil Database (NPD) held by the Department for Education (DfE); Higher Education Statistics Agency (HESA) data on students at UK publicly funded higher education institutions and some Alternative Providers held by DfE; Individualised Learner Record Data (ILR) on students at further education institutions held by DfE; Employment data (P45 and P14) held by Her Majesty’s Revenue and Customs (HMRC); The National Benefit Database, Labour Market System and Juvos data held by the Department for Work and Pensions (DWP). Unistats 2017, 2018 (RUK)

They are dramatic, creative, self-confident, dominant and extremely difficult to resist

Headlines on Creative Arts LEO datasets Headlines on Creative Arts Higher entry tariff score = better a student does financially post-graduation Creative Arts has overall lowest levels of PAYE evidenced income to other subjects 5 years after graduation Only the top median income earners compete financially and tax wise with other degree subjects Are not so new and students remain willfully creative BUT The National Pupil Database (NPD) held by the Department for Education (DfE) (not Scotland) Higher Education Statistics Agency (HESA) data on students at UK publicly funded higher education institutions and some Alternative Providers held by DfE; Individualised Learner Record Data (ILR) on students at further education institutions held by DfE; Employment data (P45 and P14) held HMRC; The National Benefit Database, Labour Market System and Juvos data held by the Department for Work and Pensions (DWP).

Soft Power Networks Less romance more realism? Employment in Creative Industries Employment in other industries Total Employed in creative occupations Specialists / artists (creatives) Embedded artists (creatives) Total employment in creative occupations Employment in other occupations Support worker artists General graduate employment: This area is fraught with difficulties in terms of linking degree programme to skills in work Total employment in creative industries Total creative workforce (Bridgstock & Cunningham, 2016, p. 14)

Economic, business & skills The policy context for creative arts disciplines in higher education in Scotland Economic, business & skills Higher Education Culture Health and well being Analogue, conceptual, social, digital, technological innovation and creativity

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