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.
