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.
Over the last three years Victoria University’s Work-based Education Research Centre (WERC) team has undertaken a series of studies into the recruitment and retention of women in traditionally male trades such as automotive and electrical. In our most recent research we investigated the experiences of tradeswomen and female apprentices in the electrical and electro technology industry. In this article I’m going to discuss a few of our findings including some implications for TAFE teaching.
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.