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Memorandum submitted by Sound Connections What effect have existing creative initiatives had on teachers' skills and ability to work with creative professional in the classroom? Past experience tells us that time ring-fenced for teachers and creative professionals to get to know one another and understand each other's skills, specialisms, roles and styles, is time well spent. This is reflected in their consequent performance in the 'classroom' and their work with young people. A recent evaluation study of Youth Music's MusicLeader initiatives concluded that there was "a strong correlation between CPD undertaken and response from young people" (Sound Connections manages the London region of MusicLeader)
The music department also gained from the partnership with professionals. "Even though we're a Performing Arts Specialist School, it's not always easy for the head of music. He has to take students out of lessons and colleagues don't always fully understand the department's needs. Working with musicians who add value to your work, being a partner with people who add to what you as a teacher can achieve - it creates a new potential for work of high quality. We heard and saw that. " Curriculum Enhancement YMAZ Project by Tom Deveson
What are the implications of a curriculum shift in favour of creativity for the training of heads, teachers and cultural animators? We assume that you are referring to a shift in training the professionals here...? Without understanding and 'buy' in from heads, teachers, animators then we run the risk of initiatives falling flat on their faces. If we invest in the right skills and attitude at this level then we build for future generations. In the music sphere, this has already been recognised as a significant requirement reflected in the Music Manifesto's recommendations. The development of the national MusicLeader programme by Youth Music has been an early (pre-Manifesto) example of a response to an identified gap in terms of demand and (quality) supply.
We must also consider Parents and Governors or, in the case of community organisations (rather than schools), Trustees / Management groups
·How might parents and education and care providers be persuaded to encourage creativity in the home? We need to stop thinking about education just taking place in schools. We find it a little alarming that the context section of this enquiry paper makes no reference to any setting other than schools. It also concerns us that it appears to be so specifically oriented to Creative Partnerships which, whilst significant, is only one of a long list of ongoing initiatives of all shapes and sizes that have been taking place across the country - in some cases for longer than CP. If we recognise and embrace the learning that takes place elsewhere - in the home, the community based (music) provider, the summer university scheme - and find ways to assess & reward it, then we can start to expect more of parents.
Parents at ListerLive 2007 (project showcase event) were naturally proud of their children's achievement, but they added some deeper reflections about what they considered to be the project's special value:
· "They're doing their own music and showing they've got the confidence to do it on stage. There's such a range of voices and tones and sounds and rhythms." · "My son listens to the news. That song about guns - he didn't tell me all that much about it, but it shows they've really thought about it and put it into a good song." · "There's too many negative lyrics in some music today. I've tried to bring up my child with a positive ethos, a positive attitude to learning. The song this evening is very positive in that way." · "I like whatever's positive for my child - learn wherever you can, embrace everything that's positive. The music tonight is like that and it's part of a larger pattern. " · "Music that makes children think is worth hearing. I was recommended to Lister School when my child was in year 6. This has been good!" · "It was all brilliant. She hypnotised me with her voice. She took the opportunity of being on stage and interacting with the audience." · "It's been fantastic. He gained recognition of his talents and it's been good for him. " · "I saw her gaining more confidence as the training went on. She's been telling me very positive things about how they tried things out. They were all so committed - it was a real team effort. " Curriculum Enhancement YMAZ Project by Tom Deveson
The challenge will of course be in influencing the attitudes of parents who, for whatever reason, do not value education & learning, let alone creativity. We will need to make imaginative moves to achieve this and should expect to provide community based activities for parents and children from which they can get ideas, techniques and inspiration. In the case of care workers - surely as professionals, interventions can be made in their training and professional development as well as their management.
·What special contribution do the arts have to make to creative education? The processes used by Artists as creative thinkers and solution-finders can be explored in other areas and visa-versa We do need to be able to differentiate between when an Arts activity is actually a creative one and when it is not.
To what degree should creative education be structured to accommodate the needs of creative industries? Given the growing importance of the Creative Industries in the UK economy, we must find better ways to prepare young people for its opportunities. There is however a need for realism ion the process and probably a need to circumvent the traditional glamorous image held by some. · Most Creative Industries people are freelance not employed - that has implications · Many freelancers need to run 'portfolio' careers - using a palette of skills in different settings in order to sustain themselves. (writing, recording, performing, educating) · We also need clarity from employers, are they concerned with their future workforce's ability to 1. use up to date equipment / software etc 2. Respond creatively, imaginatively and resourcefully to a task, brief or problem, communicating effectively with colleagues in the course of doing so. 3. Be creators of new material or those who exploit and mange it
The students (taking part in Lister School Records) learned a lot about accountability. It took time for them to understand the approach they would need to make their record label a reality. Audley's introduction of the idea of a business plan made a key difference. The fact that all students had a folder with copies of the plan which they were expected to consult regularly and to relate directly to their own part of the work led to a sense of seriousness, without compromising the sense of fun and pleasure they also needed to sustain in their work. Curriculum Enhancement YMAZ Project by Tom Deveson
·What evidence is there that a creative curriculum assists achievement in other areas? The Head Teacher of Lister School described two essential benefits that the project provided for the students and for the school. The students gained immensely from taking part in the performance and making the recordings. "We were very proud of their performance, in public, in front of their friends and families and teachers. They were professional in the proper sense. There was a significant improvement from the last Lister Live a year ago. Taking part this year helped students to be more appreciative as listeners as well as performers. They came to understand what learning is and the challenges it involves, and to understand the learning journey that others had gone on as well as themselves. From a developmental point of view, it was very good. They have become better people as well as better musicians." Curriculum Enhancement YMAZ Project by Tom Deveson
What is the impact of a creative curriculum on a) pupil confidence, motivation, behaviour and team work, and b) literacy, numeracy, ICT and communication skills?
Lister School Record - CEO comments:
"There's pressure in this, working to deadlines and so on, but we're used to pressure in year 11. You have to prioritise and sacrifice some things. I've got an exam tomorrow, so I'll have to work when I get back. It's worth it, though, being here after school."
"I've learned about presenting myself. I've learned that you need to be serious if you want to be taken seriously." "I've learned it's a hard industry to get into, so you have to work as a team, about teamwork and communication skills. As a CEO, you have to let people know what's needed and get that across to them - in a nice way, OK, but they have to take notice."
Year 9 Songwriting response:
"The whole thing made me feel accepted. Our song was very different from the rest, I think. In school we'd be teased for doing a song like that and people would make fun of it and be quite nasty, some of them. But we were accepted in public and that meant a lot to me."
ListerLIve2007 Performer comment:
"I want this to carry on, not just what we did tonight. I've learned persistence. It would have been nice if it all came instantly - that's what we all hoped for - but of course you have to work at it. This journey I took has been really revealing."
Curriculum Enhancement YMAZ Project by Tom Deveson
How can creative achievement among young people be acknowledged and assessed? As mentioned above, we need to recognise, value and reward achievement wherever it takes place and not just in the school classroom.
We do not know how to assess 'creativity' as a quality but wish we did! Ask Ken Robinson to elaborate on his theories!
·How can creativity be embedded across the curriculum and within the philosophy of schools? Once again, it shouldn't just be about schools! Please refer to previous comments.
We need buy-in and understanding, backed up with training etc for those leading - be that teachers, heads, freelance artists, governors, community workers. That requires investment and time for it to embed and saturate the system.
We need to be able to differentiate between when an Arts activity is creative and when it is not.
How can creativity in schools best be linked to the real work of work and leisure? By playing to the strengths - the enjoyable and engaging aspects of creativity - and making sure that we recognise and value learning & creativity wherever it takes place and not just in schools.
July 2007
By supporting and challenging its sector, Sound Connections is § Recognised and valued as the body representing its sector in London. § A 'hub' through which knowledge, experience and contacts can be shared by the sector and through which Professional Development and Quality Assurance resources can be accessed. § An effective communicator for, and advocator of, its sector's achievements and potential. § A route through which the wider Education, Industry and Regeneration sectors can develop ongoing relationships with providers.
Through Sound Connections and its members, some the Government's key agendas such as the Creative Economy Programme, Every Child and Youth Matters, The Music Manifesto, 14-19 Diplomas, RESPECT and the Learning Outside the Classroom Manifesto become truly joined up.
Sound Connections leads on several strategic projects in Greater London including § The London Youth Music Action Zone § MusicLeader London - a programme of professional development opportunities for those working with young people. www.musicleader.net § Musical Routes a service signposting young people to providers of musical activities - developed with Musical Futures. www.musicalroutes.co.uk § Regional Management of Trinity Key Stage 2 CPD programme which provides training for those delivering 'Wider Opportunities' music work in primary schools. www.ks2music.org.uk § Youth Music Mentoring - linked to the Government's RESPECT agenda § Musical Futures (MuFu) - our MusicLeader team has been selected as one of four regional co-ordinators helping to roll out MuFu 'model' across London. http://www.musicalfutures.org.uk/
Sound Connections has over 1500 members Membership is open to any organisation or individual practitioner involved in Music Training or Education within Greater London. It's free to join and that's done by registering with MusicLeader London and / or Musical Routes.
For more information please visit www.sound-connections.org.uk
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