Memorandum submitted by Royal Shakespeare Company, Stratford-upon-Avon

 

 

 

1. Executive Summary

 

a) Creative Partnerships has played a vital role in extending current curriculum and testing regimes to develop creative teaching in schools.

 

b) The RSC has extensive feedback showing that creativity in schools is vital not only in terms of increasing student understanding and enjoyment, but also in terms of student attainment.

 

c) The work Creative Partnerships has started needs to be sustained, particularly if we're to convince all schools of the educational benefits of creativity within the curriculum.

 

d) Creative Partnerships has been particularly important for the RSC, for two reasons:

· It is helping us introduce creative approaches to Shakespeare to many more schools than would otherwise be possible.

· We are benefiting from a national infrastructure that supports and shares ideas about creativity in schools.

 

2. Brief introduction to our work

a) The aim of the RSC is to keep modern audiences in touch with Shakespeare as our contemporary. We have eight values that guide our work; the first of these is to be creative - inspiring and celebrating creativity amongst RSC teams, audiences and visitors.

b) The work of our Education Department is to deepen the understanding and enjoyment of Shakespeare for young people, up to the age of 19, regardless of ability and background. Our approach is to use creative learning methods adapted from the theatrical process, and to apply these to learning environments.

 

3. Factual information

In 2006 the RSC received £200K of funding from Creative Partnerships. This is already making a significant contribution to the work we do inspiring creative approaches to the studying and teaching of Shakespeare.

 

4. Recommendations

a) We believe that it is vital that funding for Creative Partnerships is sustained.

 

b) We would like to see Creative Partnerships' remit extended nationwide.

 

5. Main submission

a) For many years the RSC has had concerns about a curriculum and testing regime that seem to undermine opportunities for students and their teachers to engage in creative activities.

 

b) We were therefore very supportive of the recommendations within the All our Futures report, and the subsequent establishment of Creative Partnerships. We believe that it is vital to have a national organisation to champion creativity in schools, to inspire creative practice, and to record and disseminate evidence of the educational value of these approaches. And we welcome the possibility that, with appropriate funding, Creative Partnerships could extend its reach nationwide.

 

c) But it is still early days. It is crucial that the important work Creative Partnerships has started can be sustained. In particular, we still hear of schools and teachers who believe that creativity is a luxury, an add on, a bit of fun. Too many senior teachers remain unaware of the educational benefits of creativity. Whilst individual organisations can work at getting this message across, it is so much more efficient and effective if there is one national body responsible for this.

 

d) For the RSC, the work of Creative Partnerships is particularly significant. We are very worried about the way Shakespeare is taught and assessed in schools. We are disappointed that, despite 100 years of recommendations to approach Shakespeare as a dramatic text, there is still a dearth of creative, theatre-based approaches to the teaching, studying and assessing of Shakespeare. As a result, many young people become disengaged not only with one of the world's greatest playwrights, but sometimes with education in general.

 

e) In response to this situation the RSC has launched a Campaign: Teaching Shakespeare: Time for Change. Support from schools, desperate to work within an environment that supports and values creative approaches to Shakespeare, has been universal. For example, we received the following email (text as written) from a young student:

 

Dear RSC I fully back your plans for change in the way Shakespeare is taught. I find it thoghroughly boring having to annaylise and explain quotes. It sends me to sleep... SO please it is time for change. Thank you

 

f) We have over 30 years experience of successfully using creative, theatre-based approaches to Shakespeare that inspire young people of all ages, abilities and backgrounds. Increasingly, we are told that our approaches are having a real impact in schools, often way beyond the English classroom. We are told our work has a positive effect on: speaking and listening; attendance levels; boys' engagement with reading and writing; motivation; engagement with subjects other than English; and standards, particularly as measured through SATs. For example, a headteacher recently credited one of our projects with a 20% increase in SATs results for their 11 year olds.

 

g) Funding from Creative Partnerships means we've been able to extend the reach of an innovative new project, the Learning and Performance Network. Working nationwide this project aims to ensure that as many young people as possible have a positive experience of Shakespeare. It allows us to develop a sustained three year partnership with 90 schools a year, and the highlight is students creating and then performing mini-responses to Shakespeare's plays.

 

h) Each year, nearly 2,500 young people will perform Shakespeare's plays as a direct result of this project. Without support from Creative Partnerships we would have to significantly limit the number of students and teachers we can work with.

 

i) We know from previous projects quite how important this experience can be. And we shouldn't overlook the positive impact on teachers. Creativity in the curriculum has to start with a teacher who is themselves inspired to be creative. The following is a typical response to the training we provide for all teachers involved in our education projects:

"Every school should have a day like this! English staff become bogged down with assessment objectives/criteria etc., and this course and its techniques revitalise a love of learning Shakespeare."

English teacher, Newcastle upon Tyne

 

j) In addition, working with Creative Partnerships means we benefit from a nationwide focal point for the collection and dissemination of ideas and evidence in support of creativity in schools. So many excellent initiatives that have happened in the past have taken place in isolation, with only a lucky few directly benefiting from what has been learnt.

 

k) It seems that the UK has at last recognised that creativity reaches way beyond personal development and enjoyment at school, and has a significant impact on the economy. The Creative Industries are the economy's fastest growing sector, whilst VisitLondon recently suggested that around 90% of international tourists to London are attracted by the cultural offer of the city. If we're to sustain the enviable position we're now in then we need to continue igniting much-needed creativity in the young.

 

l) The Government showed tremendous foresight in setting up Creative Partnerships. We believe it is crucial that this visionary action is sustained, encouraging ongoing opportunities for creativity to flourish in our schools.

 

 

July 2007