The challenges in retention of ‘non-traditional’ students
‘There is still a large disparity around the intake and retention of students from non-traditional backgrounds, particularly within prestigious institutions… while more disadvantaged young people are in higher education than ever before, the discrepancies between institutions and the numbers of those students leaving before completing their studies continues to grow.’ (Holland-Gilbert, 2019)
In this instance, Holland-Gilbert is using the term ‘non-traditional’ to refer to students of minority ethnic backgrounds, those from lower-economic backgrounds or those that are the first in their family to study at Higher Education level. In my professional role I am particularly interested in how I can contribute positively to the experience of so-called ‘non-traditional’ students to support their retention through to the completion of their studies. Working closely with first-year BA students, and formerly at Foundation level, I have witnessed many of the difficulties students face at this point in their studies, and the long-term impact a positive start to Higher Education can have.
Bamber & Jones write about the importance of establishing a sense of inclusion and being clear about expectations in order to mitigate differences in prior knowledge around appropriate modes of behaviour or work.
‘Entry into HE- especially important for first generation students, who may find it difficult to decode what is expected at university. You can make expectations very explicit from the start of their course’. (Bamber & Jones, 2015)
Fine Art has a very particular mode of operation, with numerous implicit expectations around appropriate studio practice that are often never fully explained to students. I have observed that home students from private education often have an intuitive understanding of what is expected of them, gleaned from the cultural capital of their upbringing. International students, or those from less-privileged or ‘non-traditional’ backgrounds may find this transition much more difficult. Once a student perceives themselves as an outsider within a cohort, I have found them to be difficult to engage and at risk of dropping-out altogether.
While it is encouraging to see an increase in the diversity of the student cohort I feel that we need to adapt our pedagogical approaches in order to make sure that the student experience is a positive one, and we don’t exacerbate external experiences of marginalization. I have tried to embed Bamber & Jones’ ideas around decoding expectations into my teaching, ignoring the risk of patronizing more experienced students by clearly setting out what is required, defining terms and explaining how spaces are to be used. This is a work in progress however, and it is often only when a student gets it wrong that I appreciate where I might have made an assumption about their prior knowledge.
Sagan (2011) writes about ‘the spatial metaphors through which we teach and learn may powerfully reproduce inequalities in society’, explaining how ‘non-traditional’ students’ engagement with learning spaces such as the studio may already be negatively influenced by their prior experiences of education. Re-writing these attitudes towards learning spaces is essential if we wish to create a place where all students can feel they belong and thrive.
References
Bamber, V & Jones, A 2015, Challenging students: enabling inclusive learning. in H Fry, S Ketteridge & S Marshall (eds), A Handbook for Teaching and Learning in Higher Education: Enhancing Academic Practice. 4th edn, Routledge , Abingdon, pp. 152-168.
Holland-Gilbert, J. (2019) Precariat insurgency: A means to improve structures
of inclusivity in higher education. In Hatton, K (ed), Inclusion and Intersectionality in Visual Arts Education. London: Institute of Education Press (IOE Press).
Sagan, O. (2011) Playgrounds, studios and hiding places: emotional exchange in creative learning spaces. In Bhagat, D. and O’Neill, P. (eds) Inclusive Practices, Inclusive Pedagogies: Learning from Widening Participatoin Research in Art and Design Higher Education. Hemel Hempstead: CHEAD.