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Outcomes for the 21st Century Hannah Wilmot

Creative Partnerships began in 2002, as a way of bringing together schools and practitioners from a wide range of creative backgrounds to collaborate on innovative projects for children and young people.

As the delivery agency for Creative Partnerships in London, A New Direction has seen thousands of young Londoners develop their creative skills, and engage in their learning in new and exciting ways through taking part in the programme.

As Creative Partnerships comes to a close, and A New Direction gears up to take on a new and strategic role for children and young people and the arts in London, we present this set of Case Studies to celebrate the programme, exploring the themes of: creativity and change (looking at whole-school change), co-construction of learning, staff development and learning, creative teaching and learning, and outcomes for the 21st century (looking at outcomes for young people).

A New Direction would like to thank all of the students, teachers, school staff, practitioners, and Creative Agents who have given so much to the programme.

Congratulations on all you have achieved.

Steve Moffitt, Director

‘There is a remarkably broad consensus on what would be in the curriculum if it started with children’s present and future needs rather than what’s familiar to policymakers or teachers. What’s required includes systematic reasoning, creativity, collaboration and the ability to communicate, as well as mastery of disciplines.’ (The Young Foundation)

In England, there has been a growing awareness amongst academics and educationalists of the need for change. Social and emotional learning (within personal, social and health education and citizenship) has been boosted in primary schools through the SEAL (Social and Emotional Aspects of Learning) programme and in secondary schools through a new framework for personal, learning and thinking skills (PLTS) that includes creativity, critical thinking and community participation. SEAL and PLTS are voluntary, however, and sometimes seen as an adjunct to the ‘real curriculum’.

This case study explores how Creative Partnerships’ Change Schools programme has contributed to the development of young people fit for the 21st century. Drawn from the experiences of four schools, the study is based on project observation and interviews undertaken with young people, Creative Partnerships Coordinators and other school staff in spring 2011 (towards the end of the projects). Additional evidence is drawn from project documentation completed by the schools’ Coordinators and Creative Agents. The study focuses on projects undertaken in the final year of the programme.

Berger Primary School, Hackney

Berger is a large primary school situated in an inner-city housing estate. Pupils come from a wide range of backgrounds and a high proportion come from families where English is an additional language. Ofsted judged the school to be good in 2009 and noted: ‘What is immediately obvious to visitors to Berger Primary School is the positive influence of the school’s Creative Partnership on the vibrant and enriching curriculum which has galvanised enjoyment in learning.’

Berger has a commitment to cross-curricular learning and the first two years of Change Schools saw the whole school working on a single topic. In year one, architects worked with the school to explore London’s buildings and bridges and in year two, the school explored Earth and space with a filmmaker.

Berger moved into its newly built school in May 2010 which has a large outdoor space with intriguing architectural features. With some of the space still to be landscaped, the school wanted to explore how they could develop an outdoor curriculum. A second aim was added when the school received its 2010 Year 6 SATs results; those in English compared unfavourably with former years and improving writing became a whole-school priority. Two writers and a visual artist worked with Years 3, 4 and 6. An initial, exploratory day of workshops with the children was used to inform the direction of the project. The writers focussed on creative writing whilst the artist’s brief was to create a 3D learning resource for the playground. Children created and shared writing, story boxes, story bricks and a large, decorated, sculptural tree.

Enquiry 2010/11: How can we artistically interrogate outdoor space for use with the curriculum and raise attainment in literacy?

Keys Meadow Primary School, Enfield

Keys Meadow is a large primary school that opened in 2003. The proportion of pupils from minority ethnic groups, and the numbers with English as an additional language, are much higher than average. Ofsted judged the school as good in 2009.

Keys Meadow has worked with Creative Partnerships for five years (the final three as a Change School). Each year, the school has increased the number of children involved in projects, starting with a single class and progressing to a whole-school project in the fourth year. All projects have explored creative teaching and learning through a cross-curricular theme and all have encouraged parental engagement. In the first year of the Change Schools programme, the school focussed on storytelling linked to topic work in Year 2 and Year 5. In the second year, the school undertook an ambitious whole-school project to develop thinking skills, language and writing through work in music, art, technology and story.

In the final year of the programme, the school returned to the school motto ‘You can Fly’ and an exploration of its symbolic meaning. The Headteacher described how ‘local families are stuck within their own circumstances and children perpetuate this cycle.’ The school’s motto suggests an alternative but the Head asked, ‘is there something we can do to prove this to children?’

The project was inspired by Miles Hilton Barber (who visited the school), an adventurer who has not allowed his blindness to restrict his life ambitions. His mantra ‘The only limits in our lives are those we accept ourselves’, informed the project.

Having developed the skills and confidence to coordinate a whole-school project in year two, the school again expanded its ambitions, incorporating

Enquiry 2010/11: How can we embed the use of multi-media in school to promote our aspirations to reach a wider audience and to achieve our dreams?

the Creative Partnerships project within a whole-school challenge to ‘realise their dreams’ Each year group or phase decided on a dream project that would push participants outside their comfort zones and raise money for charity. Two filmmakers worked across the school to explore how digital technologies could be used to capture and promote the projects and have a wider application across the curriculum. In the Key Stage 1 project for example, ‘DOSH 4 GOSH’ , children wrote, staged and filmed an adventure movie that they screened at a red carpet premiere. As with the other school projects, promotional videos were posted on Facebook and YouTube. A theatre practitioner also supported Year 6’s dream of staging a production at the local Millfield Theatre.

St Michael’s Church of England Primary School, Lewisham

St Michael’s is a large voluntary aided primary school. The school is socially and ethnically diverse with the majority of pupils from Black British Caribbean heritages. The school has above average numbers of pupils from vulnerable circumstances. In 2007, Ofsted judged St Michael’s to be a good school.

In the first year of the Change School programme, St Michael’s undertook a whole-school project addressing scientific problem-solving through drama and story. In year two, the theme of ‘forests’ was explored through photography, film and animation in a Key Stage 2 project.

The Headteacher at St Michael’s explained the rationale for the third year’s project focusing on philosophy and poetry.

‘There are two things holding our children back. First, speaking: they don’t have an extensive vocabulary and find it hard to express themselves. Second: they don’t have positive ways to achieve what they want; they need negotiation skills and to know how to stand up for themselves in a non-confrontational way.’The school worked with a Philosophy for Children (P4C) consultant from SAPERE and with two poets from Apples and Snakes. The project commenced in January 2011 with an assembly and a full-staff Inset day delivered by all three practitioners. The P4C consultant returned for two further days during the spring term, modelling enquiry sessions with each class. One idea adopted was for each class to determine a ‘Question of the Week’. The poets worked throughout the spring term with the four classes in Year 4, 5 and 6 introducing a range of methods to craft poems, inspired by and/or asking questions.

Enquiry 2010/11: How can we see philosophy introduced to our pupils through a fun and accessible medium?

The project culminated in a poetry evening when all the children performed their poems to an invited audience.

Rush Croft Sports College, Waltham Forest

Rush Croft Sports College is a small 11-16 comprehensive school. The proportions of students from minority ethnic groups and those who speak English as an additional language are much higher than average. The school is a specialist sports college and was judged in 2010 by Ofsted to be satisfactory and improving.

The first year of the Change Schools programme coincided with the introduction of a new Key Stage 3 curriculum at Rush Croft; one that emphasised skill development rather than subject content. In the first year therefore, the school explored cross-curricular practice with a Year 9 carnival project. The whole of Key Stage 3 were involved in the second year’s film project which challenged students to respond to thematic questions using photography, audio and film on mobile phones.

Reflecting on the school’s work with Creative Partnerships the Coordinator concluded, ‘it has been valuable but for limited numbers of staff and students. Now we are looking for significant impact in school.’ To support the strategic aims, one of the school’s Deputy Heads took on the role of Coordinator.

Inspired in part by Ken Robinson’s book, The Element (which explores the idea of finding a personal passion for learning) the project commenced in January 2011 with an Open Space Technology (OST) day facilitated by the school’s creative partner, Scarlet Theatre. Scheduled on an Inset day, all staff participated in the event and an invitation was extended to students, parents and governors.

The next phase was informed by issues and interests shared during the OST day. A range of projects and initiatives developed, some facilitated

Enquiry 2010/11: What can we do at Rush Croft to create a passion for learning?

by the creative practitioners, others lead by staff. Practitioners (in sound, story and theatre) from Scarlet Theatre worked with staff and students to explore creative classroom environments, the nature of learning and support for students with English as an additional language. A Creative Learning Team (including staff and students) was facilitated by an additional practitioner, educationalist, Jonathan Barnes. Perhaps the most significant unexpected outcome from the OST was the establishment of the ‘Respect Committee’. This group, convened by two Assistant Headteachers, is addressing issues of behaviour and discipline at the school.

In the section above, quotes from two Headteachers provide the rationales for creative projects that sought to improve the life chances of their students. In fact all four schools shared similar challenges of tackling underachievement and raising aspirations. Whilst all senior leaders stressed the importance of attainment in core subjects, they also highlighted the need to embrace a much broader definition of education; to develop 'capabilities needed in the real world; in the 21st century; creativity, resilience, risk-taking, bravery...'(Head, Keys Meadow)

Why are these skills and capabilities important?

'As a parent, it's the primary reason to send a child to school. I could educate the child at home if it's just about knowledge. But social skills, team-working... holistic learning is why we're here.'

(Coordinator, St Michael's)

Research internationally and in the UK has confirmed the importance of these capabilities and a number of initiatives have been set up to support schools develop new competence-based curricular. Some of the reasons for the importance of these skills and capabilities were raised by participants in these projects.

Wellbeing of children The UK performs particularly poorly with regard to the wellbeing of children . Resilience is seen as a key skill that enables children to cope with the stresses of life. Creative activity helps to promote resilience by encouraging risk-taking and challenge in a safe, supported and fun environment. Creative activity is also an essential part of a broad and balanced

curriculum. At Berger, the Year 6 children were preparing for SATs and feeling the strain,'I did some sessions with Year 6 and [the teacher] said this is the first time that we have done anything other than maths and literacy for ages and said it was so nice for the children to do something creative.' (Practitioner, Berger)

Employability The Head at Keys Meadow questioned traditional models of education,

'The classic model of education is that knowledge is imparted and then you're tested on it. But you use your intelligence when you don't know the answer. Children could go through school and achieve academically but this doesn't prove anything or set them up for life. Are these the people who will innovate and inspire; the people we need?'

Research offers answers to this question. Leon Feinstein of the Institute of Education, for example, reported that a child’s dedication and capacity for concentration at the age of 10 has a much greater impact on earnings 20 years later than his or her ability in maths. A sense of personal agency at the age of 10 is also more important to life chances than reading skills.

Social mobility through personal agency and educational attainmentAt Rush Croft, all the staff interviewed for the case study agreed on the central challenges facing the school. Students live in a suburban environment dominated by gang culture. They see school as an oasis where they feel safe but, explained the Coordinator, 'we need to change the trajectory of young people's progress; raise their aspirations. Giving them a voice at school is vital.' A class

teacher explained the long-term aim, 'as adults, they need to have some agency in their lives; understand they can make choices; take decisions.' Senior Leaders at the school have made a commitment to increase student voice in the firm belief (based on evidence from partner schools ) that this will ultimately raise attainment.

The role of creativityThe Coordinator at Rush Croft reflected on the benefits of creative practices, 'There's something different about creativity, co-construction comes in automatically. It's giving students a sense of agency.' A class teacher commented, 'learning is emotional; it requires emotional engagement and creativity demands and develops this.' A second teacher added, 'In the current climate you need to be able to cope with change. Creative projects introduce problem-solving, you learn to cope with new experiences... expect the unexpected.'

The Coordinator at Keys Meadow reflected,

'Creative practitioners get children thinking and curious; they inspire and engage. They ask unusual questions and bring a different approach to lesson structure or behaviour management or how to focus children... through physical

activity for example.'

There was evidence of wide ranging outcomes from arts-based skills to time-management. For the purposes of this case study however, the focus is on outcomes linked to social, emotional and creative learning.

Teachers at St Michael's noted a marked improvement in the children's debating skills; an increased ability to justify and own their views with phrases such as 'for me....' The P4C consultant reported progress in the children's understanding and use of open questions and their ability to pick up on cues to develop themes in a conversation. Children responded positively to these new opportunities. At the midpoint evaluation for example, one child commented, 'We were having a discussion with [the P4C consultant] and our teacher was joining in and I felt like we were having an adult discussion.' Another child added 'it's new to talk like this.'

An unexpected outcome arose from the fact that the two poets working at the school were men. The Coordinator explained, 'they've been positive role models for the boys; men expressing themselves through words.' One boy said, 'I'm surprised because I never knew I could do poetry before. Didn't think I was that sort of person but they made it fun and [made me] confident.'

At Berger, raising attainment in literacy was a key aim. A Year 6 pupil reported,

'[The writer] taught us how to use our imagination to make our story a lot better and using punctuation and some 'wow' words that we had never actually used before.'

At Keys Meadow, children learnt a range of filmmaking skills together with transferable

skills such as negotiation, project planning and organisation. The Head developed a self-assessment framework for pupils that translates the qualities of creative learning into 'I can' statements. He has started to use these as a basis for discussion with Year 6 pupils and has added this area of learning and development in reports to parents. Many of these qualities were evident in the children's reflections about their learning recorded in the midpoint evaluation. Examples included,

'We have gone out to make a DVD to give people like famous people and the mayor to get them to help our project.' (Self belief)

'When you have ideas and you can combine them to make a better idea.' (Imagination and collaboration)'It doesn't matter if you do it wrong, you can delete and do it again.' (Risk-taking)

'How to work as a team because everyone has a job like cameraman, director, interviewer, sound person.' (Teamwork)

'Not to try and take over because other people have ideas as well.'(Collaboration)'The first time we used the vado we did something really good but we accidently deleted it so we did it again.' (Resilience)

'How to get on with it and learn by yourself what is best.' (Concentration, independence and persistence)

'You shouldn't do lots of messing because you don't have much time...you have to use your time wisely.' (Discipline and self-awareness).

'I was quite shy but I learnt to be more comfortable and confident in front of the camera.' (Bravery)

The project at Rush Croft grew organically around people's enthusiasms and particular themes emerged, many connected to personal agency and social relationships. After having spoken to students participating in a range of initiatives, for example, the Creative Agent concluded,

'There is a strong sense that they want to be involved in a deeper dialogue about their learning. They really liked being asked to reveal different aspects of who they are and how they like to learn. More strategies to develop co-construction across subjects and lessons is something they are really keen on.'Outcomes for students is inextricably linked to staff development and learning. The Deputy Head at Rush Croft reflected on the success of the Change Schools programme,

'The reason we could do this project is the openness of colleagues to try something new. This is a creative school.' example, the Creative Agent concluded,

'There is a strong sense that they want to be involved in a deeper dialogue about their learning. They really liked being asked to reveal different aspects of who they are and how they like to learn. More strategies to develop co-construction across subjects and lessons is something they are really keen on.'

Outcomes for students is inextricably linked to staff development and learning. The Deputy Head at Rush Croft reflected on the success of the Change Schools programme,'The reason we could do this project is the openness of colleagues to try something new. This is a creative school.'

Endnotes

1. Yvonne Roberts (2009) Grit: the skills for success and how they are grown. The Young Foundation.

2. Freelance creative project manager responsible for managing the process of a creative partnership within a school.

3. 61% of pupils reached level 4 or above which compared unfavourably with the previous three years’ results which ranged from 71%-81%.

4. Developed in the first Creative Partnerships project in 2006.

5. Raising money for Great Ormond Street Hospital. http://www.youtube.com/watch?v=6NTDooZStDY

6. http://www.youtube.com/watch?v=bL7iVfXArKo&feature=related

7. Society for Advancing Philosophical Enquiry and Reflection in Education

8. Robinson, K (2009) The Element. How finding your passion changes everything. Penguin Books.

9. An event that starts with an overall purpose but no agenda. Participants are invited to raise pertinent issues and pose questions that become the focus of small focus groups. Participants are free to join any group and/or move between groups.

10. See the Young Foundation’s report Grit for a summary.

11. See for example, RSA Opening Minds and the Whole Educa-tion network.

12. In 2011 for example, Save the Children ranked the UK at 23rd out of 43 ‘more developed’ countries for children’s well-being.

13. Leon Feinstein referenced in Whatever it Takes, Paul Tough.

14. A sense of personal agency is a group of characteristics based on believing you have control over your own life.

15. Through initiatives including Gaining Ground, run by the Specialist Schools and Academies Trust on behalf of the De-partment for Education.

16. Structured formative evaluation facilitated by Creative Agents during a Creative Partnerships project.

17. Pocket-sized video camera.

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A New Direction is an organisation that works with and for young Londoners, providing powerful ways for them to access the best of arts and culture.We do this by working with London's creative and cultural sector, schools and other partners, to generate more opportunities for young people to take part in arts and culture and develop their own creativity.

Through our work, more young people are able to develop their own talents and passion for the arts, and we are committed to helping more young people to identify, experience and move into careers within the creative and cultural sector.

From Spring 2012, we will take a strategic lead for children, young people and the arts in London, working alongside Arts Council England, and in partnership with Apples and Snakes, the Lyric Hammersmith, the Roundhouse and Sadler's Wells.