Comment: why is arts education facing cuts? Published on: 18 April 2024 Writing for The Conversation, Dr Adam Behr examines how the creative industries bring in more revenue than cars, oil and gas, yet are facing a funding freeze. , issued by the education secretary, Gillian Keegan, to the Office for Students reveals conflicting priorities in government and pours fuel on fires burning in an already troubled higher education sector. The focus on science, technology, engineering and maths (STEM) 鈥� 鈥渟trategically important high-cost subjects鈥� 鈥� is met by a freeze on funding for arts subjects such as music, fashion and drama at undergraduate level. This amounts to a cut in real terms in the face of inflation, and there are cuts in grants for postgraduate provision 鈥� as well as the to support access to higher education for students from disadvantaged backgrounds. It follows a in 2021 and comes as universities in general 鈥� and the arts and humanities in particular 鈥� are struggling. Inflation has added weight to the burdens felt across the sector, bringing long-term tensions to the surface as the university . This article is part of our series. These articles tackle the challenges of the arts and heritage industry 鈥� and celebrate the wins, too. In brief, the cost of educating a student has outstripped the fees, with no immediate prospect of raising them, not least because they already leave graduates with large debts. This is compounded by in the arts and humanities, making recruitment more difficult. The inevitable result is a decline in provision. and universities have announced the closure of their music departments, while redundancies at Goldsmiths could in departments including English and creative writing, history, music, theatre and performance, and visual cultures. A false economy The ostensible logic of supporting the hard sciences, and the wider economy, reveals contradictions in the government鈥檚 own stated strategies, and masks a false economy. The Department for Culture, Media and Sport鈥檚 (DCMS) , for instance, states that: 鈥淐reative industries are a true British success story, from global music stars like Adele and Ed Sheeran to world-class cultural institutions like the National Theatre鈥�. It also, crucially, highlights the importance of skills 鈥渢o ensure that the sector can attract and develop the very best creative talent 鈥� from all backgrounds and parts of the country鈥�. Even a hard-nosed economic perspective suggests that arts provision warrants support, rather than a freeze. By the government鈥檚 own estimates, the creative industries contribute around . That鈥檚 more than the , for instance, or . While obviously many of the skills needed will be in areas like coding, the contribution in music, visual and performing arts, publishing, design, fashion, museums and galleries. Higher education arts provision also adds broader value to the cultural life of the nation and to its school-age educational framework as, again, the government acknowledges. The , for instance, notes that universities 鈥渙ffer access to live music performances 鈥� through free tickets to concerts held on site or taking student performers out into schools 鈥� bring[ing] reciprocal benefits, as students gain invaluable experience of working with young audiences, and school-age pupils are inspired by musicians close to their own age鈥�. Value of arts and science exchange The contradictions also reach past the creative sector, and the courses directly affected. The funding cuts appear to gloss over the value that arts courses bring to the higher education sector (itself worth to the economy) overall. Universities don鈥檛 operate in siloes with arts and STEM separated. They support one another financially, with across degrees that are cheaper to deliver and those that are more expensive (including subjects like engineering). In research too, the whole is greater than the sum of the parts, with humanities and sciences each benefiting from collaboration across subjects, especially in the rapidly evolving creative sector, where technological savvy, critical thinking and an imaginative approach are mutually beneficial. This zero-sum approach to arts and STEM in higher education also undermines the holistic, whereby a combination of research and teaching across arts and sciences generates knowledge, value and engaged an citizenship. This has long been central to the strength and international appeal of British universities. The DCMS鈥� Creative Sector Vision points to the value of dialogue across interdisciplinary research, business and the wider public sector, arguing that, 鈥渢he government and industry have demonstrated how we can leverage public funding, the UK鈥檚 world-leading university base, and the creative sector鈥檚 ingenuity鈥�. Straitened times make for difficult decisions, especially when across graduates in different subjects. But pitting degrees against one another and dividing them into those that are 鈥渦seful鈥� is an approach that deploys immediate tactics at the expense of long-term strategy. If funding cuts degrade provision for creative subjects, the effects will be felt beyond the departments immediately affected. The arts underpin the creative industries, and universities exist as part of a wider ecosystem of research, development and education which, even in the government鈥檚 own terms, relies on the exchanges between arts and science to create value across the board. Looking for something good? Cut through the noise with a carefully curated selection of the latest releases, live events and exhibitions, straight to your inbox every fortnight, on Fridays. . , Senior Lecturer in Popular and Contemporary Music, This article is republished from under a Creative Commons license. Read the . 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