Articulating passion: Career decision-making and employability perception among first-year Arts, English and Language students

Identifying pertinent literature focusing on first-year undergraduate arts students within a careers framework context can be challenging because of the specific criteria being applied for inclusion. There is clearly an interest in this cohort stage, and significant previous research has looked at the career readiness, or career decision-making processes, of first-year undergraduate students in multiple subjects, including STEMM students (Bennett et al., 2020), engineering students (France et al., 2022; Godwin and Kirn, 2020; Lakin et al., 2020), law students (Hedegard, 1979; Pratt and Allen, 2016) and also medical disciplines (Bernabé et al., 2006; DeRemer et al., 2021; Gottlieb-Smith et al., 2020; Sharma et al., 2021).

Research has also focused on this cohort stage separate from discipline studied, focusing on transition management (Schaeper, 2020) and difficulties in career decision-making (Natia and Nino, 2020), using large-scale quantitative methods to analyse cross-disciplinary themes. At this pivotal point of transition, studies highlight that this cohort need clear and relevant information and feedback to inform career decision-making (Bennett et al., 2020) and recognise the influence of higher education on a student’s present and future career decisions and career confidence (France et al., 2022).

In addition to the research on first-year undergraduate students in general, a separate body of literature has specifically examined arts students as a discrete group regarding career management. At the graduation end of the university journey, studies currently exist which have examined the employability of arts and creative students just before and after they graduate, assessing their employment outcomes, how they perceive their professional identity and their confidence entering the workplace (Bennett, 2009; Bridgstock, 2011; Lennox, 2023; Lingo and Tepper, 2013). Key findings from these studies

demonstrate empirically that a group of final-year undergraduate students who report having well-developed career self-management skills experience higher levels of subjective and objective career success after graduation (Bridgstock, 2011: 17)

These established career management skills are vital tools in navigating the entrepreneurial and often protean nature of working in the arts industries (Lingo and Tepper, 2013), as well as the transition from a student identity to a workplace identity (Holmes, 2015; Lennox, 2023).

Despite the interest of research in first-year undergraduate students, and an interest in arts and creative students’ employability, limited research has been conducted which brings these two themes together, exploring the career decision-making processes and influences on first-year arts students, examining their perceptions of where they are in their career journey, and what support this specific cohort would find useful in developing career management skills.

The literature which does exist on this specific group highlights the variety of experiences and expectations within the subjects. The work of Yorke and Vaughan (2013) on art and design undergraduates was initiated through student data feedback which was not as positive as expected. They choose the early university experience as a focus, stating ‘first-year study is particularly important because it can enhance or diminish – even extinguish – a student’s chances of success’ (p 215). Of the institutions surveyed, the universities which displayed the highest levels of correlation between expectation and experience had given significant prior information before enrolment and had continued engaging with students throughout their first year. Their findings from the art and design students revealed considerable variety in what the cohort wanted and expected from their higher education experience. They highlighted the tension between the students who wanted to be taught as opposed to those who wanted to be ‘left free to pursue their own [discipline relevant] interests’ (p 226). This dichotomy was also revealed through opinions on formal timetabling. Where a programme has left significant space in the schedule, staff need to be explicit that this is to be used for practice or gaining relevant experience. This was reflected in the feedback for value for money, contact hours and assessment methods. The authors highlighted a need that ‘art and design tends to be quality-sensitive rather than price-sensitive, [that] quality has to be the primary driver of the student experience’ (p 227).

While the Yorke and Vaughan (2013) study provides useful insights into expectations, it focuses on the overall first-year undergraduate experience. The self-reported survey data is limited in fully capturing the nuanced student career experience in this time frame.

Tolmie (2014) carried out similar research with first-year music undergraduates, examining career aspirations and motivation, using detailed written qualitative feedback to assess student behaviours. They established that while career interventions were becoming increasingly present in creative degrees, they tended to be in the latter stages and ‘some critics consider this is too late’ (p 73). This research highlighted the need for ‘industry-ready versus industry-prepared’ (p 74) and the ability to navigate a career of macro unknowns. This was supported by Daniel (2013) who highlighted the problem of courses which only focused on academic study,

with limited time dedicated to developing an understanding of the broader context in which students will be required to operate, to develop a career and also to survive, not only artistically but financially. (2013: 226–227)

This theme was supported by Bridgstock (2009) who also stressed the importance of timing, stating ‘career management skill development needs to begin early in university programs and should be a mandatory and assessable component of coursework’ (p 40).

Tolmie and Daniel both argue for sustainability, that even though financial motivation was not a key driver at this early career stage, students should be aware of the mechanics of the portfolio career, and the importance of networking and consistent work experience to broaden their horizons for action (Hodkinson and Sparkes, 1997). This idea of multiple options was reinforced by Freer and Bennett (2012) and Hallam and Gaunt (2012) who stated that the first year needs to be the time to introduce the concept of multiple selves and explore the realities of working in their chosen sector in a sustainable, long-term manner. This idea is especially relevant because of the diversity represented within the school of AEL – the six disciplines included are English, drama, music, film studies, broadcast production and modern languages. While some of these students associate their subject with a particular sector, graduate outcomes data reveals alumni enter a range of occupations. Allowing and encouraging students to explore multiple options with their degree skill set, throughout their university experience, can help broaden horizons and increase confidence in decision-making.

While previous research identified first-year arts career decisions were influenced by students wanting to use their subject in their career (Tolmie, 2014) and also appreciating the diversity their degree offered (Mikkonen et al., 2013), a gap exists examining career influences more recently post-covid pandemic, and how to develop this feedback into practical career support. To the best of our knowledge, no studies have qualitatively surveyed first-year arts students in a non-arts specific university to support understanding of career journey influences and supports needed. The environment of the non-arts specific institution is relevant due to the contrasting support which a conservatoire or arts-specific university would provide. In the latter, students often avail themselves of established industry-specific networks, which provide opportunities for work experience and connections, with professional partnerships and client-based projects built into the curriculum (Fleischmann, 2015). Academics often have previous careers in the creative industries and students can receive individual tuition (Gaunt, 2010; Rowley et al., 2021). Peer support and community can be strong in an arts-specific institution. Previous research has highlighted that arts students in a non-arts specific institution often feel they have to justify their subject choice and perceive employability support bias towards STEM and more vocational courses (Lennox, 2023). Individuals in non-arts universities who want to work in creative industries may have to be increasingly and independently proactive to gain relevant work experience and build networks. This research aims to contribute to the body of literature by highlighting the current undergraduate AEL voice, establishing how their past experiences have influenced their degree course decision-making, and offering practical student-led interventions and their implications for academic and professional service support.

The following main research questions will be addressed -

Understanding these key influences, motivations, expectations and lived experiences of first year AEL students will add to the current body of research by highlighting the student voice. The objective of this study is to provide evidence that can inform and enhance the effectiveness of career input in assisting arts students in the cultivation of lifelong career management skills, facilitating the implementation of relevant interventions aimed at improving student comprehension of the labour market and how they find their place within it.

Embracing a qualitative methodology (Ritchie et al., 2013), semi-structured interviews (Kallio et al., 2016) were conducted to allow students flexibility to highlight their views, within a consistent structure to ensure comparability. The research wanted to examine a depth of experience to establish underlying values and motivations important to this group. Semi-structured interviews allowed the researcher to solicit additional details or seek clarification from participants, thereby facilitating a comprehensive and thorough exploration of the subject matter.

Thematic analysis (Braun and Clarke, 2012) was employed along with inductive coding (Skjott Linneberg and Korsgaard, 2019), allowing new themes to be constructed from the data and highlighting themes that confirm or support previous research. Analysis was completed after each interview (Kvale, 1996) then revisited for clarification once all interviews were completed. Any coding was dependent on the information gathered, aligned to the interview questions and allowing new ideas to be documented.

The semi-structured questions were based on previous research conducted with AEL students when the participants were just about to graduate (Lennox, 2023). Questions included:

Recruiting students to participate in the study proved to be challenging as many disengaged with university communications once exams were finished. Emails via central school administration and through online Canvas modules didn’t attract students from four of the six subjects. With help from school academics and visiting core lectures in person, 12 students were recruited who had recently finished their first year of undergraduate study in a QUB AEL subject. Representatives from each of the six schools were included in the study. 11 identified as female, one as male, one was classed as a mature student who had progressed from a further education access course while the others entered university directly from school via A levels or Leaving Certificate qualifications.

This research recognises the limitations of the study, with a small sample size not representing the entirety of the school. However, the students who chose to participate were engaged stakeholders from various subjects who wanted their experiences documented, and who provided relevant and meaningful material to analyse. Further research with this demographic on a larger scale could help confirm the prevalence of the current findings.

Eleven participants had studied a version of their subject before pursuing at Higher Education level. Only one student had studied entirely non-arts subjects before then pursuing a music degree. Interestingly, the unanimous sentiment among all 12 students was one of profound affinity for their chosen disciplines, with statements including ‘it was my favourite subject all throughout school’ (english and philosophy) and ‘for drama, I just enjoyed it since forever’ (drama). Even among participants who were initially ambivalent, there was a discernible shift in sentiment as one student stated ‘in my last year I turned round. I was like, no, I’m gonna do what I love’ (music).

Furthermore, the process of selecting their institution of higher learning was underpinned by two principal determinants. Firstly, the geographical location emerged as a pivotal factor, as exemplified by sentiments such as ‘I didn't want to leave Northern Ireland’ (music and audio production) and ‘I'm close to home’ (broadcast production). The second determinant was the comprehensiveness of the course content, with expressions like ‘when I saw this course, it's everything I wanted to do’ (music and audio production) and ‘the course here just seemed so much more practical’ (broadcast production) underscoring the significance of the curriculum in their decision-making process.

When considering the career support students received before coming to university, despite them noting some bias towards promoting university enrollment or STEM subjects, the consensus among the participants was that the career support provided was highly valuable. Students with hindsight included endorsements such as “very useful” (english and linguistics) and “approachable, gave me options with my subject” (music) reflecting the relevance of the guidance received.

The respondents’ feedback exhibited a range of responses when queried about their self-assessed progress towards the career objectives they had established prior to coming to university. Two respondents expressed a sense of advancement beyond their initial career expectations, attributing this progress to their active engagement in extracurricular activities relevant to their career development. Conversely, five participants provided responses coded as neutral, with statements such as ‘I think I’m in the place that I thought I’d be in first year’ (french). Several neutral responses subtly reflected ambivalence, exemplified by remarks including ‘I don’t feel like I’m behind because we’re all in the same boat’ (english and philosophy) and ‘I’m content with the choices I’ve made although sometimes I question why I’m in my course’ (music and audio production). Five students reported feeling behind in their career progression, stating ‘I don’t think I’m very far along at all’ (spanish and portuguese) and ‘I kind of hoped to be further along’ (english and drama).

The examination of career development provisions among first-year university students yielded diverse experiences. Among the students surveyed, a considerable subset of seven individuals stated that they had not received any form of career development support. Another group of five students described careers-related input as infrequent and incidental, and often lacking in relevance to their career aspirations.

However, one respondent articulated a more positive perspective, describing a singular instance when a lecturer explained future module choices and their implications for diverse career trajectories. The student noted ‘it was encouraging to know there were a lot more options and possibilities than what I had considered’ (music and audio production).

A discernible disparity emerged when it came to students’ preconceived expectations regarding career guidance within their academic course. While three students had expected formal embedded career support as an integral part of their course, a significant number of nine students said they hadn’t known what to expect or they hadn’t expected support. Upon further questioning, it transpired that students were expecting structured career support to appear later in their degree. Notably, four students identified their Personal Tutor as the primary resource for such guidance, even though this falls outside the remit of the Personal Tutor’s prescribed role.

Of the 12 students interviewed eight would like to undertake relevant work experience. The other four students were already undertaking relevant work experience through extracurriculars or activities in place before coming to university.

When asked about barriers perceived, frequently cited impediments included time (balancing academics, creative practice and part-time jobs), location, and finding experience which was relevant to career aspirations. There was also a sense of not being sure where to start, where to look and what experience would be useful. Some students encountered difficulty finding relevant information and support, saying ‘the personal tutor directed you to the director of studies, who directed you to the english administrator and then you just go round and round in circles’ (english and linguistics).

Responses to the final query regarding preferred career support revealed a range of timing preferences the students would have valued through the first year of their course. The breakdown of preferred timings shows the diversity of how students have settled into university, with three preferences for the start of semester one, three preferring mid-academic year, and five wanting input in each semester.

Over half of the students wanted contact with career support in person during timetabled sessions, with two students suggesting a compulsory one-to-one meeting with a careers professional, stating ‘if it was something compulsory that you had to go to and be prepared with what you’d done, I know when I have to have something done I will do it’ (spanish and portuguese). This shows a strong preference for timetabled engagement in a structured manner and demonstrates a respect for the university timetable and what the school has prioritised for student development. Current timetabled classes are credit-bearing – requesting inclusion in the curriculum suggests students would prefer recognition for their engagement. By making meetings ‘compulsory’ and involving preparation, there appears to be a student recognition of the need for structure and accountability, and that career planning can be a partnership and an ongoing process.

Interestingly for careers services, some students suggested initiatives which already exist, including a booking system to make an appointment to speak with a career professional in person, and also an online Canvas module which could be accessed at any stage. It is noteworthy that certain students encountered challenges in articulating the specific support requirements they would have benefitted from. Both of these points highlight the need for regular and targeted communication with students to highlight the services they can use. Student suggestions included wanting specific and targeted content, advice from alumni, and direction on module choices for future careers. They were interested in their route through their course and having a way to measure progress. Having contact with relevant alumni could provide career journeys against which they could measure development and help identify gaps. At this stage in first year, the student language was quite passive and highlighted the need for the university to take the initiative in highlighting the student responsibility for personal employability. Initiating employability structures in the first year could establish a standard, and enhance students’ confidence in engaging proactively in subsequent years.

Notably, one of the new themes constructed during data analysis, was how the students had experienced reactions to their choice of studying an AEL subject.

The students had received mixed levels of support when choosing their subject for higher education study. When discussing their decision to pursue a creative subject, only three of the students received positive reactions from their school. Four students received negative responses and five didn't mention a school reaction so were coded as neutral. Of the positive responses, students said ‘I had a really good teacher’ (drama) and ‘If I was going to go to uni they knew I’d do something along those lines’ (broadcast production). For the students who reported negative reactions, they perceived a lack of professional knowledge about career options, stating their school careers support ‘didn’t know what to do with a languages student’ (spanish and portuguese) and ‘a lot of the teachers would ask why, they didn’t really understand it’ (french). They described being pushed more towards STEM subjects, saying ‘they’re obviously going to push the more practical kinda side’ (music) and perceived a lack of empathy, remembering ‘not every creative goes to uni but you express that to a careers advisor and they wouldn’t kinda understand’ (broadcast production).

Reactions from other key influencers, including family and peers, were also mixed. While five students didn’t mention family reactions, seven did, three negative and four positive. Negative comments included a student being told ‘she should be doing law because it’s easier to get a career path’ (english and philosophy), ‘my parents would not let me do just a drama degree’ (film and drama) and that their subject was ‘good for extracurriculars but not for a career’ (film and drama). Students who received positive reactions had family members or siblings who had followed creative careers or had parents, particularly mothers, who encouraged them to pursue a natural talent.

Nine of the students referred to career conversations with peers, either within their course or with students on other courses they had encountered through accommodation or clubs and societies. They mentioned comparisons between courses, the inability to state explicitly what they would do after graduation, and having to explain or justify their course or decision.

The students also expressed doubt about their subject choice, finding themselves defending their choice of study to themselves and expressing a lack of confidence in their decision.

Of the three students who had received a positive reaction from their school about their subject choice, one stated ‘I think if I had done drama, which is what I originally wanted to do, I don’t think I would have gotten as nice of a reaction’ (film and drama). This student felt their choice was only given credibility when altered to a joint pathway, with the implied insinuation of increasing options for employment. There was a sense of being misunderstood by their school careers support and the students having to justify and explain their choices, which perhaps a student studying a directly vocational course might not have to do. This extra emotional labour at a time of key transition could potentially create extra stress for individuals who feel they have to justify, and keep justifying, their decisions (Albion and Fogarty, 2002; Le and Billett, 2022).

This sense of uncertainty in their subject choice was further echoed by the students themselves, not just pre-university but also during their first year. Students mentioned the influences of peers from other subjects who appeared to have more defined career goals, support from the university built into their course, and no need to have to explain their choice of subject. The AEL students also demonstrated a lack of confidence or ability to articulate their career goals. This would potentially not be surprising at such an early stage of an arts course with many career options available, but these students are feeling pressure from peers and family to define or indicate an end goal. Additional career support and information with this cohort at this time of transition could help increase student conviction and assurance that they have made the right choice and potentially improve engagement and hence future graduate outcomes.

The students who took part in this research were all passionate about their subject. Interestingly, seven of the students had already gained relevant work experience, had been self-employed or were working towards tangible goals, all completely independent of their university study. One student had been an online content creator for several years generating a steady income, another was at the finalist stage of a national singing competition. These individuals could be pursuing their goals independently but wanted the formal accreditation of university study. This led to a sense of frustration with these undergraduates. As they knew their industry from an experiential viewpoint, they saw some course content as not relevant or outdated, and wanted practical, technical experience and networking opportunities. Attention needs to be paid by course descriptions to the exact detail within modules, to manage student expectations and consider if their current offerings are fit for purpose in such a rapidly changing industry. There may be curriculum planning implications, considering the balance between teaching hard skills and teaching how to effectively navigate and manage creativity and productivity within a potential protean career, confirming the work of Lingo and Tepper, 2013.

Having collected evidence from investigating the relevant academic literature and analysing current student feedback data, the following recommendations are being presented which could best support arts students to develop relevant and confident career management skills.