This article is Part One of a Two Part series, and considers the institutional beginnings of TAFE and highlights how TAFE came about and concludes by focusing on TAFES distinctive role.
In 2017 TAFE is at the brink of seismic change. Over the last five years intensified marketisation of the vocational education sector, the uncapping of undergraduate degree funding and the decline of TAFE-based vocational education programs for schools have brought TAFE institutions to the brink of insolvency and incapacity.
PaTH stands for Prepare, Trial and Hire. It targets young job seekers, and claims to assist them into paid employment. The model works by providing pre-employment training (Prepare); followed by “internships” (Trial)...
May was a big month for the vocational education sector. First, the Commonwealth Government has indicated it will scrap the National Partnership Agreement with the States and instead establish a skills fund dependent on host worker visa fees. This implies another significant funding cut for TAFE.
TAFE Colleges, and their predecessors, have long fostered the growth of Australian artists, and the cultural and artistic landscape in Australia. From pre-eminent Australian painters such as Sidney Nolan and John Olsen to street and contemporary artists like Rone and Tracey Moffat; musicians and bands such as Augie March and Troy Casser-Daly; fashion designers from Akira, to J’Aton Couture to Lisa Ho; filmmakers, animators, dancers, writers – so many of the talented people who have shaped Australia went to TAFE.
The 2017 Federal Budget delivered nothing for TAFE or TAFE students, and is a continuation of the Turnbull Government’s attack on the sector, and its failure to provide policy leadership or support.