Tag: Arts

  • Los Angeles Community College District Claims to Be Facing State Takeover Amid Allegations of Fraud and Censorship in LAVC Media Arts Department (LACCD Whistleblower)

    Los Angeles Community College District Claims to Be Facing State Takeover Amid Allegations of Fraud and Censorship in LAVC Media Arts Department (LACCD Whistleblower)

    The Los Angeles Community College District (LACCD) may be facing state takeover within two years due to overextended hiring and budget mismanagement, as discussed during a May 2025 meeting of the Los Angeles Valley College (LAVC) Academic Senate. Faculty warned that the looming financial crisis could result in mass layoffs—including tenured staff—and sweeping program cuts.

    Start Minutes LAVC Academic Senate

    “R. Christian-Brougham: other campuses have brand new presidents doing strange things. If we don’t do things differently as a district, from the mouth of the president in two years we’ll be bankrupt and go into negative.
     Chancellor has responsibility
    C. Sustin  asks for confirmation that it is the Chancellor that can and should step in to curb campus budgets and hirings.
    R. Christian-Brougham: the Chancellor bears responsibility, but in the takeover scenario, the Board of Trustees – all of them – would get fired
    E. Perez: which happened in San Francisco
    C. Sustin: hiring is in the purview of campuses, so they can’t directly determine job positions that move forward?
    R. Christian-Brougham: Chancellor and BoT could step in and fire the Campus Presidents, though.
    E. Perez: in next consultation with Chancellor, bringing this up.
    C. Maddren: Gribbons is not sitting back; he’s acting laterally and going upward
    E. Thornton: looping back to the example of City College of San Francisco: when the takeover happened there the reductions in force extended to multiple long-since-tenured members of a number of disciplines, including English. For this and so many other reasons, it was a reign of terror sort of situation. So we really need to push the Chancellor.”

    End Minutes Academic Senate

    https://go.boarddocs.com/ca/laccd/Board.nsf/vpublic?open#

    The dire financial outlook comes as new scrutiny falls on LAVC’s Media Arts Department, already under fire for years of alleged fraud, resume fabrication, and manipulation of public perception. Central to these concerns is the department’s chair, Eric Swelstad, who also oversees a $40,000 Hollywood Foreign Press Association (Golden Globe) grant for LAVC students—a role now drawing sharp criticism in light of mounting questions about his credentials and conduct.

    Over the past two months, a troubling wave of digital censorship has quietly erased years of documented allegations. In May 2025, nearly two years’ worth of investigative reporting—comprising emails, legal filings, and accreditation complaints—were scrubbed from the independent news site IndyBay. The removed content accused Swelstad of deceiving students and the public for over two decades about the quality and viability of the Media Arts program, as well as about his own professional qualifications.

    In June 2025, a negative student review about Swelstad—posted by a disabled student—disappeared from Rate My Professor. These incidents form part of what appears to be a years-long campaign of online reputation management and public deception.

    An AI-driven analysis of Rate My Professor entries for long-serving Media Arts faculty—including Swelstad, Arantxa Rodriguez, Chad Sustin, Dan Watanabe, and Jason Beaton—suggests that the majority of positive reviews were written by a single individual or a small group. The analysis cited “Identical Phrasing Across Profiles,” “Unusually Consistent Tag Patterns,” and a “Homogeneous Tone and Style” as evidence:

    “It is very likely that many (possibly a majority) of the positive reviews across these faculty pages were written by one person or a small group using similar templates, tone, and strategy… The presence of clearly distinct voices, especially in the negative reviews, shows that not all content comes from the same source.”

    A now-deleted IndyBay article also revealed emails dating back to 2016 between LAVC students and Los Angeles Daily News journalist Dana Bartholomew, who reportedly received detailed complaints from at least a dozen students—but failed to publish the story. Instead, Bartholomew later authored two glowing articles featuring Swelstad and celebrating the approval of LAVC’s $78.5 million Valley Academic and Cultural Center:

    * *”L.A. Valley College’s new performing arts center may be put on hold as costs rise,”* Dana Bartholomew, August 28, 2017.

      [https://www.dailynews.com/2016/08/09/la-valley-colleges-new-performing-arts-center-may-be-put-on-hold-as-costs-rise/amp/](https://www.dailynews.com/2016/08/09/la-valley-colleges-new-performing-arts-center-may-be-put-on-hold-as-costs-rise/amp/)

    * *”L.A. Valley College’s $78.5-million arts complex approved in dramatic downtown vote,”* Dana Bartholomew, August 11, 2016.
      [https://www.dailynews.com/2016/08/11/la-valley-colleges-785-million-arts-complex-approved-in-dramatic-downtown-vote/](https://www.dailynews.com/2016/08/11/la-valley-colleges-785-million-arts-complex-approved-in-dramatic-downtown-vote/)

    Among the most explosive allegations is that Swelstad misrepresented himself as a member of the Writer’s Guild of America (WGA), a claim contradicted by official WGA-West membership records, according to another redacted IndyBay report.

    This appears to be the tip of the iceberg according to other also scrubbed IndyBay articles

    Other questionable appointments, payments, and student ‘success stories’ in the Los Angeles Valley College Media Arts Department include:

    * **Jo Ann Rivas**, a YouTube personality and former Building Oversight Committee member, was paid as a trainer and presenter despite reportedly only working as a casting assistant on the LAVC student-produced film *Canaan Land*.

    (https://transparentcalifornia.com/salaries/2018/los-angeles-district/jo-ann-rivas/)

    * **Robert Reber**, a student filmmaker, was paid as a cinematography expert.

    (https://transparentcalifornia.com/salaries/2017/los-angeles-district/robert-reber/)

    * **Diana Deville**, a radio host and LAVC alumna with media credits, served as Unit Production Manager on *Canaan Land*, but her resume claims high-profile studio affiliations including DreamWorks, MGM, and OWN.

    (https://www.tnentertainment.com/directory/view/diana-deville-13338)

    The film *Canaan Land*, made by LAVC Media Arts students, has itself raised eyebrows. Filmmaker Richard Rossi claimed that both it and his earlier student film *Clemente* had received personal endorsements from the late Pope Francis. These assertions were echoed on *Canaan Land*’s GoFundMe page, prompting public denials and clarifications from the Vatican in *The Washington Post* and *New York Post*:

    [https://www.washingtonpost.com/news/early-lead/wp/2017/08/17/after-july-miracle-pope-francis-reportedly-moves-roberto-clemente-closer-to-sainthood/]
    * [https://nypost.com/2017/08/17/the-complicated-battle-over-roberto-clementes-sainthood/]

    Censorship efforts appear to have intensified following the publication of a now-removed article advising students how to apply for student loan discharge based on misleading or fraudulent education at LAVC’s Media Arts Department. If successful, such filings could expose the department—and the district—to financial liability.

    But the highest-profile financial concern is the 2020 establishment of the **Hollywood Foreign Press Association’s $40,000 grant** for LAVC Media Arts students, administered by Swelstad:

    * [HFPA Endowed Scholarship Announcement (PDF)](https://www.lavc.edu/sites/lavc.edu/files/2022-08/lavc_press_release-hfpa-endowed-scholarship-for-lavc-film-tv-students.pdf)
    * [LAVC Grant History Document](https://services.laccd.edu/districtsite/Accreditation/lavc/Standard%20IVA/IVA1-02_Grants_History.pdf)

    As a disreputable academic administrator with a documented history of professional fraud spanning two decades and multiple student success stories that aren’t, future grant donors may reconsider supporting the Department programs – further pushing the Los Angeles Valley College and by extension the district as a whole towards financial insolvency. 

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  • Higher education postcard: Norwich University of the Arts

    Higher education postcard: Norwich University of the Arts

    From the Bolton Chronicle, 7 June 1845:

    [t]he following is the Report of the progress and state of this Institution made to Government, and just submitted to Parliament – The School of Design at Somerset-house was established at the commencement of the year 1837, by and under the superintendence of the Board of Trade, for the improvement of ornamental art, with regard especially to the staple manufactures of this country. The number of applicants for admission every month exceeds, by about fifty, that which the limited space in Somerset-house will accommodate.

    In connection with the head school at Somerset-house, schools have been formed in many of the principal manufacturing districts, namely, in Spitalfields, Coventry, Birmingham, Manchester, Sheffield, Nottingham, York, Newcastle and Glasgow; and applications are at present under consideration for the establishment of others in the boroughs of Southward and Lambeth, in Norwich, in the Staffordshire Potteries, and in Dublin…

    And it is to Norwich that we go.

    The idea of a school of design had been floated in Norwich for some time. The chief magistrate, Henry Bellenden Ker, had written to the mayor in November 1841 – the letter was published with an editorial in the Norwich Mercury on 6 November – setting out the expectations on the town, were it to be granted a government school of design. Essentially, they would have to find about £150 per year, supplemented by the government funding for the salary of the head of the school.

    The Norwich Mercury was very much in favour:

    In 1842 the town council agreed to a grant of £75 towards the costs, the remainder to be made via subscriptions. And it seems that the subscriptions must have been forthcoming, for on 21 January 1846 the Norwich School of Design was formally opened with much hoo-ha and admiring of the artistic collections that it had. In addition to the pieces granted by the government, the council provided some works from its own collection. And the school was up and running!

    By 1880 it was known as the Schools of Art and Science. It seems that this was by central government action: the schools of design were originally creations of the Board of Trade, and the Victorians recognised that science was just as important as creativity in that regard. (Even if this truth is one that our governments have forgotten today.)

    In 1899 the Technical Instruction Act empowered local authorities to control and fund technical education, and by the following year suggestions were being made that the School of Art and Sciences might fall within the scope of this act. Certainly the council was active in this area, a technical education committee having been established and an organiser and inspector of technical education appointed. By 1891 a new technical institute was being built in Norwich – the one shown on the card. The School of Art and Design was incorporated into this new Institute from 1901, as was, in 1913, the Norfolk and Norwich School of Cookery.

    The technical institute became the Norwich Technical College in 1930, and then in 1938 the Technical College and School of Art, Norwich. It feels almost like the artists and designers were not entirely integrated into the college!

    And in 1964 there was a separation. The college by then had a new building, and it seems that the technical subjects went to this new building on the Ipswich Road (still used by City College Norwich to this day), while the renamed Norwich School of Art stayed put. This also led to the School of Art moving into degree level education: from 1965 it offered the Diploma in Art and Design, validated by the National Council for Diplomas in Art and Design. And when in 1975 the National Council for Diplomas in Art and Design was incorporated into the Council for National Academic Awards, the school started offering bachelor’s degree courses.

    In 1974 responsibility for the School of Art had shifted from Norwich City Council to Norfolk County Council. And this fact became significant in 1989 when the School was merged with the Great Yarmouth College of Art, and the Norfolk Institute of Art and Design (NIAD) was created. This became an associate college of Anglia Polytechnic University (APU, as it then was), with APU validating NIAD’s degrees. These included postgraduate taught degrees from 1993, and research students from 1995.

    In 1994 the institute was incorporated as a higher education corporation – this is the legal form for most universities created from 1992 onwards – and renamed as the Norwich School of Art and Design. In 2007 it gained taught degree awarding powers and again assumed a new name, this time as the Norwich University College of the Arts. And finally in 2013, after the size threshold for university status had been reduced from 4,000 students to 1,000, it gained university status, becoming the Norwich University of the Arts.

    Alumni of the university include Keith Chapman, who created both Bob the Builder and Paw Patrol; and Neil Innes, of the Bonzo Dog Doo-Dah Band and Monty Python.

    The card itself is unsent, but looks to me to date from the first decade of the twentieth century. There’s a jigsaw here, for your delight and delectation.

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  • Is CTE the future of arts career pathways?

    Is CTE the future of arts career pathways?

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    Dive Brief:

    • While career and technical education has long connected students to real-world job skills and opportunities in different fields, it may also offer an avenue to strengthen arts programming and diversify career pathways for students interested in the arts. 
    • CTE experts emphasize the importance of thinking outside the traditional arts education framework by combining foundational techniques with an awareness of how those skills can be applied in the real world and meet local job market needs.
    • “There’s a dismissiveness about careers in the arts because it’s assumed that you have to be a starving artist, but that’s truly not the case,” said Ashley Adams, executive director of Arts Media Entertainment Institute, a nonprofit that connects educators to creative professionals. “There are incredible jobs for students that use their creative skills, and it empowers them if you can teach them about those careers early on.”

    Dive Insight:

    Adams began as a classroom teacher at a school with a robust Parent Teacher Association that regularly fundraised to support high-quality arts programming. However, not every school has access to this type of resource, Adams said, which is why she views CTE in the arts as an avenue for equity and access for students.

    For example, a theater teacher in Colorado launched a new course that teaches technical theater skills such as set design and sound design in order to qualify for CTE state and federal level funding. 

    Technical training is valuable for students because graduating with a certification in an industry-recognized software platform boosts and strengthens their resume when applying for jobs, Adams said. She added that because CTE programs are project-based, it’s a great preparation for the workforce, as many jobs are seeking professionals who can work collaboratively.

    For an arts-oriented CTE course to succeed, one of the main factors to take into consideration — as with any CTE course — is labor market value. Dan Hinderliter, associate director of state policy for Advance CTE, a national association for CTE directors and professionals, explained that there needs to be at least some level of local labor market analysis to determine which careers and opportunities are available, and to make these explicitly clear to stakeholders.

    “There’s a lot of programs in, say, California — where there’s more opportunity because they have the labor market — than you would find in rural Oklahoma, where they don’t inherently have a lot of need for students with a lot of technical arts skill and background,” Hinderliter said.

    If a school district decides they have a local labor market that’s looking for a much more technical approach to arts education, Hinderliter encourages them to make sure they partner with the employers in that area and, more comprehensively, with the state. 

    At the local level, the AME Institute connects teachers with creative industries and ensures they have training resources and the knowledge necessary to prepare students for these jobs. The organization provides virtual learning opportunities, in-person institutes that include visits to industry studios, and curated programming to strengthen pathway curriculum. 

    “It’s workforce development, and our workforce needs creators, it needs innovators, if we are going to continue to be a leader,” Adams said. “Entertainment is a huge industry sector within our economy, but if we’re going to continue to lead in that industry sector and many others, we have to have creative thinkers. We have to have people who are taking these tools and using them in innovative ways.”

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  • Integrating Systems Thinking to Enhance Liberal Arts Curriculum through Learner-Centered Teaching – Faculty Focus

    Integrating Systems Thinking to Enhance Liberal Arts Curriculum through Learner-Centered Teaching – Faculty Focus

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  • For-profit performing arts college in New York to close

    For-profit performing arts college in New York to close

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    Dive Brief:

    • The New York Conservatory for Dramatic Arts plans to close at the end of its current academic year, with operations and classes set to end Aug. 31, it announced Tuesday
    • The for-profit arts college is currently coordinating with other institutions to help find spots for students who have not completed their programs by then. So far, it has established teach-out agreements with Five Towns College and American Academy of Dramatic Arts, both in New York. 
    • NYCDA trustees decided to close after a “thorough evaluation of our enrollment and financial forecasts,” the two-year college said in an FAQ page. In explaining the closure, it cited national college enrollment trends and demographic projections.

    Dive Insight:

    The 45-year-old NYCDA said that the decision to close “has not been made lightly, and it comes after exhaustive efforts to explore every possible alternative.”

    On the FAQ page about the wind-down, the college noted that “the landscape of higher education has meaningfully changed since the pandemic.” Its own fall enrollment fell by 8.6% to 286 students between the pre-pandemic year of 2019 and 2023, according to federal data. 

    Founded in 1980 by Joan See, a successful commercial actor, the New York City institution started with a single private acting class. 

    From there, it was built into a “nationally accredited college that to this day empowers actors to follow their dreams, prove the doubters wrong, and make a living doing what they love,” as the institution described itself in Tuesday’s announcement. 

    Before the closure decision, NYCDA offered two-year acting programs in theater, musical theater, and film and television, and a two-year program in media production geared toward actors. It also offers shorter-term programs, including certificates. Its alumni include film and television actors, including Miles Teller, Jacob Batalon and Ashleigh Murray. 

    NYCDA joins a growing list of private arts colleges to fail recently. Last year saw the sudden closure of University of the Arts in Philadelphia along with the Delaware College of Art and Design. Pennsylvania Academy of the Fine Arts, meanwhile, announced it would stop offering two- and four-year degrees at the end of the 2024-25 academic year.

    Those closures left holes not just in the higher education world of those regions but also in the local arts scenes, where the institutions employed working artists, hosted events and created hubs of artistic activity.

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  • Cornish College of the Arts opens under Seattle University banner

    Cornish College of the Arts opens under Seattle University banner

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    Dive Brief:

    • Seattle University officially absorbed the Cornish College of the Arts, it announced Tuesday, realizing the deal the two signed earlier this year to transfer nearly all of the arts college’s assets to the university. 
    • The university expects the campus — now known as Cornish College of the Arts at Seattle University — to enroll between 430 and 450 students in the upcoming fall semester, according to a Tuesday announcement.
    • Seattle University offered jobs to the “vast majority” of Cornish’s original full-time employees, who were all let go last month. Most accepted the offer. The announcement this week did not give specific numbers, and the university did not immediately respond to questions Wednesday.

    Dive Insight:

    Seattle University and Cornish’s campuses are just 1 ½ miles apart, but the two institutions are dramatically different in scope.

    The private Jesuit university enrolled 7,182 students in fall 2023, according to federal data. The same semester, Cornish had 502.

    Cornish’s academic offerings focused on visual and interdisciplinary arts, while Seattle University offered a wider range of programs, from engineering to accounting to film and media. But the large institution did not have a fine arts school before acquiring Cornish’s name and assets.

    “This is a historic day for two legendary Seattle institutions,” Seattle University President Eduardo Peñalver said in a statement. “The combination of Cornish with Seattle University preserves the Cornish legacy for future generations and will transform arts education in Seattle, opening up exciting interdisciplinary opportunities for students and faculty on both campuses.”

    Cornish will operate as the university’s arts school at its original campus. Most Cornish students are opting to continue their education under Seattle University’s banner, according to Tuesday’s announcement. In spring 2025, Cornish enrolled 437 students who were not graduating that semester. Of that cohort, about 91% decided to stay and earn their degrees from Seattle University.

    Cornish’s provost and vice president of academic affairs, Brian Harlan, will become dean of the arts school under Seattle University.

    Beginning this fall, the university and Cornish will begin a “faculty-led process” of integrating both campuses’ arts programming, Harlan said in a Tuesday statement.

    Of 125 Cornish’s original employees, 92 have been rehired, including Harlan, a Seattle University official told The Seattle Times. The university made job offers to 36 of Cornish’s 40 full-time faculty members, and 33 accepted.

    The university also intends to hire adjunct faculty and part-time and seasonal staff over the summer, it said Tuesday.

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  • University of Tasmania continues cuts to Arts, Humanities – Campus Review

    University of Tasmania continues cuts to Arts, Humanities – Campus Review

    The University of Tasmania (UTAS) is set to cut 13 full-time staff as it proposes a massive shake-up of its humanities, social sciences, creative arts, and media schools amid declining student enrolments.

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  • Working-class students feel alienated from their creative arts degrees – here’s how to help

    Working-class students feel alienated from their creative arts degrees – here’s how to help

    Social class inclusivity is a problem in UK higher education.

    Research demonstrates that working-class students report being less likely to apply to university than their middle-class peers – and when working class people do enter higher education they may face discrimination and social exclusion. This is exacerbated in creative arts subjects.

    We interviewed students currently studying creative arts subjects at a Russell Group university to hear more about their experiences of social class inclusivity. Speaking to ten undergraduate and eight postgraduate students studying a range of creative fields including music, drama and film, we found that working-class students find it difficult to attend class, are disadvantaged in terms of accessing the cultural resources needed to succeed on their course, and feel excluded from social life on campus.

    Economic disadvantage presents a considerable barrier to students completing arts subjects at university. To be inclusive, university staff may have to adjust teaching and learning. We would like to make the case for those working in higher education to consider what classed assumptions are made about students in our institutions and accordingly reassess our expectations of those studying the creative arts.

    Many of the disadvantages or challenges that working-class students face are connected to wider structural inequalities that are deeply entrenched in our society. At the same time, there are still meaningful interventions that staff can make to support working-class students. We suggest four ways in which university staff can make their practice more inclusive to working-class students.

    Discuss working-class stories as present and live

    Universities are middle-class spaces. In creative arts subjects, students often make work referring to their class identity. This can be at odds in institutions where middle-class experience is the “norm”.

    Class diversity must be present within teaching. More working-class mentorship and role models would help students to feel like they belonged at university – including visiting working-class creatives. Our participants also advocated for contemporary working-class experience in the curriculum, in academic texts, and in the artworks discussed.

    Staff must maintain a supportive and safe space when discussing issues pertaining to social class. Staff should also recognise that not everyone wants to talk about their background or experience. Additionally, staff must be aware of social class-based stereotyping that might exist in other students’ creative work, and be prepared to intervene when necessary if (often unintended) prejudices around work, class, accent, or lifestyle emerge.

    Adapt teaching to the multiple demands on working-class students’ time

    More and more students are undertaking part-time work alongside their studies. It is difficult to devise our curricula for only those students who can commit all their time to studying, when significant numbers are balancing their studies with multiple part-time, temporary and precarious jobs, or with care responsibilities.

    Working-class and carer students may be commuting considerable distances to engage with their studies. This is creating a two-tier system of engagement, and many of the students we interviewed felt that teaching and learning on their courses was not flexible enough to support their participation. The same issues are present when students try to engage in extracurricular and cultural activities.

    Working-class students asked for more online resources and access to course materials immediately at the start of modules, alongside concerns over early starts and late finishes and travel costs. They wanted permission to speak to staff about part-time work without feeling like they were “doing something wrong” or not taking their studies seriously. The normalisation of working alongside studying is something that staff may have to accept and work with, rather than try to push against.

    Early intervention is important

    The early stages of the student’s degree are a key time when social class difference and disadvantage is felt, with high levels of anxiety around finance and budgeting in comparison to more affluent peers.

    Working-class students asked for the university to provide information to support their transition into economic independence. Examples include advice on budgeting, lists of free resources, inexpensive alternatives and free access to cultural resources.

    Peer support plays a huge role in the transition to higher education. Working-class peer support groups and mentorship are as significant interventions to help.

    Adjust assumptions and reassess expectations

    University staff can make a difference to the experience of working-class students through simple adjustments of the assumptions we make.

    Interviewees believed staff made assumptions about what creative arts students should know, or the kind of experiences they should have had prior to university. These assumptions corresponded with a more middle-class experience, for example knowledge of university life, or access to (and the ability to afford) cultural resources or engagement with extra-curricular activities. Participants were particularly frustrated by assumptions from staff that students could afford to pay for learning resources not available in the library.

    Extra work is also needed to ensure that working-class or other marginalised students feel comfortable and entitled to ask for help from staff.

    Because many students now must work alongside studying, students may have less time to complete their work outside of class. Stronger steers on the amount of time to complete activities and prioritisation of reading, and the removal of blame for those struggling to balance time constraints of working whilst studying can all be effective.

    Working-class creatives

    Class inclusivity means students feel like they belong on their course, alongside having the financial security to take the time and space to study.

    This is particularly important in the creative arts because the more time and space students have to engage with their course or with extracurricular activities like arts societies, the more working-class stories will be represented in the creative work they make. Creative arts subjects must better support working-class students to engage fully with their studies – and not to be disadvantaged by financial pressure, lack of resource, or through feeling like they don’t belong on their course.

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  • Storytelling and arts education can drive social change

    Storytelling and arts education can drive social change

    Netflix drama Adolescence has ignited two vital national conversations.

    The rise of online misogyny among radicalised young men has seen Keir Starmer weighing in on the issue.

    There’s also been a debate surrounding disenfranchisement among boys and young men in primary, secondary and tertiary education.

    The latter has long been on the radar of policymakers, academics, and researchers. HEPI recently linked boys’ educational underattainment to a “veering towards the political extremes,” while discussions around figures like Andrew Tate have kept the former on Parliament’s agenda.

    Yet both issues remained on the margins until Adolescence – written, produced, and starring Rose Bruford College alum Stephen Graham – catalysed real-world conversations and moved us toward legislative action.

    Despite press, and policy, and parliament, the issue broke through because of storytelling.

    Power of creative arts

    Much like the Post Office scandal – exposed by Private Eye but only widely acknowledged after Mr Bates vs The Post Office (co-produced by another Rose Bruford alumus, Sara Huxley) – Adolescence shows how creative arts can achieve what policy papers often cannot: capturing public attention and driving cultural change.

    It highlights a key truth in fostering social change – the arts play a vital role.

    As a membership body representing nearly 40 per cent of creative arts students, we’re concerned by the continued perception of creative degrees as niche or non-essential – leading to disproportionate funding cuts compared to STEM.

    In reality, our graduates shape public discourse on identity, gender, and social responsibility, shifting public discourse, and ultimately contributing to public policy.

    At the same time as a devaluation of creative degrees, there’s another issue hiding in plain sight – working-class boys are falling behind in education.

    HEPI has produced compelling reports on this subject, outlining the growing gender attainment gap, particularly for boys from disadvantaged backgrounds and neurodivergent boys (although we note that some of this may be down to underdiagnosis in girls).

    Concerns in the report also raised that boys are less likely to be steered toward specific disciplines (while girls have been encouraged into STEM) and that traditional educational structures serve girls better.

    Although the authors should avoid biologically deterministic assumptions around how people learn and bear in mind that gendered socialisation probably plays a large part here – regardless of how behaviour and engagement is socially or otherwise fostered, the data shows its material impact – boys academically underperform compared to girls at every age, in almost every subject.

    Class acts

    But it is essential to be clear – the issue is not boys in general, but working class boys who are most at risk of falling behind. Discussions that flatten this into a gender-only concern risk obscuring the real and compounding impact of class-based disadvantage on educational engagement and attainment.

    This issue receives little attention in practice. A rudimentary and quick scan of Access and Participation Plans (APPs) revealed a striking omission: boys are rarely, if ever, mentioned as a specific target group.

    Even when John Blake outlined the significant scale to equality of opportunity faced by “boys from working-class communities” back in 2022, it was primarily in comparison to smaller groups who experience more intense forms of disadvantage, rather than recognising the issue of working-class boys attainment as a standalone concern.

    GuildHE Institutions like Rambert School, Northern School of Contemporary Dance and AUB are already doing vital outreach work to bring boys into the subject spaces they are underrepresented in. But again, this work often happens in isolation, without the policy recognition or funding it truly deserves.

    That’s a mistake. For many boys, especially those disengaged from traditional academic pathways, creative disciplines provide an essential space to connect, reflect, and grow. Dance, drama, music, and film help young men process difficult emotions and identities constructively.

    As our recent written submission to parliament outlined, the dance training boys took part in at Rambert School helped them in areas of life such as creative thinking, managing anger and ADHD symptoms. Arts University Bournemouth runs Being a Boy which provides a supportive space for young men to creatively and safely engage with the role of masculinity in their lives.

    Add in Prof Becky Francis’s review of the school curriculum – which argues it’s failing students outside the A-levels-to-university pipeline, disproportionately boys – and her call to value arts subjects, and we see an emerging case for education that better accounts for how many boys have been socialised to learn and engage.

    This is where creative education comes in. The arts are not just about performance or aesthetic appreciation – they are powerful tools for expression, empathy, and exploration, and a possible way to engage boys who are disenfranchised at an estimated cohort size of half a million from higher education

    While the HEPI report calls for a push to get more men into teaching, care roles, and nursing, we believe in the individual and societal benefits of encouraging boys – particularly working-class boys – into, and their contribution to, the arts.

    Some of this work is already being done by our alumnus – Stephen Graham discovered Owen Cooper, who plays Jamie Miller in Adolescence, who Cooper describes as “a normal working-class family from a normal council estate”. But there needs to be a concerted policy effort.

    That means:

    • Valuing arts and creative degrees as critical to both gendered social progress and supporting widening participation in HE for boys
    • Including boys as a key demographic in widening participation strategies in HE.
    • Supporting cross-sector collaboration between educators, policymakers, creatives, and communities to tackle today’s issues and truly value the impact creative degrees make on individuals and society.

    The success of Adolescence in sparking national debate is a wake-up call. If we want to tackle misogyny, and we must remember that Adolescence was fundamentally about violence against women and girls, as well as male disengagement in education, we need to invest in the places where empathy and identity are formed – and value how these are explored and communicated to wider society.

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  • Building a Foundation for Innovation and Empathy Through Arts Education

    Building a Foundation for Innovation and Empathy Through Arts Education

    From fostering creativity and critical thinking to enhancing emotional intelligence and cultural awareness, arts education plays a crucial role in shaping future leaders.

    Martine Kei Green-Rogers, Ph.D.

    Dean, The Theatre School at DePaul University

    Artists want to be in conversation with other artists, artforms, and disciplines of study. An arts education is valuable because we need people who are interested in exploring, highlighting, and sharing our collective humanity. We need people to tell the history of our global societies and help us recognize how to make what may seem foreign to us more familiar.  

    A conservatory model encourages other artforms and disciplines to play together by establishing a place where artists can fail miserably, pick back up, and start again. Students not only learn the technical skills of their craft, but they also learn creative problem-solving, collaboration and communication, and discipline and adaptability. These are the skills needed for a person to be successful, no matter what they decide to do later in life.  

    100 years of arts education

    At The Theatre School at DePaul University, modeling new paths for what one can do with conservatory training is our future. We are an amazing school with a rich heritage. This year, we celebrate 100 years of training theatre professionals, and this milestone has given us an opportunity to reflect on how our students have taken their training and gone on to do so many phenomenal things both inside and out of the theatre world. Our graduates use their arts training to make the world a better place and to provide opportunities for the next generation of artists.  

    At the heart of who we are as an educational institution, and as a value based collective of artists, we embody in our spaces everyday why the arts are necessary.

    Rebecca Ryan, the director of admissions for The Theatre School, summarizes who we are succinctly: ”Nestled in the heart of Chicago, a city renowned for its vibrant and diverse theatre scene, The Theatre School at DePaul University offers a cutting-edge education with 15 highly specialized Bachelor of Fine Arts programs ranging from Acting and Comedy Arts to Projection Design and Theatre Management, a Master of Fine Arts program in Acting, and a new Certification for Intimacy Professionals in Theatre & Cinema.

    “With over 30 productions each year, students engage in immersive, hands-on experiences. Faculty — all professional theatre artists active in the industry — bring their real-world expertise to the classroom, along with their professional network and connections. Students develop skills that prepare them to innovate and excel in the dynamic entertainment landscape.”

    More than art for art’s sake

    We help students find their path by providing numerous opportunities to delve into the real-world applications for their art that goes beyond “art for art’s sake” (not that this is a bad thing). For example, we devised a theatrical piece in May 2024 as a response to an exhibition by Selva Aparicio at the DePaul Art Museum to bring awareness to domestic violence, we are currently partnering with the College of Science and Health at our university to train emerging healthcare professionals, and provoking conversations about our contemporary society through the lens of historical events via our partnership with the american vicarious and TimeLine Theatre.   

    These kinds of collaborative projects expand the world of possibilities for our students and the ability to experiment allows for someone to have the fortitude to carve their own paths and create their own opportunities. 

    While resilience, emotional intelligence, and critical-thinking skills might not be in the course catalog per se, these transferable skills not only prepare students for a wide range of careers, but an education in the arts also deeply connects students to our shared humanity. The world needs more innovators who lead with empathy.


    Click here to learn more about The Theatre School at DePaul University


    Author bio

    Martine Kei Green-Rogers is the dean at The Theatre School at DePaul University in Chicago. She earned her Ph.D. from the Department of Theatre and Drama at the University of Wisconsin-Madison. She received her bachelor’s in theatre from Virginia Wesleyan College and her master’s in theatre history and criticism from The Catholic University of America. A director and writer, Martine has a long history in the theatre. She has held several positions in dramaturgy, literary management, writing, directing and creative storytelling in the professional theatre and entertainment industries. Her portfolio includes positions at the Oregon Shakespeare Festival and the Court Theatre in Chicago. Martine previously served as interim dean of the Division of Liberal Arts at the University of North Carolina School for the Arts. She also is the immediate past president of the Literary Managers and Dramaturgs of the Americas and the current President-Elect of the Association for Theatre in Higher Education (ATHE).

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