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Memorandum submitted by Mike Fitzsimons, Director, Songware Ltd
1 Executive summary1.1 Background of Mike Fitzsimons.I have many years experience working in the area of information management, data analysis and performance management. I have held senior positions in government and media. From 1974 until 1984 I worked for The Office Of Population Census and Surveys, working on the General Household Survey, the Family Expenditure Survey as well as the Census. This role was partly research based and partly IT based. I then took a post as Head of IT at the BBC Broadcasting Research department from 1986 until 1996 whereupon I joined the Occupational Pensions Regulator as Head of IT until 2005. I have an honours degree in Economics and a Masters Degree in Business Administration. I now provide business and IT consultancy through my company, Songware Ltd. I am also a parent of two teenage children, and a school governor. 1.2 In 2005 Songware Ltd were asked to look into the way in which Creative Partnerships Southampton and Isle of Wight were developing their evaluation systems to capture the impact of their work in a new and complex area of encouraging the development of young people's creativity. We recommended that a performance management system featuring baseline and target setting linked to project evaluations be developed. Alongside this we proposed an overall measure or indexation that provided a transparent overall measure of achievement. The system was designed to follow guidance issued by HM Treasury and contained in the document Choosing the Right Fabric. We believe that the adoption of a measurement framework removes misunderstandings, clarifies outcomes, and provides a way of communicating with all stakeholders. Below is an outline of the main features of the framework.
2 Main Features2.1 Utilising the CP evaluation data collected for each project, and setting index baselines based on the PDA categories, we calculate an overall contribution that raises the baseline index if the projects have been successful. The Index is based on a 1-10 scale.2.2 Results from the analysis demonstrate how CP led projects have improved the creative capacity in schools on three fronts: for young people, for teaching staff and for creative partners. An overall picture of strategic improvement can then be drawn.2.3 The initial broad target for all CP programmes in schools is to raise the index of creativity by 2 points, leading to a sustainable improvement and long-term whole school change. However targets may be set lower depending on the scale of the projects. Links are made to demonstrate the contributions made to the Every Child Matters Agenda, as well as links to QCA categories of creative teaching and learning. Furthermore where data has been collected in advance correlated improvements in curriculum subjects can be drawn thereby linking the investment made in CP activities to sustainable improvements in traditional measures of educational achievement. Subsequent programmes are intended to sustain and improve these levels of creativity.2.4 Verification of these outcomes is provided through independent data sources such as Ofsted self-evaluations and the Creative Schools Framework developed by Creative Partnerships North East.2.5 The result of using such an approach has been to clarify the aims and objectives of CP projects, formalise measured outcomes, improve communications, provide a way of comparing outcomes and costs, standardise reporting and develop a knowledge base of best practice and success factors.2.6 Our view is that using such an approach engages the governing body, the local authority, the business community as well as the educational community in a familiar language of measured achievements and success. This enables the business case for investment in CP interventions to be made in an open and transparent manner by applying a rigorous framework of comparative outcomes.
3 Summarised example results3.1 School A: Index of creativity baseline set at 4.7 target set at 6.7. Following the CP programme the index increased to 6.89 (target achieved). Sustainable improvements verified by Head Teachers report, Ofsted report and embedding of CP principles in the long-term development plan. A significant percentage of pupils entered further education for the first time. Corroborating evidence of improvement from individual projects.3.2 School B: index of creativity baseline set at 4.63 target set at 6.63. Following CP projects index increased to 5.94 (target missed). Improvements and learning outcomes verified by Head Teacher reports, Ofsted report, Related over achievement of pupil targets in one subject area (Art). Corroborating evidence of improvement from individual projects.3.3 School C: index of creativity baseline set at 4.62 target set at 5.12 (smaller scale projects). Following CP programme index raised to 5.29 (target achieved). 12-point evaluation summary and 6 point next steps plan developed.
4 Addressing the questions posed by the committeeHow should we define creativity in the context of education and child care? 4.1 The Creative Partnerships evaluation model, the Creative Learning Evaluation Grid (CLEG), is derived from 'gold standard pillars' that represent creativity. These pillars or factors were developed from verifiable academic research in many countries. The factors that are observed are measurable and strongly correlated to educational principles. By applying these factors, a holistic picture of what creativity means in an educational context can be understood. Then a programme of work can be designed to improve these factors, and a programme of interventions in schools mounted to deliver measurable and transparent improvements and outcomes.
4.2 Using the measured outcomes from the Creative Learning Evaluation Grid improvements in each factor can be demonstrated, and outcomes tested against targets. Our evaluations show that each programme has delivered positive improvements. However there are key areas for development particularly in the area of communications between practitioners and teaching staff when preparing a programme of work.What are the implications of a curriculum shift in favour of creativity for the training of heads, teachers and cultural animators? 4.3 Our view is that the impact is a natural engagement of teaching principles that embraces a wider range of creative possibilities. Creative teaching isn't new. Many teachers and heads will have been exposed to this approach during their careers. However the collaborative nature of CP work and the use of creative practitioners is new. The relationships required to make this work successfully are not fully understood. Schools with a particularly internalised view find it harder to engage than those who have externalised their environment to embrace the local community and local business for example. Heads require assurance that creative agendas do deliver the educational outcomes that are a requirement of modern education. We submit that a formalised performance management framework with targeted and measurable outcomes gives this assurance in a familiar language that allows communications and sensible business case led investment. Cultural animators may also lack the experience to deal with a school environment hence close collaboration is essential to help build an effective team. The use of targeted outcomes helps to focus those unfamiliar with school environments on the desired goals.How might parents and education and care providers be persuaded to encourage creativity in the home? 4.4 Enthusiasm for an energised school curriculum is infectious. Evidence from CP projects shows that children become ambassadors for the creative approach. Sanctioned by local authorities, and care providers, parents will feel assured that such an approach is acceptable and will want to engage. Developing a sensible set of communication threads is critical, and developing projects that are increasingly inclusive is a good way to engage with parents. Parents are well aware of the results of bored pupils and the improvements to life at home if pupils are engaged with their work at school. Linking the outcome of creative learning to educational achievements in a formalised way will give them assurances that their children will reach their full potential.
4.5 Our evaluations show that the all arts based projects have a positive effect in terms of exciting pupils to engage with each project in new ways. However there is no guarantee that positive educational outcomes will be achieved. The factors affecting success are not just the quality of the ideas and artistic content: good planning, strong collaborative relationships with the teaching staff, a boldness of purpose, effective management and leadership, rigorous and regular evaluation and experienced practitioners are all key. Creative ideas are not confined to the arts, and other areas of life can be just as exciting for young people to engage with as a context for learning.To what degree should creative education be structured to accommodate the needs of creative industries? 4.6 We
don't believe such a structure would be productive. All industries rely on
creativity to function effectively either through day-to-day problem solving or
high end product innovation and product development. The ability to apply
creative thought to any area is the key skill that is required. Creative
Industries are a subset of the UK business environment that requires creative
people with skills that are particular to their industry. The creative agenda
is not about creative industry skills alone.
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