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Historically, the Further Education (FE) sector has always occupied the hinterland between the policy-heavy landscape that characterises the compulsory education sector and the fiercely independent Higher Education sector. Originally formed to give those who had not fully benefitted from their school education the opportunity to learn new skills and to be given a ‘second chance’, it gradually evolved into something that encompassed a far wider purpose of widening participation in education and also the promotion of social mobility. Because of this, the educational imperative has always featured strongly within the sector.

Recently this has been challenged by a shift to a more market-based approach that stresses neoliberalism, competition between providers and an economic imperative which can conflict with the original aims of the sector.

The sector has also increasingly been used to deliver government priorities, and given the quixotic nature of much of education policy, this has meant that the sector is required to be agile and responsive to a multitude of challenges. The colleges used as the two case studies in this chapter show that while it is important to ensure that the external metrics are met, if funding is available, then it is still possible to balance the educational imperative with the economic imperative with clear leadership and a strict focus on the college’s vision for their role within the sector. This means that the widening participation agenda can still be met, even if numerous barriers are put in the way.

Widening participation (WP) has increasingly become part of the normal ‘business’ of English higher education (HE) providers during the last 25 years. WP entered the policy mainstream for the entire HE sector following the Dearing Review (NCIHE, 1997) and the election of a new Labour government wedded to notions of social justice but also concerned with ‘lifelong learning’ in the name of human capital growth. This book employs a dual usage of the term ‘business’ in relation to WP policy, practice and culture in the context of the marketised English HE system. The first, figurative, usage explores the ways in which WP has been drawn into institutional positionality as HE providers are encouraged to differentiate themselves in the market. The second, literal, usage explores the ways in which the business of WP has become ‘business as normal’ for the sector and institutions, increasingly intertwined with other activities and which play out variously, often in response to regulatory demands of the state. This introductory chapter first contextualises these developments with a brief overview of the evolution of the HE sector in England before proposing a multilevel model – the HE policy enactment staircase – as a way of thinking about how policy is made, enacted and implemented within the sector. This chapter then draws upon this model to acts as a structure for this book. It does this by moving from a macro-level exploration of ideological levels of policymaking, through National/Sectoral level right down to the issues at an institutional and operational levels. In doing so, this chapter creates a framework from which to understand how the various elements and levels of the business of WP play out within the English HE sector.

The competition reality television show Dragula (Boulet Brothers, 2016-present) features a parade of monsters from the horror canon. Each episode, queer drag artists present outfits based on the show's aesthetic tenants: horror, filth and glamour. Nearly every outfit presented by the show's contestants, dubbed ‘drag monsters’, features some element of monstrosity and many pay specific homage to monsters from horror cinema. In drawing the monster figure into the world of gender performance, Dragula showcases the vast queer possibility of the monster figure. Like queerness itself, these drag monsters prove monstrosity is fluid and need not by associated to any one specific gender; the monster figure provides a canvas on which these artists can move between both human and non-human and male and female. This chapter traces the show's horror lineage – most notably the text from which it queers its name, Bram Stroker's Dracula (1987), and Stephen King's Carrie (1974) as well as the alternative precedent set by the drag legend Divine. Its analysis demonstrates Dragula's creative power in reimaging gender beyond the binary of man/woman by way of the monster figure.

This article looks at girls who fight in order to evaluate theories of education for marginalized girls. As oppositional culture and educational resistance theories suggest for boys’ misconduct in school, girl fights are found to be a product of deindustrialization, family expectations, and peer culture. Within peer groups of marginalized students an oppositional culture develops such that girls gain respect from their peers by fighting because they demonstrate a necessary toughness. Girls who fight have a complicated relationship to education. Contrary to oppositional culture theory, these girls value educational achievement. However, the girls’ relationships with teachers are strained. Teachers do not appreciate “tough” girls. Race, class, and gender together construct a student culture that produces girls who fight in school.