2015/16 OUTCOME AGREEMENT: SELF-EVALUATION REPORT

Progress against specific commitments

Detailed progress against specific commitments is given at Appendix 1. The Conservatoire is content with that progress and would acknowledge the positive and productive nature of the Outcome Agreement process.

Commentary on data (Appendix 2)

Access

Articulation

The Conservatoire recruited 32 undergraduate Scottish-domiciled students with HN qualifications in 2015/16, all but three of whomjoined year 1 of their Conservatoire programme. We recognise that that extends the learner journey, but we believe (as do our applicants/students) that it is in our HN entrants’ own interests to do so. We begin to create a cohesive and creative learning and artistic community from day 1 of year 1of our programmes and our students co-create (and develop in) that unique environment over a programme’s entire duration. Because of the potential to disrupt the cohesion of the learning community, and also because it would be overly challenging for a student to locate and develop her or his artistic personality in a foreshortened timescale it is, generally, not possible to introduce students who are joining us with an HN qualification into that environment beyond year 1.

Notwithstanding challenges associated with articulation, there has been a significant increase in the recruitment of students with HN qualifications over the past five years – from 16 in 2009/10 to 32 in 2015/16. We view that increase as positive, and believe that the work of the Scottish Drama Training Network may, at least partly, account for it.

SIMD 20/40 Recruitment

We are committed to cultural and social inclusion and understand the profound difference that both education and the performing arts can make in an individual’s life. However, there are no quick fixes available to address issues and challenges inherent in the promotion of access in Conservatoire level performing arts, as the opportunity for artistic and technical development should, ideally, be available at an early stage in the artistic/learning journey. We are very aware that levels of access to those opportunities vary widely, and are dependent upon a range of socio-economic and cultural factors beyond a young person’s natural ability or potential. So, for the Conservatoire, both the concept and practice of access is perhaps more complex than it may be for other HEIs and/or subject areas, and we must necessarily take a long view of its successful promotion. For the Conservatoire’s disciplines, the most effective approach to the promotion of access has to be long-term, sustained and based on early intervention which, of course, is why our Transitions 20/40 programme is so important (Transitions 20/40 reports separately).

Over the last six years, we have seen a significant increase in recruitment from SIMD 20/40postcode areas,rising from 26 (19.1% of SUDE) in 2009/10to 45 (32.8% of SDUE) in 2015/16– an increase of 73%. More specifically, SIMD 20recruitment has risen from 10 (7.4% of SDUE) in 2009/10 to 20 (14.6% of SUDE) in 2015/16 – an increase of 100%. Notwithstanding the challenges noted above, we believe that that is a very positive outcome (particularly when considered in the context of progression rates (see Retention below), and gratefully acknowledge SFC support in the provision of additional funded places and Transitions 20/40 funding. We are not complacent about our current performance, and we will continue to work to create the conditions that will lead to greater participation from those from SIMD 20/40 postcode areas, with a particular focus on SIMD 20. In doing that we will, of course, take full account of a Blueprint for Fairness – at the time of writing, the Conservatoire is finalising its response to that report. We will also continue to offerour Transitions 20/40 programme, extend our geographic reach and seek to fill additional student places for applicants from SIMD 20/40 postcode areas (see Additional Funded Places for 2016/17 below).

Recruitment from SHEP

In 2015/16, 5.8% of our Scottish-domiciled intake came from SHEP schools. We are enthusiastic participants in Focus West and our ‘Entry to the Creative Industries’ programme continues to attract positive engagement with SHEP schools in this region. We see that positive outcome as a worthwhile return on that investment for us and, more importantly, for the individual students involved. We particularly value the Entry to the Creative Industries initiative in the promotion of SIMD 20/40 recruitment.

Protected characteristics

Looking at data for the last five years, we are where we would expect to be in terms of the gender and age profile of our Scottish-domiciled intake and, at the macro level, we see no particular issues there. However, at the subject level, we are looking at ways of encouraging greater numbers of male applicants to our modern ballet programme, and a greater number of female applicants to our composition programme. Although currently not recorded in HESA statistics, we have recruited transgender students, and have ensured that they have access to a quality learning and social environment on the same basis as all other students.

We are pleased to see an increase in recruitment of students who identify as BAME to 6.6% of our intake in 2015/16, and we will maintain our efforts to further increase the proportion of Scottish BME applicants and students. We know that there are a number of socio-economic and cultural factors that influence applicant choice of programme and higher education institution and we are engaged in a number of initiatives to promote the Conservatoire to as wide a demographic as possible. For example, and as part of a programme of activities to celebrate Black History Month, we are running an exhibitionCreative Diversity: An Exhibition of BAME Talentthroughout October 2016, which celebrates BAME artists and performers associated with the Conservatoire.

We view our very positive record in the recruitment and retention of students with disabilities as being evidence of our commitment to equality of opportunity and, more generally, of the quality of our learning environment. We also believe that we have achieved that level of success through, and over a number of years, the development of an inclusive culture in which support for students with disabilities has become the accepted norm. We have worked hard to extend that cultural appreciation and celebration of inclusivity and diversity across the entire spectrum of protected characteristics.

In 2015/16, we recorded the recruitment of a student with care experience for the first time (that is not to say that that individual is the first Conservatoire student who has had care experience - we know that not to be the case, but it is the first student who has declared that experience), and we have been working very closely with Who Cares? Scotland in the provision of staff training and development so as to ensure that we are best equipped to recruit, support and retain care experienced students.

More generally, and in terms of a range of protected characteristics, we have, over the last year,focussed on the following areas:

  • Developinga transitions support model for students from marginalised SIMD 20/40 and care experienced backgrounds;
  • undertaking further research into transitions support for students living with mental health disabilities, building on initial findings from 2014/15;
  • introducing a student-led Transitions online ‘Portal’; and
  • producing Transitions Case Studies.

Practical outcomes of that work include:

  • The recruitment and training of 28 mentors,ensuring that mentors reflect the diversity of learners being supported;
  • the development of a community of practice of academics, support staff and industry professionals to build and share best practice in supporting young learners from SIMD 20/40 and care experienced backgrounds;
  • the revision our pre-HE curriculum offer, both in our widening access and Junior Conservatoire curriculum, to enhance progression opportunities for SIMD 20/40 and care experienced students across our UG programmes;
  • sharing the ‘Barriers Matrix’ developed with colleagues across the Conservatoire and externally with other interested organisations (e.g. Music Education Matters conference Glasgow (2016); and
  • providing 1-1 mentoring to 151 pre-HE students from SIMD20/40 and care experienced backgrounds* to develop skills and knowledge in:
  • Leadership and self-confidence
  • Analytical and problem-solving skills
  • Communication and presentation skills
  • The ability to receive and offer constructive criticism
  • Powers of reflection
  • Networking within and understanding Scotland’s cultural landscape.

*Additionally funded through our Transitions 20/40 programme.

Quality, Efficiency and Effectiveness

Retention

Our retention rates remain high across the piece, and provide evidence of the Conservatoire’s commitment to the provision of effective learning and support to all of our students. In the context of historically high retention rates, we have seen a slight dip in the 2015/16 SDUE cohort progression from year 1 to Year 2 in 2016/17. Looking at the range of protected characteristics, this appears to be because there has been a dip in male progression (SIMD 20/40 is higher than the general population). We will, of course, monitor retention rates closely and respond appropriately should any discernible negative trends emerge. In any event, the progress of students from SIMD 20/40 post code areas, those recruited through Transitions 20/40, those with care experience and those admitted through our non-standard entry procedures is explicitly monitored by our various programme progress committees.

Alongside the national measure of SDUE retention from Year 1 to Year 2, the Conservatoire also monitors overall progression across all years of all programmes. In 2015/16, 93% of students were either eligible to progress or to receive their award, which accords with performance in previous years.

NSS

The Conservatoire’s ‘overall satisfaction’ rating in the 2015/16 NSS rose from 79% to 83%. Taking account of health warnings that apply when interpreting percentages in the context of very small student populations in highly specialised disciplines, and, in particular, when attempting to contextualise these data by reference to sector-wide statistics, we acknowledge that there is further work to be done. To that end, an action plan (related to quality enhancement processes, including programme review and staff development) is being refined in consultation with our students that will address specific issues identified through our analysis of the NSS data.

A Developed Workforce

The provision of highly vocational programmesdesigned and developed to meet the needs of the professions is the principal and most obvious means through which the Conservatoire promotes the employability (including self-employability) of its graduates. Students learn in a protoprofessional environment. This approach is augmented by performance and other opportunities that are available to our students, many of which lead directly to employment opportunities.

The Conservatoire employs a relatively small number of full-time academic staff and, conversely, employs a considerable number of professional performers/practitioners as part-time teachers. This approach has the considerable benefit of ensuring that students have access to teaching that is informed by first-hand and current professional experience. It also means that vocational careers advice and guidance is available from teachers who are best placed to offer it – i.e. the practising artist/professional.

The Conservatoire is an integral part of the creative industries and we maintain a number of strategic partnerships, all of which help ensure that our students graduate with the skills and insights that employers require. Current partnerships include:

  • BBC Scotland
  • The Edinburgh International Festival
  • The Edinburgh Festival Fringe
  • The Red Note Ensemble
  • The Royal Scottish National Orchestra
  • Scottish Ballet
  • Scottish Opera
  • The Playwrights’ Studio, Scotland
  • The Traverse Theatre, Edinburgh
  • The Citizens Theatre, Glasgow
  • The National Theatre of Scotland
  • The Cockpit Theatre, London
  • Shakespeare’s Globe Theatre, London

Our HESA DLHE survey shows that 95% of our 2014/15 graduates were in work or further study at the time of the survey.

Research, Knowledge Exchange and Industry Collaboration

As noted in last year’s self-assessment, the outcome of REF2014 indicates that the Conservatoire is making progress in raising the quality of our research: whereas in RAE2008, 40% of our research was judged to reach the three and four star levels, in REF2014 that percentage increased to 67%, and this outcome was inflected by a strong result for impact, the strongest of any Scottish HEI in the unit of assessment to which we make a submission.

Capitalising on the increased REG funding that has flowed from the Conservatoire’s REF2014 result, we are now investing in our research capacity with the establishment of new Athenaeum Research Fellowships that will play a key role in ensuring the ongoing vitality and sustainability of our research environment.

The Funding Council’s review of the Knowledge Transfer Grant, and the establishment of the Universities Innovation Fund, is a major opportunity for the Conservatoire that we warmly welcome. We identified our contribution to the agreed National Priorities in our mid-year submission to the Funding Council and are now recruiting a Knowledge Exchange Manager to build our capacity to engage with the innovation agenda and pursue new strategic KE projects across the Conservatoire.

Our implementation of an adapted CRIS is now all but complete: this initiative will not only create dynamic staff profiles that reflect the full scope of their research, professional practice and public engagement, but will also allow us better to assess and articulate the benefit of our many KE relationships – both formal and informal. The associated portal will allow the public direct and open access to materials such as recordings, programme notes, and research outputs, thereby complementing and extending our public engagement activities.

Sustainability

Gross Carbon Footprint

There was an overall reduction in carbon emissions of 1% over the course of 2015/16, over levels generated in 2014/15. That result is in the context of a growth in activity

Annual capital and maintenance spend on estates and buildings as a proportion of value of estate)

Capital and maintenance spend during 2014-15 was 0.8% of capital value. Although the on-going maintenance spend in relation to the value of the estate is below the SFC target percentage, in the case of the Conservatoire the estate survey now indicates that 69% is ‘as new’ and the remaining 31% is completely fit for purpose.

Additional Funded Places for 2016/17

We have recruited 41students from SIMD 20/40 postcode areas against a minimum expectation of 32 with a stretch target of 37. That is a very positive outcome that maintains the momentum noted above under SIMD 20/40 recruitment.

We have used the 7 additional places allocated to our music programmes for those programmes and they have contributed towards our success in SIMD 20/40 recruitment. The application of the additional funded numbers has also assisted in making it possible to meet demand from our Junior Conservatoire. (Recruitment from Transitions 20/40 is reported separately.)

Additional funded places allocated for postgraduate programmes have been used for their allocated purpose.

1