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THE ARTS IN HIGHER EDUCATION

Access and Widening

Participation in
Arts Higher Education
Practice and Research

Edited by Samantha Broadhead

The Arts in Higher Education

Series Editor
Nancy Kindelan
Department of Theatre
Northeastern University
Boston, MA, USA
More information about this series at
https://link.springer.com/bookseries/14452
 Samantha Broadhead
Editor

Access and Widening

Participation in Arts
Higher Education
Practice and Research
Editor
Samantha Broadhead
Leeds Arts University
Leeds, UK

The Arts in Higher Education

ISBN 978-3-030-97449-7    ISBN 978-3-030-97450-3 (eBook)
https://doi.org/10.1007/978-3-030-97450-3

© The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer
Nature Switzerland AG 2022
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights of
translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and retrieval,
electronic adaptation, computer software, or by similar or dissimilar methodology now
known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information
in this book are believed to be true and accurate at the date of publication. Neither the
publisher nor the authors or the editors give a warranty, expressed or implied, with respect to
the material contained herein or for any errors or omissions that may have been made. The
publisher remains neutral with regard to jurisdictional claims in published maps and
institutional affiliations.

Cover illustration: Emele Photography / Alamy Stock Photo

This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG.
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
 To Sam Broadhead, Carole Broadhead, Percy Whiteley, and Rosaline
Whiteley; they dedicated their working and caring lives for the benefit of
their families so that they too could have happy, productive futures.
 Foreword: Arts Education Social
Justice Praxis

It is hard. It is hard when you are utterly passionate about an area of edu-
cation (practice-based art and design education) and it feels under attack
from so many angles. Read this book to understand the many challenges
facing arts higher education. These challenges cut across funding, pro-
posed student number caps, policies that have reduced the numbers of
young people doing practice-based art and design subjects at school and
government measures that seek to measure ‘poor value’ degrees by mea-
suring graduate earnings across different disciplines.
What do we do in response to this attack on art and design education?
The danger is that collectively we can feel ‘on the back foot’ feeling mis-
understood, defensive or defeatist about the policy attack on art and
design education. Certainly, I have felt like this at times. But perhaps there
is another response and this is what you will find set out in this book.
The authors in this edited collection interrogate and probe the many
challenges encountered in arts higher education with a focus on social
justice and widening participation. The contributing authors nuance the
implications of different policy agendas. Some of the authors situate our
UK context into the wider field of play to see what we can learn adopting
a more global lens.
So what next? What do those of us who are passionate about the per-
sonal, collective, and societal benefits and contribution of an arts educa-
tion do? This book points to the ways we can do the work. It shows us
how we can assert with confidence the value of an emancipatory art and
design education. The authors and editors do not shy away from the chal-
lenges faced within art and design education that can serve to narrow

vii
viii FOREWORD: ARTS EDUCATION SOCIAL JUSTICE PRAXIS

participation and exclude marginalised groups. The book tells us where

work is to be done to widen access and progression for diverse students.
What is so helpful is that we see side by side the ‘exclusionary and
potentially inclusive aspects of specialist arts languages and knowledge’.
The authors render examples of ‘close to practice research’ (BERA, 2018)
that sit within this contested space. The editors tell us how we might move
arts education towards social justice and collectively they assert their
agency and practice in working towards an emancipatory educational future.
The contributors recognise the enormity of the challenge whilst at the
same time showing us how practitioners and researchers are taking steps
on a journey to create arts education social justice. For me the core idea of
this book is that we shouldn’t have social practice and arts education.
Instead, we need arts education as a form of social justice in and of itself.

Conclusion
In 2017 Alison Shreeve and I (Orr & Shreeve, 2017) published a book in
which we set out a theory entitled The Pedagogy of Ambiguity in Art and
Design Higher Education. I often reflect on our book and its key premise
in light of the uncertainty thrown at us in the pandemic. When we wrote
this book I am not sure we considered just how uncertain and ambiguous
the future was. I say this as a reminder that arts education has so much to
offer across wider territories. For example, managing uncertainty—which
is core to studio-based education—is a valued attribute for any student
regardless of the discipline they study.
Clearly there are strong economic arguments for arts education in the
UK—for example, UK’s Creative Industries contribute almost £13 mil-
lion to the UK economy every hour and new statistics tell us that the
Creative Industries are growing more than five times faster than the
national economy (DCMS, 2020). But there is a wider point to be made
that goes to the heart of our humanity—to misquote the famous phrase:
the sciences help us live longer, the arts make us want to live longer.
I want to finish by citing the words of Dr Dori Tunstall who edited a
recent edition of the journal Art, Design and Communication in Higher
Education. Tunstall called for:

Decolonising warriors, sovereignty protectors and transgressive healers to contrib-

ute their bravest expressions as to how global arts education can further become a
site of alternative positionalities, practices and pedagogies. (Tunstall, 2021: 3)
 FOREWORD: ARTS EDUCATION SOCIAL JUSTICE PRAXIS ix

I would argue that this book offers an eloquent and important response
to Tunstall’s call.

York St John University Susan Orr

York, UK

References
British Educational Research Association (BERA). (2018). BERA statement on
close-to-practice research. https://www.bera.ac.uk/publication/bera-­statement-­
on-­close-­to-­practice-­research. Accessed 27 Oct 2021.
Dept for Digital, Culture, Media and Sport (DCMS). (2020). UK’s creative indus-
tries contributes almost £13 million to the UK economy every hour. https://www.
gov.uk/government/news/uks-­creative-­industries-­contributes-­almost-­13-­
million-­to-­the-­uk-­economy-­every-­hour. Accessed 15 Nov 2021.
Orr, S., & Shreeve, A. (2017). Art and design pedagogy in higher education:
Knowledge, values and ambiguity in the creative curriculum. Routledge.
Tunstall, D. (2021). Guest editor introduction. Art Design and Communication
in Higher Education, 20(1), 3.
 Preface

One of the motivations for compiling this book was to recognise the work
educators have done in promoting equity, diversity, and inclusion in arts
higher education. It seems that many higher education institutions are
structured in such a way that access and widening participation work is
often carried out by specialist practitioners working in discrete depart-
ments rather than embedding those practices within subject/discipline
areas. The expertise of access and widening participation practitioners
should be recognised and valued. However, there are also other profes-
sionals who can contribute valuable insights on access and widening par-
ticipation in arts higher education. This book includes the work of
educational leaders and arts academics who address educational social jus-
tice issues in their own practice and research.
Another motivation was the concern that arts curricula nationally and
globally appear to be diminishing. Due to a strategic focus by policy mak-
ers on science and technology, the opportunities for studying the arts may
narrow. The danger is that the arts will be open only to those privileged
students who do not perceive the arts as a risky career path. Arguments
about the value of arts education for individuals, the cultural industries,
and wider society do not seem to be heard by those in power. Students
from under-represented backgrounds who decide to study in higher edu-
cation are faced with a substantial financial cost and do not necessarily
have an economic ‘safety net’ from families to fall back on. So they need
to think carefully about choosing an arts education. Educators should
ensure that students who do choose the arts have a valuable and meaning-
ful learning experience where they feel stretched and included.

xi
xii PREFACE

There are a variety of perspectives represented in the book, from those

in senior management and from teaching and academic support roles. The
range of arts referred to includes music, creative writing, visual arts, litera-
ture, and art history. Close-to-practice research (research that focuses on
issues defined by practitioners as relevant to their practice) underpins
many of the chapters supplemented by participant interview evidence, sta-
tistical data, and case studies.
Much of the research and practice is situated within the United
Kingdom where access and widening participation policies and practices
can vary due to different strategies employed by England and each
devolved nation (Scotland, Northern Ireland, and Wales). However, the
work also inhabits a wider global context where higher education is
increasingly measured in world rankings that do not necessarily value wid-
ening participation and the arts. Access and widening participation in arts
higher education is a complex and challenging area in which to work but
it also gives birth to pioneering outcomes by impassioned practitioners for
the benefit of students.

Leeds Arts University, Leeds, UK Samantha Broadhead

 Acknowledgements

I would like to take this opportunity to thank Paul Whiteley, Christopher

Graham, Henry Gonnet, and Leeds Arts University for the support they
have given me and the chapter authors in writing this book.

xiii
Praise for Access and Widening Participation in Arts
Higher Education

“This is an opportune, thorough, and insightful book that considers access to arts
education from a multitude of perspectives, describing factors influencing access,
participation, and progression into related careers and their intersections. The
wealth of experience of the authors means the finer details of personal, political,
and pedagogical barriers are illuminated alongside an evident passion and care for
arts education that is vital at this moment of threat. A must read for educators,
widening participation practitioners, and those with an interest in seeing the arts
thrive!”
—Emily Towler, Plus Programme Lead Officer, University of Leeds
 Contents

1 Introduction  1
Samantha Broadhead

2 The Global Context for Widening Participation in

Creative Arts Higher Education 23
Laura da Costa

Part I Leadership and Management Perspectives on Widening

Participation in Arts Higher Education  49

3 Disaggregating the Black Student Experience 51

Randall Whittaker and Samantha Broadhead

4 The Other Side: Strategies for Retention of Non-

traditional Students in Higher Education in Further
Education 73
Jill Fernie-Clarke

xvii
xviii Contents

Part II Mature Students and Access Education  93

5 Accessing Art and Design Higher Education: A

Comparative Study of Access Courses Delivered in
Further and Higher Education 95
Samantha Broadhead and Deirdre Macleod

6 Part-Time Mature Students and (the Unexpected Benefits

of) Access to the Arts119
John Butcher and Anactoria Clarke

Part III Dyslexia and Arts Education 141

7 The White Spaces of Dyslexic Difference: An

Intersectional Analysis143
Melanie Davies

8 Deconstructing Writing in Arts Education and Beyond159

Karen Tobias-Green

Part IV Inclusive and Exclusive Arts Languages and

Knowledge 179

9 Music Theory in Higher Education: The Language of

Exclusion?181
Jason Huxtable

10 Planning a Pop-Up Exhibition: Reflections on a Critical

Thinking Club201
Frances Ann Norton

11 Concluding Thoughts225
Samantha Broadhead

Glossary235

Index247
 Notes on Contributors

Samantha Broadhead is Head of Research at Leeds Arts University,

North of England, and researches mature students’ experiences in art and
design education. She serves on the editorial board of the Journal of
Widening Participation and Lifelong Learning and carries out review
work for FACE (Forum for Access and Continuing Education).
Broadhead’s work on access and widening participation has been pub-
lished. Broadhead has co-authored with Professor Maggie Gregson (2018)
Practical Wisdom and Democratic Education: Phronesis, Art and Non-­
traditional Students, Palgrave Macmillan. She also has co-authored with
Rosemarie Davies and Anthony Hudson (2019) Perspectives on Access to
Higher Education: Practice and Research.
John Butcher began his Open University (OU) career as a tutor on three
introductory cross-disciplinary Arts modules, and subsequently trained
mature student English teachers. He has led the OU’s Access Programme
since 2012, since when over 6K students have registered on the Arts and
languages Access module. He has written reports on part-time and mature
learners for the Higher Education Policy Institute (HEPI), Office for Fair
Access (OFFA), and the Higher Education Academy (HEA) now known
as Advance HE.
Anactoria Clarke is a staff tutor at the Open University, working in both
the Departments of English Literature and Access/Open. She is also
Associate Lecturer in English Literature, Classical Studies, and
Interdisciplinary Arts and Humanities. Her research interests span

xix
xx NOTES ON CONTRIBUTORS

Victorian gothic literature, Greek mythology, interdisciplinary studies,

and widening participation in higher education.
Laura da Costa is Access and Participation Development Manager at
Leeds Arts University (LAU), UK, where she works to support equity
across the student lifecycle. Before coming to LAU, da Costa received her
BA in Education and English, MA in Research Methods in Education, and
PhD in Psychology of Education from Durham University and worked at
the Centre for Evaluation and Monitoring. Da Costa was then employed
as a senior researcher for the Bridge Group, conducting quantitative anal-
ysis to promote social equality in schooling, higher education, and the
labour market including for the Sutton Trust, Klynveld, Peat, Marwick
and Goerdeler (KPMG), and Linklaters.
Melanie Davies is Lecturer in Academic Support at Central Saint
Martins, University of the Arts London, UK. She has over 20 years’ expe-
rience teaching within the post-compulsory, visual arts educational sector
and has taught cultural and historical studies at University of the Arts
London since 2010. Her current research takes an intersectional approach
to dyslexic difference in art and design HEIs (Higher Education
Institutions) and explores the ways that this approach can help the devel-
opment of alternative pedagogic strategies in a wider higher educational
context.
Jill Fernie-Clarke was Head of Blackpool School of Arts at Blackpool
and The Fylde College University Centre, UK. Previous roles include
Head of Research at Leeds College of Art and Vice-Principal (Academic)
at the Northern School of Art (formerly Cleveland College of Art and
Design). Her research interests include representations of the low-­Other
and insights into building creative communities of practice.
Jason Huxtable is an educator and performer, active within higher edu-
cation (HE) for over 15 years and across genres. Performance experience
has ranged from major Pop/Rock festivals (Glastonbury), Jazz
(Cheltenham), and Classical (Los Angeles Philharmonic). As an HE prac-
titioner he is interested in the process of student transformation through
application of tenets of critical pedagogy within music curricular. Huxtable
is an Honorary Member of the Royal Birmingham Conservatoire
(HonRBC) for success in the music industry.
 NOTES ON CONTRIBUTORS xxi

Deirdre Macleod previously worked 15 years in public policy develop-

ment and is a Teaching Fellow at the University of Edinburgh, UK, where
she teaches at the Centre for Open Learning. She is a practicing artist hav-
ing exhibited widely and recently in Shenzhen, China, as part of a ‘City of
Edinburgh’ showcase.
Frances Ann Norton is Subjects Leader Postgraduate Studies and Senior
Lecturer in the MA in Creative Practice. She has taught on Access to HE,
undergraduate and postgraduate courses in art and design. Her research
interests explore the use of formal and informal learning pedagogies to
develop student critical thinking.
Karen Tobias-Green is a course leader and Lecturer in Creative Writing
and Research Methods. She is a published fiction writer and poet and has
recently completed her DPhil in Education.
Randall Whittaker is Pro-Vice-Chancellor Academic at Leeds Arts
University, UK, where he has strategic responsibility for academic, inter-
national, and research development. Born in South Africa, he studied
music and his professional career was launched after being awarded the
Charles Brayrs Prestige Scholarship on four separate occasions. He has
extensive experience in the strategic development of specialist creative
institutions. He has a strong interest in higher education policy develop-
ment and frequently writes and delivers talks on the topic.
 List of Tables

Table 9.1 Numbers of universities according to bands in red, amber

and green categories 189
Table 10.1 An adaption (by the author) of Lipman’s (2010) dimensions
of thinking 208
Table 10.2 Number of participants in each data collection category 209

xxiii
 CHAPTER 1

Introduction

Samantha Broadhead

The majority of the book addresses access and widening participation in

arts higher education within the UK, although many of the issues can be
related to the wider global context. The COVID-19 pandemic and the
#BlackLivesMatter movement have intensified the awareness of the persis-
tent inequalities in higher education generally. Although the pandemic has
had a detrimental impact on the professional lives of many creative practi-
tioners as they struggled to maintain their livelihoods, the arts were impor-
tant to people as they lived through national lockdowns (OECD, 2020;
Leung, 2020; Brabin, 2020). Furthermore, Easton (2020) noted that the
pandemic had a negative impact on the creative industries and the pipeline
of talent entering those industries. It was found that opportunities for new
and emerging artists had also diminished. In addition to this education-­
related issues threaten the diversity of arts students, such as cuts in course
funding, increasing tuition fees and student loans, the narrowing of arts
curricula and positive graduate outcomes measured in terms of higher
salaries. The concern is that arts higher education will only be attainable
by those who have the means to pay for it and those who are able to risk

S. Broadhead (*)
Leeds Arts University, Leeds, UK
e-mail: sam.broadhead@leeds-art.ac.uk

© The Author(s), under exclusive license to Springer Nature 1

Switzerland AG 2022
S. Broadhead (ed.), Access and Widening Participation in Arts
Higher Education, The Arts in Higher Education,
https://doi.org/10.1007/978-3-030-97450-3_1
2 S. BROADHEAD

relatively low-paid employment immediately after graduation. Ultimately,

a lack of diversity in arts higher education could impoverish the cultural
and creative industries. This book is timely as it seeks to explore various
critiques of current policies and practices whilst offering examples of inter-
ventions designed to improve arts students’ experiences, access and par-
ticipation in higher education.
The introduction begins with laying out a context for access and widen-
ing participation in arts higher education and then moves into briefly dis-
cussing the contents of the sections and chapters.

Resisting the Notion That Arts Education Is

a Privileged Space

The authors represented in this book share common values and beliefs
about the importance of the arts to society in general. For example, there
should be a diversity of cultures referenced within arts higher education
and opportunities to study these should be inclusive. At the same time the
authors wish to safeguard against the danger that the arts speak only to the
privileged because only the dominant culture’s forms, knowledge and
practices flourish. Having access to and being able to participate in mean-
ingful arts education should be possible for all who wish to pursue their
creative aspirations (InSEA, 2021). A diversity of students, creative prac-
tices, pedagogies and contexts can enrich the arts leading to lively
innovation.
These aims are not easily achieved due to a range of social disadvantages
experienced by some groups and a perception by prospective students and
their families that an arts education can lead to a precarious career
(Elzenbaumer & Giuliani, 2014; Bale et al., 2020). The decision to study
an arts subject at undergraduate level means that students have to think
carefully about financial risk, but also risks to their identities and the atti-
tudes of family and friends. When students successfully enrol onto a for-
mal arts course it could also be argued that the arts curricula they
experience may be too narrow, not reflecting the artistic interests of people
from different social groups (Freedman et al., 2013). Also, sometimes the
pedagogies and assessment strategies employed by courses benefit some
students and disadvantage others thus perpetuating inequality (Broadhead
& Gregson, 2018). Specialist languages related to arts education may also
be exclusionary especially when employed to support particular
 1 INTRODUCTION 3

pedagogies from the ‘art school’ tradition (Broadhead & Gregson, 2018;
Bernstein, 1975).
Educational policy makers are also concerned that a career in the arts is
precarious and not likely to lead to a highly paid career. This is problem-
atic for those wishing to increase access and participation in the arts higher
education. Burke (2002) pointed out that the neoliberal and instrumental
context of higher education strives for increased access for under-­
represented groups because of a possible economic benefit for the indi-
vidual, communities and nation states. The focus on graduate outcomes in
terms of financial success means that engagement in the arts could be seen
as a risk by students and policy makers. The consequence of this is the
rhetoric around arts courses being of low value and quality. These negative
discourses around the arts have culminated in the UK government consid-
ering restricting the numbers of arts students because they may enter
careers that do not pay large enough salaries to pay back their student
loans (Fazackerley, 2021). At the same time the grant funding for creative
arts degree courses in England has been cut (Weale, 2021). Thus, those
students without secure resources such as the required cultural, social and
economic capitals are disadvantaged in accessing arts higher education
where opportunities to study are diminishing.

Valuing the Arts

The arts subjects referred to in this book are those areas of human activity
that relate to creativity, innovation and imagination (Finn & Fancourt,
2018). Davies et al. (2012) define the arts in terms of five main categories:

• performing arts (e.g. activities in the genre of music, dance, theatre,

singing and film);
• visual arts, design and craft (e.g. crafts, design, painting, photogra-
phy, sculpture and textiles);
• literature (e.g. writing, reading and attending literary festivals);
• culture (e.g. going to museums, galleries, art exhibitions, concerts,
the theatre, community events, cultural festivals and fairs) and
• online, digital and electronic arts (e.g. animations, film-making and
computer graphics).
4 S. BROADHEAD

Any definition of the arts can be problematic as new art forms and arts-­
based knowledge are continuously being created, testing, stretching and
breaking disciplinary boundaries (Adajian, 2018).
The arts disciplines addressed include creative writing, visual arts and
popular music.
The primary focus of the content is about the education of arts produc-
ers. However, the arts also involve the imagination and reception of critics,
audiences, consumers and viewers. Nairne expresses the diversity of arts
practices and how important it is for people to have access to the arts:

Culture and art are a lifeblood for people both as individuals and as part of
communities. Whether enjoying a visit to a museum or art gallery, singing
in a choir, listening to extraordinary musicians, reading poetry or relishing
the excitement of street performance, this is a part of what makes life worth-
while. (Nairne in Arts Council, 2013, p. 18)

Higher education has a role in making the arts available to people, through
educating creatives, but also through supporting artistic production that
has an impact beyond academia. There is another role for developing a
critical appreciation of the arts not only as a possible profession but as part
of living a good life (InSEA, 2021). Graduates who decide to work in the
cultural industries will find inequalities in terms of gender, age, race, class
and disability that pervade the sector (Banks, 2017; Burger & Easton,
2020). A lack of diversity in the creative professions that are well paid and
of high status is not something that can be easily addressed; however,
attending to the homogeneity of successful arts graduates would be an
important step forward.

Secondary Schools and Arts Curriculum

One of the reasons that access and widening participation to arts higher
education is of concern is because the opportunities for young people to
study creative subjects at school are diminishing. Thus, the pipeline of
potential students entering colleges and universities with arts qualifica-
tions commonly achieved in secondary education such as General
Certificates of Education (GCSE) (level 2) and A-levels (level 3) (in
England, Northern Ireland and Wales level 3 qualifications are the prereq-
uisite for degree study). This is due to educational policies that seem to
devalue the arts while promoting science, technology, engineering and
 1 INTRODUCTION 5

mathematics (STEM) subjects (Payne & Hall, 2018; Furniss et al. 2020).
Policy directions such as accountability measures, funding cuts, curricu-
lum narrowing and the erosion of the arts teaching profession have
impacted the numbers of students studying subjects like music and the
visual arts (Bath et al., 2020; Clarke & McLellan, 2021). The introduc-
tion in 2011 of the English baccalaureate certificate (EBacc) has been
detrimental to the arts (Thomson et al., 2020; Bath et al., 2020; Fautley,
2019; Johnes, 2017; Neumann et al., 2016). This is because, “both stu-
dents and schools are assessed by examination in given subjects, this
standards-­based model contributes to an imbalance in the status of differ-
ent curricular subjects” (Lilliedahl, 2021, p. 2). Lilliedahl (2021) claims
that the arts are not perceived as being core subjects such as mathematics
and English.
Lilliedahl (2021) also argues that the decline in arts education is a
transnational phenomenon, citing, “in the US, both the 2001 No Child
Left Behind Act (NCLB) and the 2009 Race to the Top (RTTT) legisla-
tion have had a negative impact on the relative status of the arts” (p. 2).
Neumann et al. (2020) suggest that young people are guided or nudged
towards choosing subjects that are considered valuable educational knowl-
edge policy makers such as science and away from courses such as the arts
that are deemed not as important in filling skills gaps or progressing to
professional and managerial careers. In addition to these policy issues
there are also social and cultural reasons why some groups of students are
less likely to choose arts subjects during their secondary education
(Thomson et al., 2020; UKADIA, 2021).
The narrowing of the talent pool has been identified by United
Kingdom Arts and Design Institutions Association (UKADIA)’s (2021)
research on the take up of creative GCSEs and A-levels. It has found that
the most advantaged in society are most likely to hold an arts qualification
at level 3 and therefore eligible to study in higher education. They are
more likely to apply to take a degree-level qualification in the creative arts.
Conversely, students from disadvantaged backgrounds are less likely to
hold more than one arts qualification and are also far less likely to apply to
do an arts degree.
6 S. BROADHEAD

Further Education in the UK

Many of the authors in this book also recognise the valuable role further
education (FE) plays in access and widening participation, which is also
noted by Raven (2021) and UKADIA (2021). After secondary education
students can either apply directly to university or enter FE.
FE is sometimes referred to as the further vocational education sector
and has similar functions to the community colleges in North America
(Shattock & Hunt, 2021). FE students may not have gained the qualifica-
tions at school needed to go directly into higher education, so they study
level 3 courses to progress into higher education or, alternatively, they may
pursue a vocational career that does not necessarily require a university
education (Raven, 2021; ETF, 2021). The FE sector also delivers profes-
sional- or work-based learning options, such as advanced apprenticeships
(Norris & Francis, 2014; Hupkau & Ventura, 2017; ETF, 2021).
Further education serves arts students in particular ways that slightly
differ from other subject areas. Those who have gained A-levels sometimes
decide to study a Pre-BA (degree) Foundation course. This type of provi-
sion is described as diagnostic because students learn generic arts knowl-
edge and then specialise in a particular area (such as fine art, graphics,
ceramics) that suits their interests and aptitudes (Robins, 2005; Hudson,
2009; Broadhead & Garland, 2012). For many years the one-year Pre-BA
Foundation course was an established route into art and design education.
However, these kinds of courses are declining as higher education institu-
tions (HEIs) are tending to take students straight on to degree courses
with A-levels (Vaughan & Yorke, 2009). UKADIA (2021) were con-
cerned about the decline in art and design foundations courses and were
sceptical that schools and colleges would continue to prepare students well
for a creative education.
For those without A-levels and who have been out of education for
some years FE provides Access to HE courses in art and design; these are
designed for older learners (Burke, 2002; Hudson, 2009; Broadhead &
Gregson, 2018). There are also two-year extended diplomas aimed at
young people that provide a bridge between school and university. They
offer students who have an interest in the visual arts the chance to explore
and develop their creativity (UAL, 2021).
Some further education colleges offer degree programmes alongside
their level 3 provision that are validated by partner universities. This is
described as ‘higher education in further education’ (HE in FE) and is
 1 INTRODUCTION 7

recognised as providing education to under-represented students in higher

education (HEFCE, 2014; Avis & Orr, 2016). Jones (2020) observed
that whilst there is no formal hierarchy of HEIs and colleges in the UK,
informally based on reputation HE in FE provision tends to be ranked
lower than a traditional university.
Shattock and Hunt (2021) point out that in England and Northern
Ireland there is a dual system in place where higher education and further
education operate as two distinct sectors with different regulative account-
abilities. Wales has adopted a tertiary system of education and Scotland is
moving towards policy integration rather than separating the FE and HE
sectors.

Access and Widening Participation Regulation

in the UK

The international and national higher education landscape has trans-

formed through diversification and massification (Burke, 2013). Within
Europe, there is a recognition that mass higher education plays an impor-
tant role in providing highly skilled labour appropriate for a growing,
competitive and dynamic knowledge-based economy (Field et al., 2010).
Developing an access and widening participation agenda for higher educa-
tion is a means of developing and maintaining economic and social stabil-
ity. Burke (2002) described a shift during the late twentieth century from
policies that focused on Access education to those that promoted dis-
courses about widening participation. This difference in focus was sig-
nalled in the UK in 1994 with the formation of the Widening Participation
Committee set up by the Further Education Funding Council in 1994
and chaired by Helena Kennedy QC (‘Funding the Relationship: Report
on the Relationship between Higher Education and Further Education’;
HEFC, 1995). Under-represented social groups should not only have
access to higher education but they should be able to engage and suc-
ceed in it.
In recent years there have been higher education regulatory and policy
shifts that have advocated widening participation outreach interventions
with individuals from disadvantaged and under-represented backgrounds.
An example is the merger of the Office for Fair Access (OFFA) and the
Higher Education Funding Council England (HEFCE) to become the
Office for Students (OfS), the regulatory body for higher education. On
8 S. BROADHEAD

the formation of the OfS, a national collaborative outreach programme

(NCOP) was created that later became ‘UniConnect’. This is a national
structure of 29 collaborative partnerships of higher education providers
across England who are tasked with targeting areas that are identified as
‘cold spots and corridors’ of participation in higher education and indi-
viduals who are under-represented in higher education.
In the England through the direction of the OfS, HEIs who wish to
charge higher fees are encouraged to implement strategic measures that
improve the access, retention and success of students from under-­
represented social groups through their Access and Participation Plans.
The OfS considers under-represented groups of potential or current HE
students who share particular characteristics and where data shows gaps in
equal opportunities in relation to access, success and/or progression:

• students from geographical areas where participation in higher edu-

cation is low
• students from a household with low income
• students from areas where there are high levels of deprivation, or
from low-socioeconomic status backgrounds—this can relate to
income, education and occupation and is not based on the idea of
‘social class’
• some black, Asian and minority ethnic (BAME) students
• mature students (those over the age of 21 when they enter higher
education)
• disabled students (those who have declared at least one disability)
• care leavers (young people who have been ‘looked after’ for at least
13 weeks by a local authority at some point since they were 14 years
old, and were in care on or after their sixteenth birthday).
• carers
• people estranged from their families
• people from Gypsy, Roma and Traveller communities
• refugees
• children from military families. (OfS, 2021)

HEIs are also required to design evaluation processes in order to see if

their widening participation initiatives are effective. WP practitioners and
educators are working in contexts where there are tensions. These are
between educational systems that position the individual as responsible for
contributing towards the costs of their education (through parental
 1 INTRODUCTION 9

support and student loans) and the regulatory drive towards equality of
opportunity.
Language plays an important role in how inequalities are thought
about. Some of the terminologies used by regulating bodies that influence
how institutions and educators talk and think about social justice issues
have been contested. For example, the OfS may ask for ‘attainment’ data
which is information about degree outcomes for students. In 2019–20,
there was a difference of 18.3 percentage points between the proportion
of white and black students getting a first or upper-second degree classifi-
cation (OfS, 2021). It has been argued that ‘attainment’ implies a fault or
deficit in the students when the disparity is due to structural racism
(Jankowski, 2020). Therefore ‘award’ or awarding gap is preferred by
widening participation practitioners and researchers.

Widening Participation in Arts Higher Education

The arts can be studied in a variety of UK HEIs in addition to the ‘HE in
FE’ model previously mentioned. Many universities including ‘post-92’
deliver arts courses (CHEAD, 2021). Some of the highly regarded ‘Russell
group’ universities have a history of teaching the more theory-based arts
courses such as art history or literature. There are small specialist institu-
tions that focus on a particular art form, such as music in conservatoires or
the visual arts in arts universities/art schools or moving image in film
schools. There are also arts courses taught in large multi-faculty universi-
ties; confusingly sometimes these department are referred to as art schools
even though they are actually part of a larger institution.
The arts providers have the same requirements to widen access and
participation as the broader higher education sector. There are organisa-
tions such as the Council for Higher Education in Art and Design
(CHEAD) and United Kingdom Arts and Design Institutions Association
(UKADIA) that support leadership, research and practice in developing
inclusive arts higher education. However, many HEIs have specialist access
and widening participation teams that plan and carry out research projects.
Widening participation teams sometimes collaborate with arts practi-
tioners to deliver projects with schools and community groups to encour-
age people from under-represented groups to consider undergraduate
study and the arts as a potential career. Pratt and Wadkin (2019) describe
such a project where they contributed to the Crafts Council’s (2021)
‘Make Your Future’ initiative that connected schools, art teachers, makers
10 S. BROADHEAD

and higher education institutes, with the aim of promoting craft and mak-
ing to the next generation. They introduced school children to textiles’
skills and materials they would not have gained in a school curriculum; the
textile work that was generated was then exhibited in an arts university
(Wadkin & Pratt, 2018).
These programmes are working to close participation gaps; however,
non-continuation and awarding gaps in art higher education need to be
addressed by interventions that are realised within institutions, depart-
ments, disciplines and courses.

Section Overview
The main body of this book is divided into five parts, comprising two
introductory and contextual chapters followed by four sections The con-
tent refers to some of the areas of concern noted by the OfS where black
students, adult learners/mature students and those with disabilities are
not well served by higher education. Much of the work that underpins the
book can be described as close-to-practice research which was defined by
BERA (2018) as research that “focusses on issues defined by practitioners
as relevant to their practice, and involves collaboration between people
whose main expertise is research, practice, or both”. The contributors may
have various concurrent roles such as educator, researcher, creative practi-
tioner, widening participation manager or senior leader.
The first section discusses the global context in which access and widening
participation work operates and how the arts are positioned within this con-
text. The second part considers critically leadership and management
approaches to addressing gaps in participation, non-continuation and
achievement. Various approaches to Access education that are situated inter-
nally and externally to universities are evaluated in part three. Supporting arts
students with dyslexia is explored in part four. The final part examines the
work of educators who argue that arts knowledge and language have exclu-
sionary and inclusionary influences on students from diverse backgrounds.

Global Context
The focus of this book is on arts higher education within the UK which is
informed by the different policies and approaches adopted by England
and the devolved nations (Northern Ireland, Wales and Scotland).
However, access and widening participation in creative arts higher
 1 INTRODUCTION 11

education has international, national and localised manifestations. In

Chap. 2, da Costa explores the global context of widening participation
and the influence of neoliberalism. Da Costa argues that from a global
perspective, access and widening participation in higher education gener-
ally has been seen to raise economic prosperity of nations by supplying a
competitive workforce with high-level skills and knowledge. The neolib-
eral paradigm conceives higher education as benefiting the individual and
contributing to their personal prosperity while simultaneously benefitting
the national economy. Therefore, global policies are directed towards wid-
ening participation in particular ways.
By drawing upon a range of global examples da Costa shows how mea-
sures taken to widen participation have increasingly focused on individuals
and their responsibility for funding their own education as customers and
at the same time positioned as having choice and opportunity. As custom-
ers need to make informed choices, world rankings of universities have
become a significant driver in higher education and also a mechanism of
perpetuating elitism. Da Costa reflects on the implications for those stu-
dents who do not attend leading universities or study subjects not per-
ceived as contributing to economic growth, such as the creative arts.
Students’ global mobility has strengthened the case for harmonisation of
higher education systems yet priorities and policies regarding widening
participation largely remain tied to national and localised considerations,
with slowly growing efforts towards international analysis.

Leadership and Management Perspectives

on Widening Participation in Arts Higher Education

The #BlackLivesMatter movement continues to create momentum in

demanding change within all nations where white privilege and structural
racism prevails. Within the context of widening participation in the UK
there has been a renewed spotlight on those educational leaders who have
continuously failed to address gaps in participation, non-continuation and
awarding between black and white students. In Chap. 3 Whittaker in con-
versation with Broadhead explores widening participation in the arts from
a leadership perspective while addressing structural racism within arts
higher education institutions. Whittaker laments that after years of research
and policy drives there has been a lack of progress in making structural
changes to address racial injustices in UK higher education. Whittaker
12 S. BROADHEAD

demonstrates how the broad ‘BAME’ category (a means of classifying

people from different races and ethnicities habitually applied in UK HEIs)
masks the experience of black students. Whittaker argues that disaggregat-
ing ethnicity data will improve transparency and allow for targeted and
systemic interventions to improve access and outcomes for black students.
Recommendations are proposed for effective and strong leadership to
improve the black student experience.
Fernie-Clarke draws upon many years’ experience in leadership and
management roles to examine strategies employed by members of staff
working to deliver HE in FE ‘art school’ contexts. Specifically, the meth-
ods at an institutional level to retain cohorts of predominantly non-­
traditional students and those from socially and economically deprived
backgrounds enrolled on higher education programmes in art and design
are considered. Potentially, retention strategies can be employed through-
out the learning journey of the ‘widening participation’ (WP) student
from initial enquiry through to graduation.
Chapter 4 describes examples of support offered to these undergradu-
ates during their studies. Analysis is based on qualitative and quantitative
data collected in relation to the impact of strategies and techniques
employed by individuals, and also those introduced and deployed at an
institutional level. In some institutional contexts the introduction of a
member of staff with a specific remit for improving retention and aiding
progression between levels is examined and reflected upon. Changing
policy contexts and the impact of the measures used in the Teaching
Excellence Framework (TEF) upon the approaches taken to improve
retention are also considered along with the potential impact of institu-
tional pressures to recruit.
Whilst raw data on retention and achievement can be used to demon-
strate the success of some retention strategies, Fernie-Clarke’s intention is
to reflect upon the complexities of the HE in FE climate in which non-­
traditional and WP students are being supported to achieve.

Mature Students and Access Education

Two chapters then consider different types of Access education as widen-
ing participation strategies into increasing the diversity of students in arts
higher education.
Firstly, in Chap. 5, Broadhead and Macleod compare two routes into
art and design higher education that have evolved to enable mature
 1 INTRODUCTION 13

learners to progress onto their chosen course of study without the entry
requirements of A-levels or, in Scotland, Higher and Advanced Higher
qualifications. They first consider those Access courses delivered in further
education which are referred to as Access to HE Diplomas (AHEDs). As
a level 3 credit-based qualification for students wishing to go to university,
the AHED makes the intended aim of progression explicit in its title. The
various AHEDs are specialised, for example law, medical sciences, educa-
tion and social sciences, but they do share a generic modular structure and
centralised regulation. This study considers the effectiveness of AHED
(art and design).
Broadhead and Macleod then describe a second approach that is prac-
ticed by those Access programmes delivered in higher education institu-
tions (HEIs). These bespoke and localised university programmes share a
number of common features. They are situated within individual HEIs
and facilitate internal progression to their own undergraduate degrees.
They build on the students’ life experiences in order to develop study skills
and preparedness for study but do not necessarily have the level of speciali-
sation that AHEDs have (Hudson, 2019).
These two forms of Access provision are compared and evaluated; one
is nationally recognised and delivered in English further education col-
leges. The other is a bespoke course tailored to meet the needs of an indi-
vidual university. A case study of Access in a prestigious Scottish university
is employed to compare with the English AHED.
Secondly, another manifestation of Access provision, offered by the
Open University, is considered. Butcher and Clarke point out that despite
the plethora of research on widening participation to higher education in
the UK over the last 20 years, access to the arts has remained relatively
under-explored. This ‘absence’ of the arts from national and sector dis-
course is compounded in relation to adult learners and those requiring
flexible routes into higher education.
Butcher and Clarke (Chap. 6) explore the challenges faced by a group
of part-time mature students, a group increasingly disappearing from uni-
versity study, whose needs are rarely mentioned in institutional Access and
Participation Plans and are virtually invisible in widening participation
policy at a national level. Yet there is increasing evidence, particularly in
the times of COVID-19 bringing redundancy, re-evaluation of life and
career opportunities and more online tuition at campus-based universities,
that students are still electing to study the arts and are doing so in increas-
ing numbers and across all age groups.
14 S. BROADHEAD

Butcher and Clarke report on a case study investigating the impact of

an arts and languages Access module at the UK Open University. This
30-credit module (one credit represents a notional 10 hours of learning)
has registered 6 K part-time distance learners since 2013 and offers stu-
dents a preparatory cross-disciplinary course introducing three substantive
disciplines (literature, art history and history).
Drawing on the literature, Butcher and Clarke identify three key themes
to contextualise their study. The transition challenges for adult learners
identified in Reay et al. (2002) and the limited (‘Hobson’s’) choices avail-
able to adults explored in Butcher and Rose-Adams (2015) inform their
initial call for participants. The tension between institutions offering study
skills to students from under-represented backgrounds (Boughey, 2002)
and the need for institutions to adjust their pedagogic practice (rather
than ‘bend’ student (Zemits & Hodson, 2016) lead Butcher and Clarke
to investigate how best to support adult learners in the arts. A critical
engagement with the literature on inclusive assessment (Butcher et al.,
2017; Wilson et al., 2016) enables them to align intentions of the peda-
gogic design with student perceptions.

Dyslexia and Arts Education

Dyslexia within arts higher education is addressed by two researchers.
There is evidence that there are a high proportion of dyslexic students in
art schools (Wolff & Lundberg, 2002). Davies looks at the wider context
of dyslexia support and argues that black dyslexic students are not repre-
sented within institutional contexts that offer assistance. Tobias-Green
provides a keenly focused analysis of a creative writing intervention with a
dyslexic art student.
Davies, in Chap. 7, recognises (as did Whittaker) the unacceptable
nature of the ongoing awarding gap between home black and home white
students in UK universities (including art and design ones). Davies con-
siders the ‘intersection’ between home black student experience/attainment
and higher education dyslexia policy and practice. Crenshaw (1990) was
the first theorist to use the term ‘intersectional’ in order to articulate her
understanding of black women’s experiences of both racism and sexism.
She argued that women of colour tend to be excluded from both anti-­
racist and feminist discourses and that the marginalisation of their voices
increased significantly because of this. Applying Crenshaw’s approach to
race and disability, this chapter considers the extent to which black art and
 1 INTRODUCTION 15

design students are excluded from dyslexia discourse and therefore the
additional support provided for dyslexic learners via the disabled students
allowance (DSA). Davies takes a critical look at Intelligence Quotient (IQ)
testing in relation to dyslexia assessment and conducts a textual analysis of
dyslexia support charities in order to argue that dyslexia support is repre-
sented as a mainly white space.
In Chap. 8 Tobias-Green interrogates writing in some of its many man-
ifestations, notably writing as an academic, assessed and measurable out-
come, and writing as a form of fluid and imaginative communication.
Tobias-Green questions dyslexia both as a fixed and medicalised model
and as a social model. She problematises dyslexia more widely than simply
as definitions and causes by looking at its constructions and its effects and
its shifting relationship to the lives of writers with dyslexia in an arts insti-
tution and—more broadly—to others who seek to forge a writing life.
Tobias-Green employs a post-humanist ‘thinking with theory’ approach
and acknowledges the critical disability perspective, both of which open up
the relevance of her radical pedagogy to under-represented groups and to
those who might be regarded as mainstream.
Tobias-Green disrupts ideas around both institutional power and con-
structs of the art institution and examines how these relationships interact
with and create each other. The ways in which Tobias-Green actively uses
ideas relating to place, space and materials and theories can be transported
to many institutions, amongst policy makers and educators as well as
individuals.

Inclusive and Exclusive Arts Languages

and Knowledge

The final section of the book comprises the work of two authors who con-
sider both the exclusionary and potentially inclusive aspects of specialist
arts languages and knowledge.
Huxtable, as part of Chap. 9, explores the barriers to accessing a music
education. The analysis of entry requirements for undergraduate educa-
tion music courses reveals a demand for high-level music theory skills and
instrumental grade attainment relating to theoretical understanding of
score notation. Huxtable argues that modes of institutional capital relating
to theoretical music skills represent an exclusive and excluding form of
implicit discrimination (Daubney et al., 2019). These conspire to create
16 S. BROADHEAD

unrepresentative populations within higher education music programmes

and onwards into the music profession.
Huxtable proposes that music theory requirements result in severe
marginalisation of aspirant young musicians who do not ‘speak’ the ‘cor-
rect’ language, as defined by institutional and professional gatekeepers.
The socio-economic culture of music education becomes fixed in elitism.
The intersectionality between race and class exists to compound the
elitism of modes of musical language, further ensuring ‘what music is’ is
decided by those privileged groups who dominate and control music edu-
cation. Huxtable concludes with suggestions of what music departments
can do to widen access and participation, moving towards a broader defi-
nition of musical literacy and the theoretical tools applied to a more diverse
range of musical objects. A linguistic, socio-economic decolonisation of
curriculum is called for.
Chapter 10 reflects on an intervention that aims to develop critical
thinking in a group of diverse creative arts learners. Norton noticed that
her learners struggled with some of the higher-level skills in their course.
Shor (1993) argued that some adult learners are stifled from thinking criti-
cally by the societal norms of class and context. Norton argues that life-
long learners can become confident critical thinkers who are able to
understand and apply complex theories and concepts to creative projects
(both practically and theoretically) through careful scaffolding by the edu-
cator. This qualitative research employs Barthes’ post-structural theory of
decentring alongside narrative inquiry to discuss a critical thinking club.
Using a key text from Matthew Lipman (2010), the club’s participants put
into action his thinking dimensions framework as a way of working through
the knotty theoretical and ethical issues that arise when making artwork
for a pop-up exhibition.
Concluding thoughts are drawn together at the end of the book in
Chap. 11. The chapters come from a range of perspectives, disciplines and
practices. However, there are some common themes that are reiterated by
the chapter writers. Although many of the contributors are critical of the
neoliberal paradigm which drives current educational policy because it
does not serve the arts subject well, they do also offer strategies and inter-
ventions. It is hoped that the examples of arts leadership, management
and teaching under discussion provide suggestions that can be adopted
and modified by others for improving access and widening participation in
arts disciplines.
 1 INTRODUCTION 17

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 CHAPTER 2

The Global Context for Widening

Participation in Creative Arts Higher
Education

Laura da Costa

Introduction
Widening participation in higher education has international, national,
and localised manifestations. It is enshrined in the United Nations
Sustainable Development Goals, with the aim that by 2030, “all women
and men have equal access to high quality, affordable technical, vocational
and tertiary education, including university” (United Nations, n.d.).
This chapter explores the global context of widening participation in
creative arts higher education through the policy model of neoliberalism.
From a global perspective, widening participation in higher education
more generally has been linked to economic prosperity by supplying a
workforce with high-level skills and knowledge. The neoliberal paradigm
conceptualises higher education as benefiting the individual, contributing

L. da Costa (*)
Leeds Arts University, Leeds, UK
e-mail: laura.dacosta@leeds-art.ac.uk

© The Author(s), under exclusive license to Springer Nature 23

Switzerland AG 2022
S. Broadhead (ed.), Access and Widening Participation in Arts
Higher Education, The Arts in Higher Education,
https://doi.org/10.1007/978-3-030-97450-3_2
24 L. DA COSTA

to their personal prosperity while the individual’s labour benefits the

national economy. Therefore, policies are directed towards widening par-
ticipation in particular ways.
Firstly, individuals have become increasingly responsible for funding
their education. Individuals have been transformed into higher education
customers who are positioned as having choice and opportunity. This con-
structs those individuals who do not participate as problematic in a deficit
model of disadvantage. Measures to widen participation have accordingly
focussed on individuals, finance, and encouraging success and aspiration
to a higher education which may not afford similar labour market benefits
to creative arts graduates as other graduates.
Secondly, as students need to make informed choices as customers,
world rankings of universities have become a significant driver in the
higher educational field. Atherton (2018) claims that disadvantage is actu-
ally perpetuated by a global higher education system that is focused on
rankings that foster inequality and celebrate elitism. Higher education is
becoming further stratified through a network of university and non-­
university institutions. When institutions are rated as being world, second
or third class, what implications does this have for students who do not
attend elite universities and study subjects that are perceived as contribut-
ing less to economic growth such as the creative arts?
Thirdly, as students become globally mobile there is a case for national
educational systems becoming similar. The harmonisation of higher edu-
cation systems can be seen in initiatives such as the Bologna Process that
has promoted national qualification frameworks and a European Credit
Transfer system that facilitates increased student mobility. Similar schemes
include the Southeast Asian Ministers of Education Organisation’s Regional
Centre for Higher Education and Development’s creation of a Southeast
Asian higher education space.
In spite of moves towards harmonisation, data on widening participa-
tion interventions is difficult to analyse on a global scale. Different coun-
tries collect different kinds of data and have different priorities, making it
difficult to harmonise widening participation approaches. For example,
South Africa has made gains in the participation of women in higher edu-
cation driven by policies that recognise their importance in economic
regeneration (Eynon, 2017), whereas in the United Kingdom widening
participation is focussed on a range of under-represented groups such as
those from lower socio-economic backgrounds. This chapter explores
these issues and how they relate to the other themes in the book.
 2 THE GLOBAL CONTEXT FOR WIDENING PARTICIPATION IN CREATIVE… 25

Widening Participation in Higher Education

Across the world, global demand for higher education continues to grow.
In this era of “massification”, where nations move towards 50 per cent of
their population accessing higher education (Trow, 1973), Calderon
(2018) estimates that the total number of students in higher education
will reach more than half a billion by 2040, up from 32.6 million in 1970
(UNESCO Institute of Statistics, 2014). Personal benefits of higher edu-
cation participation can include better physical and social-psychological
health (Zajacova & Lawrence, 2018), greater participation in cultural and
sporting events, volunteering, civic participation (OECD, 2019), higher
earnings premiums and faster increases in earnings over time, and a greater
likelihood of being and remaining employed (OECD, 2020). Public ben-
efits that are direct rather than indirect or delayed, and can be quantified
and measured, can include higher-income tax revenues and social contri-
butions and increased productivity (OECD, 2020). Although more diffi-
cult to measure benefits can also include increases in longevity and public
health, child development, political stability, democratisation and human
rights, lower costs associated with the criminal justice system, reduction in
poverty, indirect environmental influences, and advances in technology
(McMahon, 2015).
Access to, and success in, higher education remains unequitable glob-
ally, with a range of barriers affecting participation for social groups on the
basis of socio-economic background, gender, ethnicity, disability, religion,
indigeneity, geography, age, refugee status, language, and other factors.
For example, UNESCO (2016) figures indicate that across 76 mainly low-­
income countries, only 1 per cent of the poorest 25–29-year-olds had
completed at least four years of higher education versus 20 per cent of the
richest. In their review of global equity data regarding higher education,
Atherton, Dumangane and Whitty (2016, pp. 22–23) highlight gender
disparity in higher education access across 172 out of 179 countries
according to the UNESCO Gender Parity Index, as well as considerably
higher chances of higher education participation if a parent has completed
higher education across the 23 Organisation for Economic Co-operation
and Development (OECD) countries, 31 European countries, 9 countries
in Southeast Asia, and in Ghana. They also highlight the important inter-
sections of multiple factors on unequal higher education participation,
such as socio-economic background and inhabiting a rural geography in
China and these factors combined with gender in India.
26 L. DA COSTA

Efforts to address these inequalities have focused on engendering

greater participation from students who have traditionally been under-­
represented in higher education, such as those from lower socio-economic
groups, and are often referred to as widening participation measures. As
Salmi (2018) notes, these approaches represent the important first step;
while the proportions of different groups participating in higher educa-
tion may equalise over time, for example, reaching gender parity in partici-
pation overall, there may still be important differences in retention and
success while in higher education and progression into employment or
further study following the culmination of higher education study. While
these are also key areas for support measures to promote equity, Salmi’s
(2018) survey of equity policies across 71 countries indicates that many
countries continue to espouse a traditional focus on access barriers rather
than success measures. In focusing on the global context of widening par-
ticipation in creative arts higher education, this chapter therefore predom-
inantly focuses on measures to support entry rather than retention and
success.

Neoliberalism and Access to Higher Education

Despite the personally and socially transformative potential of higher edu-
cation participation, global intergovernmental discourses increasingly pri-
oritise its economic contributions. Within global education policy, Vargas
(2017, p. 5) locates the replacement of the term “education” by “learn-
ing” in a political discursive shift from the social democratic tradition to
neoliberalism, transferring responsibility from the state to provide educa-
tion towards the market and the individual. Rationales regarding the civic
role of education, its power to enhance social cohesion and provide wider
cultural enrichment are entertained to the extent that they promote wider
economic benefit.
In part, this is aligned with the difficulty of measuring the public ben-
efit and externalities of higher education when compared to monetary
benefits and has accompanied policy moves towards reducing public
higher education funding (McMahon, 2015). At the global policy level,
Vargas (2017, p. 3) highlights the role of human capital theory (Schultz,
1961; Becker, 1962) in transforming the view of education into an eco-
nomic investment both for individuals in terms of increased income and
social mobility, and for the state as economic growth within a globalised
 2 THE GLOBAL CONTEXT FOR WIDENING PARTICIPATION IN CREATIVE… 27

context of international economic competition and the knowledge econ-

omy and its requirements for an adaptable workforce.
This link between participation in higher education and the knowledge
economy, including regarding higher education as leading to more and
better-paying jobs and fuelling economic growth, relays a number of con-
flicts including but not limited to geographical variation in national avail-
ability of graduate roles and the hierarchy of value granted to progression
into professional services roles such as in banking, accountancy, and law
versus community-focused or creative arts roles. These conflicts invoke
wider issues such as the interplay between remuneration and societal value
of roles and varying definitions of success (Ashley, 2021).
While nations may commit high levels of public expenditure to higher
education albeit based on the rationale of consequent economic growth
(cf. OECD, 2020; Mallick et al., 2016), there is increasing cost-sharing
with individuals and families. This shift is reliant on the individual to strive
to further their education for their personal benefit, to exercise choice,
and to enact the educational transaction. The role of widening participa-
tion activity thus entails supporting equality of opportunity such that the
individual aspires to higher education, can make informed choices, and
can navigate access and finances associated with higher education.
As it is assumed the individual will ultimately personally benefit from
higher education in the form of improved job prospects, it has increasingly
become the responsibility of the individual to finance participation in
order to reap the deferred personal benefits. Individuals who do not or
cannot participate are construed as problematic; their economic prospects
an outcome of their own limited aspiration and choice not to participate
rather than of any systemic construction. As such, a conflict arises between
social justice concerns around widening participation in higher education
and the neoliberal context. As Donnelly and Evans (2019, p. 101) sug-
gest, neoliberalism with its focus on equality of opportunity “accepts
inequality (indeed, may even actively endorse it; Giddens, 1998) on the
grounds that unequal outcomes are the just and fair consequence of indi-
vidual effort and hard work”.
The creative arts represent an area of significant employment growth
within the knowledge economies of post-industrialised nations (Allen
et al., 2013, p. 431), and are less at risk from automation (Bakshi et al.,
2015). Writing from the UK context, there is a lack of diversity within the
creative industries (Creative and Cultural Skills, 2017), with research on
socio-economic diversity indicating that only 16 per cent of those in
Another random document with
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daytime, and kill and carry away as many persons as it possibly can.
More frequently, however, a midnight attack is organised. When the
enemy are supposed to feel themselves tolerably secure, a vigorous
attempt is made to crush them altogether. Some dark night the
inhabitants of the doomed village suddenly awake to find themselves
surrounded by armed men who have scaled their walls, and set fire to
their houses by throwing in among them a number of blazing stink-
pots, which also confuse by their fumes and smoke. Then rise to
heaven the yell of fury and the shriek of despair. Quickly the fighting-
men seize their spears and gingalls, but, distracted by the surprise
and by their blazing houses, they are soon shot, pinned down with
those terrible three-pronged spears, or driven back into the flames.
Little or no mercy is granted to them. Terrified women seek to
strangle their children, and themselves commit suicide; but as many
of these as possible are saved, in order that they may become
servants to the victors. Where the golden evening saw a comfortable
village and happy families, the grey dawn beholds desolation and
ashes, charred rafters and blackened corpses.
It may be asked whether the Government exercises no control over
these local feuds; but in those districts where they exist the
mandarins rarely interfere, except by way of mediation and advice.
Their power is not so great that they can afford to do more; and,
besides, it is not in accordance with Chinese ideas that they should
do so. Notwithstanding its nominally despotic form of government,
China is really one of the most self-governing countries in the world.
Each family, village, district, and province is to a very great extent
expected to regulate or “harmonise” itself. In order to this end, great
powers are allowed within these limits. The father, or the head of a
family, can inflict most serious and even very cruel punishments on
its members, without his neighbours thinking they have any right to
interfere with him; and, on the other hand, he is held responsible for
the misdeeds of his children, and when these have offended against
public justice, and are not to be got hold of, he often suffers
vicariously in their place. In like manner, villages are allowed great
power in the settling of their internal affairs through their elders.
Within certain wide limits the district is left to preserve its own
peace, without troubling the higher authorities of the province; and if
it choose to indulge in the expensive luxury of clan-fights, why that is
its own loss. The mandarin of Nam-taw, the capital of the district,
had told both the Ma-hum and Schan-tsun people that they were
very foolish to go on fighting as they were doing, and he had ordered
the latter, as the aggressors, to desist, but there his interference
ended: there ought to be virtue enough in the district to put down
such a state of matters, but there was not; and by late news from
China it appears that the warlike inhabitants of Schan-tsun have
been continuing and flourishing in their career of violence; for about
a couple of months ago their “young people”—the frolicsome portion
of the population—made a night-attack upon the neighbouring
village of Sun-tsan, sacked every house, carried off provisions,
destroyed the whole place except the temple, and killed at random
men, women, and children to the number of 150, no less than 75 of
the latter having been destroyed. It is, in fact, this local weakness of
the Government which causes the rebellions that devastate the
country. A gentleman thoroughly acquainted with the language,
writing to me by last mail from the centre of China, truly remarks on
this subject: “The causes of the rebellion are, so far as I can see, the
overpopulation of the country, the inefficiency of the mandarins, and
the indifference of the people. The Chinese enjoy an amount of
freedom and self-government which, I suppose, is nowhere
surpassed, if equalled; and their social system, which is the result of
so many centuries’ experience of what human life is, is sufficient to
meet most of their requirements. But it is not sufficient to suppress
the uprising of the dangerous classes. To do this the power of the
country must be organised into some sort of shape, and then wielded
with energy and honesty. Unfortunately, the present mandarins
neither have the one nor the other. But the beginning of great
changes in China is at hand. I am convinced that any attempt at
foreign interference in the civil government of the provinces would
do great mischief.”
It will illustrate the sort of democratic feeling which prevails in
China, to mention that the elder with whom I stayed had Aheung and
my stranger chair-coolies as well as myself to sit down at dinner with
him in the evening. The extreme politeness of the Chinese prevents
this being disagreeable, and I never saw the commonest coolie either
inclined to presume upon such contact, or particularly pleased by it.
The German and the Catholic missionaries have their meals in this
way when travelling, and I found it, upon trial, to be much the best.
In its then condition the resources of Ma-hum were limited, and the
house we were in was a mere hovel of sun-dried bricks; but our host
produced at dinner fresh and salt fish, pork and turnip soup, boiled
pork and salted eggs, fine pork and small white roots like potatoes,
with cabbage, bean-paste, and rice, apologising for not having had
warning to prepare a better repast. When unafflicted by famine or
rebellion, I should say that the labouring Chinese live better than any
other people of the same class, except in Australia and the United
States. Though they only take two meals a day, yet they often refresh
themselves between with tea and sweet cakes; and at these meals
they like to have several dishes, among which both fish and pork are
usually to be found; often eggs, ducks, and fowls; in some parts of the
country mutton, and in others beef. Their cookery is also very good; I
never met anything very outré in it, except on one single occasion,
chips of dog-ham, which were served out as appetisers, and are very
expensive, and come from the province of Shan-tung, where the
animal is fed up for the purpose upon grain. The breeding of fish in
ponds is one of the most plentiful and satisfactory sources for the
supply of food in China, and attempts are being made at present to
introduce it into France. The great secret of their cookery is that it
spares fuel and spares time. In most of their dishes the materials are
cut up into small pieces before being placed upon the fire, and some
are even cooked by being simply steamed within the pan in which the
invariable rice is cooked. The rice tastes much more savoury than
that which we get in this country, and is not unpleasant to eat alone,
steam rather than water being used in preparing it for the table—a
sea voyage exercising some damaging effect upon its flavour. The
great drawback of the food of the lower Celestials is that the
vegetables are often salt, and resemble sour kraut; the pork is too fat,
and the salt fish is frequently in a state of decay. Bean-paste also—a
frequent article among the poor—cannot be too strongly condemned;
nor is it redeemed by the fact that it is in much use among the holy
men of the Buddhist monasteries, for they have a decided preference
for “vegetables of the sea.”
At Ma-hum I got a small empty cottage to sleep in, with only the
company of a phoong quei, or “wind box,” used for preparing corn,
and exactly the same in construction and appearance as the
“fanners” which used to be employed in Scottish barns. My trip, so
far as it was by land, ended next day at Nam-tow, the district capital,
a large walled town of, I should think, not less than a hundred
thousand souls. This place had been bombarded about eighteen
months before by our gunboats, in consequence of the mandarins
stopping the supplies of Hong-Kong, and withdrawing the native
servants; so I was rather afraid of being mobbed, or otherwise ill-
treated, if I delayed in it, or turned on my footsteps when looking for
the passage-boat to Hong-Kong. Even when there is no positive
danger, a Chinese mob is rather trying to a solitary European; but
China is a civilised country, and fortunately there were two boats and
competition. The consequence of this was, that the touter of one of
them waylaid us about a mile and a half from the town, and led me
direct to his junk, in which I at once embarked, to the
disappointment of the crowd which had begun to gather upon our
heels.
I used to find it safer to go about that part of the coast in passage-
boats rather than in one of my own, and of course in that way saw
much more of the people. These vessels usually go two and two in
company, in order to assist one another against the not unfrequent
attacks of pirates; and are pretty well armed with stink-pots, two or
three small cannon, and spears innumerable. When not crowded
they do very well, and a small sum procures the sole use of a small
matted cabin without any furniture, if it is not pre-engaged. On this
occasion the extra cabin was occupied, and in that of the supercargo,
which is also usually available, there was a portion of his family; so I
had to content myself with the deck and the “first-class” cabin, which
was occupied by shopkeepers and small merchants. The Chinese are
not very clean, especially in cold weather, when they put on coat over
coat without ever changing the inner one: in the poorer houses the
dirt and water are not properly “balanced,” and they have a saying
which associates “lice and good-luck;” but, most fortunately for
travellers, their pediculi, like horses in Japan, appear to participate
in the national antipathy for foreigners. There were about fifty
passengers in this boat bound for Hong-Kong, and the cargo
consisted of vegetables and sugar-cane. One little boy on board
appeared to have been told off to do the cooking and religion. He
would suddenly stop in his task of cutting up fish or turnips, and
burn a red joss-paper with a prayer upon it, for the success of our
voyage; then as suddenly utter an exclamation and dive down again
among the pots. This little wretch of a cook, though chaffed at by the
sailors and afflicted by a severe cold, appeared perfectly contented,
happy, and even joyful—which may be a lesson to some other doctors
elsewhere. The Universe, acting under the Chinese system, had
found a place which suited him, work adapted to his nature, and
such small enjoyments as he could appreciate. He always found time,
every five minutes, to snatch a chew at sugar-cane, and even lost five
cash by gambling. In these passage-boats the fare is not, and cannot
be expected to be, very good; but our diminutive artist prepared for
dinner stewed oysters, fried and boiled fish, fat pork, salt eggs, rice,
greens, turnips, and onions.
The British sailor adorns his bunk with a rude portrait of lovely
Nancy, but our junk had inscriptions savouring of a lofty kind of
poetry and morality. In the cabin there was written up in Chinese
characters, “The virtue which we receive from Heaven is as great as a
mountain;” and also, “The favour (grace) received from the Spirit of
the Ocean is as deep as the ocean itself.” On the roof we were
informed that Heaven, and not only wood, was above us, by the
inscription, “The virtue of the (divine) Spirit illuminates everything.”
These were intelligible, but this one, which was on the mainmast,
requires interpretation—“There is majesty on the Eight Faces.” It
must be understood to mean that there is majesty, or glory,
everywhere around. The paper on the rudder exclaimed—“Keep us
secure, Tai Shon!” or “Great mountain,” a very holy and “powerful”
hill in Schan-tung, to which Confucius has alluded, and to which
pilgrimages are made. At the bows there was the cheering assurance,
“The ship’s head prospers,” which in our passage was not falsified.
These evidences of high moral feeling, however, were hardly borne
out by the conduct of the crew. As ‘Punch’s’ footman observed of the
leg-of-mutton dinner, they were “substantial, but coarse;” quite
without the politeness of the peasantry; friendly enough, but
indulging in rough play, such as giving each other, and some of the
passengers, sundry violent pats on the head. The captain, as is
everywhere usual at sea, gave his orders roughly, and required them
to be promptly obeyed. They don’t think much of firing into another
boat, by way of amusement or gentle warning; and are not altogether
averse to a quiet little piece of piracy when it comes in their way. On
leaving the Canton river the wind and tide in the Kup-shui-moon
pass or strait were so strong that we ran in-shore, anchored, and
spent the night there. Most of the crew and some of the passengers
sat up most of the night gambling, which surely did not look as if
their virtue was quite the size of a mountain, and indulged in some
violent disputes. Their playing-cards were more elaborate than ours,
having many characters and devices upon them, but not a fourth of
the size. Being scarcely half an inch broad, though about the same
length as ours, and with more distinctive marks, they were held and
handled with much greater ease. Instead of being dealt out, they
were laid down on their faces between the players, and each man
helped himself in order.
The Kup-shui-moon is a great place for pirates, and as I was
courting sleep some of the passengers were discussing the
probability of our being taken by them, and hung up by the thumbs
and great toes to make us send for an outrageous ransom. They did
not use Hai traák, the Chinese word for “sea-robbers,” but Pi-long,
which is a Chinesified form of the English word “pirate,” and La-lì-
loong, which is doubtless their form of the Portuguese word ladrone.
Like the Italians with their bifstecca for our abrupt “beefsteak,” the
Chinese, when they adopt or use European words, throw them into
an extended mellifluous form, in which it is difficult to recognise the
original sound. La-lì-loong is a good illustration of this, and so also is
pe-lan-dia, by which they mean “brandy.” The estuary of the Pearl
river and the neighbouring coast have long been famous for pirates,
and the passengers were not without some cause of apprehension. I
have seen these professional pirate junks watching in the Kup-shui-
moon at one time, and only a few mails ago there came out accounts
of an attempt to take an English steamer in or close to it. Not less
than their names, Pi-long and La-lì-loong, the pirates of China are a
result of foreign contact, and as yet give no signs of diminishing
either in numbers or in power.
However, no sea-robbers disturbed our repose. Next morning I
found we had passed the strait, and were drawing under the shadow
of Victoria Peak.
 MARRIAGE BELLS.

The British nation has just had one of its grand spontaneous
holidays—a holiday so universal and unanimous that imagination is
at a loss where to find that surprised and admiring spectator whose
supposed presence heightens ordinary festivities by giving the
revellers a welcome opportunity of explaining what it is all about.
There is not a peasant nor a babe within the three kingdoms which
has not had his or its share in the universal celebration, and is not as
well aware as we are what the reason is, or why every sleeper in
England was roused on this chill Tuesday morning by the clangour of
joy-bells and irregular (alas! often thrice irregular) dropping of the
intermittent feu-de-joie, with which every band of Volunteers in
every village, not to speak of great guns and formal salutes, has
vindicated its British rights—every man for himself—to honour the
day. We are known as a silent nation in most circumstances, and a
nation grave, sober-minded, not enthusiastic; yet, barring mountains
and moors, there is not a square mile of British soil in any of the
three kingdoms in which the ringing of joyful bells, the cheers of
joyful voices, have not been the predominating sound from earliest
dawn of this March morning. Labour has suspended every exertion
but that emulation of who shall shout the loudest and rejoice the
most heartily. If there was any compulsion in the holiday, it was a
pressure used by the people upon a Government which has other
things to do than invent or embellish festivals. We have insisted
upon our day’s pleasuring. We have borne all the necessary expenses,
and taken all the inevitable trouble. Is it sympathy, loyalty, national
pride? or what is it? It is something embracing all, yet more simple,
more comprehensive, more spontaneous than either: it is a real
personal joy which we have been celebrating—the first great personal
event in the young life which belongs to us, and which we delight to
honour. The Son of England receives his bride in the sight of no
limited company, however distinguished, but of the entire nation,
which rejoices with him and over him without a dissentient or
discontented voice. Our sentiments towards him are of no secondary
description. It is our wedding, and this great nation is his father’s
house.
His father’s house—not now is the time to enlarge upon these
words, nor the suggestions of most tender sadness, the subduing
Lenten shadow upon the general joy which they convey, and which is
in everybody’s mind. It is the house of his Mother whom her people
have come to serve, not with ordinary tributes of loyalty, but with
intuitions of love. England has learned to know, not what custom
exacts or duty requires towards her Royal Mistress, but, with a
certain tender devotion which perhaps a nation can bear only to a
woman, to follow the thoughts, the wishes, the inclinations of her
Queen. Something has come to pass of which constitutional
monarchy, popular freedom, just laws, offer no sufficient
explanation. The country is at one with the Sovereign. A union so
perfect has come about by degrees, as was natural; and the heart of
the race which expanded to her in natural sympathy, when, young
and inexperienced, she ascended the throne, has quickened gradually
into a warmer universal sentiment than perhaps has ever been felt
for a monarch. We use the ancient hyperboles of loyalty with
calmness in this island, knowing that they rather fall short of the fact
than exceed it. It is barely truth to say that any trouble or distress of
Hers affects her humble subjects in a degree only less acute than
their own personal afflictions; and that never neighbour was wept
over with a truer heart in the day of her calamity than was the Queen
in hers by every soul of her subjects, great and small. Intense sorrow
cannot dwell long in the universal bosom; but the country, not
contented with rendering its fullest tribute of grief for the lost, has
dedicated many an occasional outbreak of tears through all these
months to that unaccustomed cloud which veiled the royal house.
And now it is spring, and the purest abstract type of joy—young love
and marriage—comes with strange yet sweet significance in Lent, to
open, as we all hope, a new chapter in that household history in
which we are so much concerned. With all the natural force of
revulsion out of mourning, with all the natural sympathy for that
visible representation of happiness in which men and women can
never refuse to be interested, there has mingled, above all, a wistful
national longing “to please the Queen.” Curiosity and interest were
doubtless strongly excited by the coming of the bride—but not for the
fair Danish Princess alone would London have built itself anew in
walls of human faces, and an entire community expended a day of its
most valuable time for one momentary glimpse of the sweet girlish
countenance on which life as yet has had time to write nothing but
hope and beauty. The sentiment of that wonderful reception was but
a subtle echo of our Lady’s wish, lovingly carried out by the nation,
which is her Knight as well as Subject. To hide our dingy London
houses, we could not resort to the effective tricks with which skilful
French hands can make impromptu marble and gold: but we did
what art and genius could never attempt to do—what nothing but
love could accomplish; we draped and festooned and clustered over
every shabby line of architecture with a living illumination of English
faces, all glowing and eager not only to see the new-comer, but to
show the new-comer, what no words could ever tell her, that she
came welcome as a daughter to that heart of England in which,
without any doubt or controversy, the Mother-Monarch held a place
more absolute than could be conquered by might or won by fame. Let
us not attempt to read moral lessons to the princely lovers, who, it is
to be hoped, were thinking of something else than moralities in that
moment of their meeting, and were for the time inaccessible to
instruction; but without any moral meaning, the sentiment which
swayed the enthusiastic multitude on the day of the Princess
Alexandra’s arrival was more like that of a vast household, acting
upon the personal wish of its head, than a national demonstration
coldly planned by official hands. The Queen, who sat at her palace
window in the soft-falling twilight, looking out like any tender
mother for the coming of her son and his bride, till the darkness hid
her from the spectators outside, gave the last climax of truth and
tenderness to that welcome, which was no affair of ceremony, but a
genuine universal utterance of the unanimous heart.
Loyalty seems an inherent quality in our race; but it has been a
loyalty of sections up to the present time, whenever it has been at all
fervent or passionate. It has been reserved for Queen Victoria to
make of it a sentiment as warm as in days of tumult, as broad as in
times of peace. So thoroughly has she conquered the heart of the
nation, that it seems about time to give up explaining why. To those
who have been born under her rule, and even to her own
contemporaries, a pure Court and a spotless royal life appear no
exceptional glories, but the natural and blessed order of things; and
we love her, not consciously because of her goodness, but only for
love’s own royal reason, because we love her. Nothing can happen of
any moment in those royal rooms where so very small a number of
her people can ever dream of entering as guests, without moving the
entire mass of her people with a sentiment only second, as we have
already said, to immediate personal joy or grief. It is this alone that
can explain the extraordinary rejoicings of this day. We keep the
feast not by sympathy in another’s joy, but by positive appropriation
of a joy which is our own. The wedding has, in fact, been celebrated
in the presence of all England, with unanimous consent and
acclamation of the same. With blessings and tears, with
immeasurable good wishes, hopes, and joyful auguries, we have
waited at the princely gates to send the Bride and Bridegroom upon
their way. Speak it in audible words, oh Princes and Poets! Echo it in
mighty tones of power, oh awful cannons and voices of war, which
deal no death in England,—sound it forth over all the world and
space in inarticulate murmurous thunders, oh unanimous People!
Let the Mother smile among her tears to hear how every faithful soul
of her true subjects honours her children; and then let there be
silence in the midst of all—silence one moment, and no more, for the
missing Voice which would have made the joy too perfect—
“Nor count me all to blame, if I
Conjecture of a stiller guest,
Perchance, perchance among the rest,
And though in silence wishing joy.”

And now the thing we wish for most to complete our rejoicing is, if
we could but have some spectator worthy the sight, to see all our
great towns blazing up to heaven, and every village glimmering over
“beneath its little lot of stars,” with all the lights it can gather. A
group of sympathetic angels fanning the solemn airs of night with
grand expanded wing and flowing garments, watching the great and
strange marvel of a nation wild with joy, would be pleasant to think
of at this moment. Perhaps to such watchers, lingering on cloudy
mountain heights above us, the hamlets shining like so many glow-
worms all over the dewy darkling country would be the sweetest
sight. London, glowing in a lurid blaze into the night, doing all that is
in her to give splendour to the darkness; Edinburgh, more gloriously
resplendent, with valleys and hills of fire, improvising a drama of
illumination with lyric responses and choral outbursts of sweet light,
the emblem of joy, are but the centres of the scene. Here, too, past
our village windows, comes the blaze of torches, held high in unseen
hands, moving in a picturesque uncertain line between the silent
bewildered trees: though nobody wits of us, hidden in the night, that
is no reason why we should stifle the joy in our hearts on this night of
the wedding. Windsor itself did not begin to thrill with bells earlier
than we; and even Edinburgh will have commenced to fade slowly
out of the enchanted air into the common slumber ere we have
exhausted all those devious rockets which startle the darkness and
the dews. Nor we only, but every congregation of cottages, every
cluster of humble roofs, wherever a church-spire penetrates the air,
wherever there is window to light or bell to ring. Bear us witness,
dear wondering angels! Far off by the silent inland rivers, deep under
the shadows of the hills, perched upon rocky points and coves by the
sea, lying low upon the dewy plains, is there a village over all the
island that has not lighted a joyous blaze for love of its Queen, and in
honour of the Bride? Health, joy, prosperity, and increase to our
Prince and Princess! If they can ever be happier than at this sweet
moment, crowned by Love and Youth with that joy which human
imagination has everywhere concluded the height of human
blessedness, let the heavens advance them speedily to yet a sweeter
glory. If there were any better bliss we could win for them or
purchase for them, the world well knows we would spare no pains;
but as it is, all that loyal hearts can do is to wish, with hearty love and
acclaim, every joy short of heaven to the young heirs of all our hopes;
but not that for many a happy year.
And now the holiday is over, and the stars begin to show softly
over the waning lights and voices fatigued with joy. Is there, perhaps,
a Watcher in the royal chambers who weeps in the night when all is
over, and God alone sees Her solitude—Our Queen! There is not a
woman in England but thinks of you—not a man but would purchase
comfort for your heart by any deed that man could do. Since the
marriage-feast was spread for you, Liege Lady and Sovereign, what
have not Life and Time done for all of us—what happiness, what
anguish, what births and deaths! Now is it over, the joy of life?—but
still remain tender love and honour, dear duty and labour, God and
the children, the heirs of a new life. Oh, tranquil heavens! stoop
softly over the widowed and the wedded—over us who have had, and
they who have, the perfection and the joy! Enough for all of us, that
over all is the Common Father, whose love can accomplish nothing
which is not Well.

10th March 1863.

Printed by William Blackwood & Sons, Edinburgh.

 TRANSCRIBER’S NOTES
1. Typos fixed; non-standard spelling and dialect retained.
*** END OF THE PROJECT GUTENBERG EBOOK BLACKWOOD'S
EDINBURGH MAGAZINE, VOL. 93, NO. 570, APRIL, 1863 ***

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