TEACHERS’ GUIDE TO PERFORMING ARTS TRIPS …...Cover image: Hip Hop to Opera Cover credit: Laima Arlauskaite Matt Crockett 12 14 Teachers’ Guide to Performing Arts Trips 2018–19

TEACHERS’ GUIDE TOPERFORMING ARTS TRIPSPERFORMING ARTS TRIPS

2018–19

HIP HOP TO OPERABroadening student horizons

BLACK TICKET PROJECTIncreasing accessibility

BACKSTAGE INSPIRATIONVisits to High House Production Park

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Contents

Features6 Making opera pop

Introducing students to a new art form

8 AudiencereflectionThe Black Ticket Project gets young black people to the theatre

10 AcreativehomeHigh House Production Park hosts a number of backstage-industry organisations

School theatre trips12 Wicked

14 TheWomaninBlack

6 8

Coverimage: Hip Hop to OperaCovercredit: Laima Arlauskaite

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3Teachers’ Guide to PerformingArtsTrips 2018–19www.teaching-drama.co.uk

TGPAT1819_003_Contents [APPROVED].indd 3 04/10/2018 07:35:41

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PERFORMANCE ANXIETY

RHINEGOLD BRITISH MUSIC & DRAMA EDUCATION YEARBOOK 2018–1916

She is famed for her incredible voice and she has performed in front of some of the largest audiences in the world – so you’d be forgiven for assuming that Adele laughs in the face of performance anxiety. In fact, she suffers from it so intensely that it takes her a long time to commit to a tour.

Understanding that even a talent like Adele experiences anxieties around performing certainly normalises what may, for some pupils, be a debilitating issue. One of the problems with anxiety is that many people are afraid to open up about it, for fear they are alone or an anomaly. The reality is that most, if not all, musicians will have experienced it to some degree. While some may feel slight butterflies before stepping in front of a thousand-strong audience, others may find the physical and mental symptoms incapacitating before a Grade 2 exam.

The important thing is to open up the dialogue around performance anxiety and remind your pupils that it doesn’t discriminate. Performance psychologist Noa Kageyama recommends introducing it with athletes in mind: as with musicians, athletes’ bodies may react a particular way before certain events. Your pupils should, he says, be assured ‘that it’s totally normal and expected to get a bit excited, and it’s how our body gets us ready to bring our A-game’.

Greg and Alison Daubney – respectively a chartered sport and exercise psychologist, and a music educator, researcher and trainer – agree. A pupil who recognises the difference between stress and excitement – which both have very similar physical symptoms – can positively harness these symptoms as part of their activation state. ‘It is how we handle them that is important,’ their book says.

Mental versus physicalSo what are these physiological symptoms? Jane Oakland, music psychologist and founder of StressPoints, says: ‘When faced with danger the body triggers the fight-or-flight response to prepare an individual for action. Unfortunately, the body does not differentiate between real danger and an activity such as performance.

‘Physical symptoms include a raised heartbeat, shallow breathing, impaired motor control – such as tense or shaky movements – and changes in body temperature.’ Not ideal physical symptoms for a musician, then. Indeed, Oakland says that the physical symptoms experienced by musicians tend to be instrument-specific: ‘String players may experience a shaky bow arm, pianists get sweaty palms, and wind players and singers can experience muscle tension in the diaphragm, leading to shallow breathing.’

Prepared performancePerformance anxiety – be it for a large-scale concert, a small event, or even an exam – affects almost all pupils. Rebecca Pizzey speaks to some experts about methods for learning to control the symptoms

Trinity Laban’s music faculty is housed at the Old Royal Naval College in Greenwich

BMDEY1819_016-018_Feature_03 Performance Anxiety.indd 16 11/07/2018 15:11:25

HIGHER EDUCATION CHOICES


Studying at a conservatoireIf your child intends to pursue a career as a performing musician, there is no doubt that attending one of the UK’s dedicated conservatoires is a great first step. Here, a relatively small number of students receive specialised, high-quality training from people who are often well known in the industry. Your child’s fellow students are likely to be equally talented or more talented than them, which may push them harder, but also leave them in no doubt of the work ahead.

Three UK conservatoires have drama departments and one, Trinity Laban, is a conservatoire of music and dance, so the scope for attending arts events, networking and creating cross-genre collaborations

is increasing all the time. Not to mention the scope for improving technically and musically in an intensely creative environment. Previously non-traditional genres such as jazz and indigenous music from around the world are now well embedded in conservatoire syllabuses.

The type of education offered by conservatoires provides huge advantages to students with the right temperament: those with ambition, a strong work ethic, some idea of what they want from their career and, not forgetting, exceptional raw talent. Students may have the opportunity to meet and befriend generation-defining performers at an early stage of their career, gain top-level performing experience, and form alliances with other

musicians who have similar goals. And when they do graduate, they are likely to have the best possible access to the network of performers and performing organisations they will need to develop their career.

On the other hand, this may be a less suitable path for those who have not fully decided on what they want to do within the music industry, or those who do not have the potential to be exceptional performers.

Studying music at universityFor those students with high grades who might be considering a career in music history or research, a BA from a university rather than the more specialised BMus

Higher education choicesFor talented music students wishing for a career in music, there is no clear-cut path to take in regards to higher education, and each route has its own benefits. Assuming that a university-level course is in order, there are three main options: attending a conservatoire, doing a music degree or doing a degree in another subject (arts-related or otherwise)



BMDEY1819_010-012_Feature_01 Higher education choices.indd 10 11/07/2018 15:10:19


The important thing is to open up the dialogue around performance anxiety and remind your pupils that it doesn’t discriminate. Performance psychologist Noa Kageyama recommends introducing it with athletes in mind: as with musicians, athletes’ bodies may react a particular way before certain events. Your pupils should, he says, be assured ‘that it’s totally normal and expected to get a bit excited, and it’s how our body gets us ready to bring our A-game’.

Greg and Alison Daubney – respectively a chartered sport and exercise psychologist, and a music educator, researcher and trainer – agree. A pupil who recognises the difference between stress and excitement – which both have very similar physical symptoms – can positively harness these symptoms as part of their activation state. ‘It is how we handle them that is important,’ their book says.

Prepared performancePerformance anxiety – be it for a large-scale concert, a small event, or even an exam – affects almost all

speaks to some experts about methods for learning to control the symptoms


is increasing all the time. Not to mention the scope for improving technically and musically in an intensely creative environment. Previously non-traditional genres such as jazz and indigenous music from around the world are now well embedded in conservatoire syllabuses.

The type of education offered by conservatoires provides huge advantages to students with the right temperament: those with ambition, a strong work ethic, some idea of what they want from their career and, not forgetting, exceptional raw talent. Students may have the opportunity to meet and befriend generation-defining performers at an early stage of their career, gain top-level performing experience, and form alliances with other

musicians who have similar goals. And when they do graduate, they are likely to have the best possible access to the network of performers and performing organisations they will need to develop their career.

On the other hand, this may be a less suitable path for those who have not fully decided on what they want to do within the music industry, or those who do not have the potential to be exceptional performers.

Studying music at universityFor those students with high grades who might be considering a career in music history or research, a BA from a university rather than the more specialised BMus

Higher education For talented music students wishing for a career in music, there is no clear-cut path to take in regards to higher education, and each route has its own benefits. Assuming that a university-level course is in order, there are three main options: attending a conservatoire, doing a music degree or doing a degree in another



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There’s something of a theme in this edition of the Teachers’ Guide to Performing Arts Trips. It’s an exploration of some opportunities to give your students really new and different experiences.

A recent project by general director and founder of Opera Holland Park, Michael Volpe, set out to introduce some London students who had never encountered opera in any context before to live performance at the most prestigious opera house in the UK. He writes to inspire you into challenging your students with something entirely outside their comfort zone.

Meanwhile, with some similar sentiments regarding increasing the perceived accessibility of theatre to a section of society who may traditionally have felt unwelcome or out of place, Tobi Kyeremateng launched the Black Ticket Project: an initiative which has gone from strength to strength.

Finally, taking an entirely different approach, we look at a non-performance venue for drama trips, the High House Production Park in Thurrock, where a number of different institutions all house theatre production-based facilities, including the Royal Opera House and the Backstage Centre. There can be more to a drama trip than simply going to watch live theatre, and in terms of future careers ideas, a visit to High House Production Park could be exactly the inspiration some of your students need, to learn what is available to them in the theatre industry beyond the performing route.

Live theatre is, however, naturally also essential, and a few of London’s best shows for education tell you what’s on offer with them in the later pages of this issue. There’s so much out there for your students to be inspired by, so I hope your budget stretches to a couple of these opportunities this year.

Sarah LambieEditor

Teaching Drama SubscriptionsTel: 01293 312236Email: [email protected]

5Teachers’ Guide to Performing Arts Trips 2018–19www.teaching-drama.co.uk

TGPAT1819_005_Editorial [APPROVED].indd 5 05/10/2018 13:48:54

I’ve been banging the drum for opera’s breadth of appeal for over 25 years. Since any readers will need little persuasion of

the value of the performance arts to young minds, I’ll resist the temptation to step onto the soapbox again. But opera is different. Opera is extreme, a mirepoix of every discipline in the theatre blended into a whole that overwhelms. It is frequently in a foreign language, too, a fact that leads some to worry that they won’t know what is going on; often, the greatest revelation to � rst-time opera-goers is that they can follow the story.

Earlier this year, as a result of mentoring, I found myself conducting at an inner city London School – Archbishop Tenison’s in Oval. I sought to back-up my years of proselytising by placing a group of eight sixth-form students into an environment that couldn’t be more extreme or alien to them: Tosca at the Royal Opera House (ROH). And I � lmed it. The remarkable results of that project were carried on BBC Arts and can be seen on iPlayer, and there is a follow-up � lm on YouTube showing the students at the Opera Holland Park (OHP) festival.

The truth is that the project was established as much to demonstrate social capability and self-belief as it was to convert young people to opera, but the startling outcome was how these young people, attached to drill, hip hop and similar music were able immediately to relate to opera’s theatricality. They ‘got it’ because opera presents stories in a visceral way, often with overwhelming force and

spectacle. The astonishing shift in how they perceived themselves and their ability to explore new horizons – both culturally and otherwise – is perhaps the project’s greatest achievement.

I have always believed that our education system, including its cultural element, makes assumptions and allowances for what we believe young people – of any background – are capable of assimilating. This can lead to fairly conservative choices on their behalf, or we buy into adapted versions of art forms (say, a ‘hip hop Cosi fan tutte’) because we believe that students will better appreciate it if there is a smack of familiarity about it. The truth, in my experience, is the opposite – we must startle them and throw them headlong into extraordinary cultural experiences, regardless of period, idiom or origin. The further from their familiar cultural experience, the better, and Hip Hop to Opera was a perfect illustration of this. Further evidence of the concept was our schools’ matinee this year, when 1,000 children aged from seven to fourteen saw a full performance of La traviata at OHP. No allowances were made – just a fully rendered performance of a spectacular and highly acclaimed production in the original Italian. The deafening ovation and screams of approval at the end was, without question, the most febrile curtain call we had ever experienced – a short � lm of the day can also be found online.

The process followed in Hip Hop to Opera was a simple one. We furnished the students

with CDs, talked about the opera’s story in simple terms and then plonked them in the stalls at the ROH. I knew that few of them had bothered to engage with the CD in any meaningful way, but it did help prepare them for the soundscape they would encounter. The narrative came alive with the dramatic interpretation on stage and of course, the enormous impact of live voice and orchestra.

We probably all agree that teaching children about drama and music is not only about turning them into actors or violinists – we just understand the value of artistic expression to other aspects of their lives. What we do need to do more as a nation is teach our young people to be audiences; to experience live performance in theatres and not just through their phone screens. One of the most remarkable results of the project was the way in which the young men in particular were utterly blindsided by the emotional impact of the operas they saw. They literally believed it was impossible to be touched so deeply by artistic performance and it has released a desire in them to explore further. I would argue that of all performance art, opera is the best at doing this.

Today, opera production is immensely theatrical, a far cry from the old stereotype of ‘stand and deliver’. Exposing your students

Students from Archbishop Tenison’s School take a look around the Royal Opera House

6 www.teaching-drama.co.ukTeachers’ Guide to Performing Arts Trips 2018–19 www.teaching-drama.co.uk

Michael Volpe is the general director and founder of Opera Holland Park. He tells us about his experience of getting young people to engage with opera

Making opera pop

TGPAT1819_006-007_Hip Hop to Opera_CB [SL Proof].indd 6 04/10/2018 07:37:35

spectacle. The astonishing shift in how they perceived themselves and their ability to explore new horizons – both culturally and otherwise – is perhaps the project’s greatest achievement.

I have always believed that our education system, including its cultural element, makes assumptions and allowances for what we believe young people – of any background – are capable of assimilating. This can lead to fairly conservative choices on their behalf, or we buy into adapted versions of art forms (say, a ‘hip hop ’) because we believe that students will better appreciate it if there is a smack of familiarity about it. The truth, in my experience, is the opposite – we must startle them and throw them headlong into extraordinary cultural experiences, regardless of period, idiom or origin. The further from their familiar cultural experience, the better, and Hip Hop to Opera was a perfect illustration of this. Further evidence of the concept was our schools’ matinee this year, when 1,000 children aged from seven to fourteen saw a full performance of La traviata at OHP. No allowances were made – just a fully rendered performance of a spectacular and highly acclaimed production in the original Italian. The deafening ovation and screams of approval at the end was, without question, the most febrile curtain call we had ever experienced – a short film of the day can also be found online.

The process followed in Hip Hop to Opera was a simple one. We furnished the students

with CDs, talked about the opera’s story in simple terms and then plonked them in the stalls at the ROH. I knew that few of them had bothered to engage with the CD in any meaningful way, but it did help prepare them for the soundscape they would encounter. The narrative came alive with the dramatic interpretation on stage and of course, the enormous impact of live voice and orchestra.

We probably all agree that teaching children about drama and music is not only about turning them into actors or violinists – we just understand the value of artistic expression to other aspects of their lives. What we do need to do more as a nation is teach our young people to be audiences; to experience live performance in theatres and not just through their phone screens. One of the most remarkable results of the project was the way in which the young men in particular were utterly blindsided by the emotional impact of the operas they saw. They literally believed it was impossible to be touched so deeply by artistic performance and it has released a desire in them to explore further. I would argue that of all performance art, opera is the best at doing this.

Today, opera production is immensely theatrical, a far cry from the old stereotype of ‘stand and deliver’. Exposing your students

to it is easier than ever too, with all major opera companies running extensive outreach and education projects and schools’ matinees such as the one we had this year. Contact any of the major companies around the country, including ours, and they will no doubt welcome you onto their schemes, or allow you to bring groups to dress rehearsals. There are usually resource packs available to support the visits and in any case it is easy to gather

information quickly. Most major works are on all the streaming platforms so sampling it is simple too. I would propose you take them to a late 19th century piece; a Puccini, Verdi or Tchaikovsky for example, where literary sources are familiar, stories are ripe and profound and the music is glorious. Whatever you do, challenge them. Make the extraordinary ordinary – don’t mystify it, just take them. I guarantee the effect will be unlike anything else you have seen.

Opera Holland Park will be holding another schools’ matinee next summer and you can contact our Inspire coordinator Lucy Curtis if you would like to be involved. But before that, why not explore Carmen, La traviata, The Queen of Spades, or Kat’a Kabanova, all at the ROH this autumn and winter and each one a monumental work of huge emotionality and tension. All will be in their original languages but surtitles will be available.

Laima A

rlauskaite

Students from Archbishop Tenison’s School take a look around the Royal Opera House

www.teaching-drama.co.uk 7Teachers’ Guide to Performing Arts Trips 2018–19www.teaching-drama.co.uk

Links f BBC Arts programme

youtu.be/coz6CUlXi38 f Follow-up film from OHP festival

youtu.be/T0tYb56Fjbk f OHP’s La Traviata

youtu.be/goRW0kK4x6Q

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The issue of representation on British stages has long been a topic of discussion, with diversity being touted

as the buzzword du jour. Yet often, theatre companies and venues struggle to properly engage audiences of different cultural backgrounds.

In their diversity report for 2016-17, Arts Council England acknowledges that ‘those most actively involved tend to be from the most privileged groups; engagement is heavily in� uenced by levels of education, socio-economic background and where people live’, and that Black, minority ethnic people are consistently under-represented in audiences. But what happens when theatre � nally showcases black stories onstage? Do the same audience dynamics still apply?

Taking noticeWhen the National Theatre presented Inua Elams’ Barber Shop Chronicles (BSC), they could not have predicted its immense success. The play itself – an exploration of black masculinity and African diaspora, set in barber shops across Africa and London – saw the characters working through their personal struggles as they tended to their hairlines.

After a sold-out � rst run, it returned to the Lyttleton before going on tour in Australia. But it didn’t stop there – Fuel Theatre, the team behind BSC, announced earlier this year that the show would be touring North America and Canada in the autumn. The success of BSC

proved that there is a fervent appetite for black stories told by black writers, on both British and international stages. However, when producer Tobi Kyeremateng saw the show for the � rst time, she didn’t see the diversity onstage re� ected in the audience. ‘I got bored of looking around spaces and thinking, this could have been so different, and then not really knowing what to do with that,’ she tells me.

Instead of letting this observation pass her by, she decided to take matters into her own hands: ‘I sent out a tweet out asking if people knew any young black men who would want to see something like this, and people got back to me. We managed to pay for about thirty tickets.’

Making a changeWhen Natasha Gordon’s Nine Night, a play about the traditional rituals followed by a

Jamaican family after a funeral came around, Kyeremateng and her business partner Damilola Odelola contacted the educational department at the National and launched a crowd funder in order to formalise the idea. Once they set up their crowd funder, naming it the Black Ticket Project (BTP), they realised that they had struck a chord with the initiative and donations soon overtook the initial £200 target.

‘The change was tangible. People knew that they could give a little now and in few months this plan would happen. I think that’s what encouraged people to donate, otherwise it feels like you’re waiting for these subtle changes which won’t happen for a long time. I had no idea it would do so well!’

‘Well’ is an understatement – the BTP raised over £3,000, which paid for 170 young black people to see . An of� cial website for the BTP was created, with members of the public invited to become a patron, pledging monthly.

‘In the climate that we are in right now, where a lot of black artists are being given the space and the agency, it’s important that young people see that and know that it exists,’ says Kyeremateng. ‘Whatever comes out of that is their prerogative. I just want to add something to their cultural palette.’

So far the team have taken young people to see three plays, including the revival of Winsome Pinnock’s at the Bush Theatre, with plans to see various productions this autumn, including Debris Stevenson’s Poet in Da Corner


Ana Peralta takes a look at the Black Ticket Project, a new initiative that is helping young black people to engage with theatre, and what it could mean for planning trips

Audience reflection

Sam Conley

The Black Ticket Project’s fundraiser raised 150% of its original target

A production of was the catalyst for the Black Ticket Project

TGPAT1819_008-009_Black Ticket project [APPROVED].indd 8 04/10/2018 07:39:39

proved that there is a fervent appetite for black stories told by black writers, on both British and international stages. However, when producer Tobi Kyeremateng saw the show for the first time, she didn’t see the diversity onstage reflected in the audience. ‘I got bored of looking around spaces and thinking, this could have been so different, and then not really knowing what to do with that,’ she tells me.

Instead of letting this observation pass her by, she decided to take matters into her own hands‘I sent out a tweet out asking if people knew any young black men who would want to see something like this, and people got back to me. We managed to pay for about thirty tickets.’

Jamaican family after a funeral came around, Kyeremateng and her business partner Damilola Odelola contacted the educational department at the National and launched a crowd funder in order to formalise the idea. Once they set up their crowd funder, naming it the Black Ticket Project (BTP), they realised that they had struck a chord with the initiative and donations soon overtook the initial £200 target.

‘The change was tangible. People knew that they could give a little now and in few months this plan would happen. I think that’s what encouraged people to donate, otherwise it feels like you’re waiting for these subtle changes which won’t happen for a long time. I had no idea it would do so well!’

‘Well’ is an understatement – the BTP raised over £3,000, which paid for 170 young black people to see Nine Night. An official website for the BTP was created, with members of the public invited to become a patron, pledging monthly.

‘In the climate that we are in right now, where a lot of black artists are being given the space and the agency, it’s important that young people see that and know that it exists,’ says Kyeremateng. ‘Whatever comes out of that is their prerogative. I just want to add something to their cultural palette.’

So far the team have taken young people to see three plays, including the revival of Winsome Pinnock’s Leave Taking at the Bush Theatre, with plans to see various productions this autumn, including Debris Stevenson’s Poet in Da Corner at the Royal Court Theatre. Tobi and

her team estimate that this year alone, they will have taken over 1,000 young black people to the theatre, with the overall goal of encouraging the participants to envision theatre as part of their everyday cultural experience.

‘The ideal should be that these organisations are building relationships with these young people, so they seek out these experiences on their own. What I don’t want to hear from theatres is “Oh, this show isn’t selling well, let’s get this group in”. If that’s how they’re being considered before they even come into the building, they will feel like an afterthought once they’re there. It’s about curating the entire experience so that they feel wanted.’

Stepping upThe BTP proves that theatres and venues do have the infrastructure to connect with minority communities in a way that encourages them to expand their cultural horizons and invest in attending the theatre. Kyeremateng sees education as a way to bridge the gap between the types of audiences who attend these shows: ‘The kind of work that young people are exposed to in schools is really important. Schools need to utilise any alumni or organisations who are willing to come in and talk to the young people to make them aware of other roles in the arts like production, technical and so on, because they might not be aware of those opportunities.’

With government cuts threatening to push out more and more arts-based subjects for GCSEs and A-levels, it seems that communities will increasingly rely on organisations like the BTP to do the groundwork in encouraging young people to become involved in the arts. As well as the cultural importance of allowing working-class black youth to exist in predominantly white middle-class spaces, the initiative allows for a more recreational approach to the arts, one that comes without the pressures of academic expectations. If theatres want to expand their audiences they are going to have to take a leaf out of the BTP’s book with a more grassroots and personable approach.

For more information on the Black Ticket Project, visit their newly launched website: www.patreon.com/blackticketproject


Sam Conley

Marc Brenner

A production of Barber Shop Chronicles was the catalyst for the Black Ticket Project

TGPAT1819_008-009_Black Ticket project [APPROVED].indd 9 04/10/2018 07:39:56

High House Production Park (HHPP) is located near Pur� eet, and is home to a collaboration between Creative

and Cultural Skills, a consortium of industry professionals offering specialist training in technical skills under the banner The Backstage Centre; Royal Opera House (ROH); South Essex College; Thurrock Council; and ACME studios, who support up and coming artists with affordable studio space. These partnerships work together to offer opportunities to young people to develop arts skills and experiences both on- and offsite.

The park is a 14-acre site that contains heritage buildings, state-of-the-art rehearsal and performance spaces, and a public park. Initially completed in 2010, it saw the addition of the ACME studios in 2013 and the ROH costume archive in 2015. Its purpose, stated on its website, is ‘to support an international centre of excellence for creative industries in Thurrock that will inspire a new generation.’

Creative and Cultural Skills and The Backstage CentreThe website for Creative and Cultural skills is a gold mine for a Performing Arts teacher. Packed with careers advice for young people, information about the industry, and real-life opportunities for young people to get involved with, it should be a regular destination for school drama and music departments, and for careers advisers as well. Opportunities advertised on the website appear to be country-wide, along with

some overseas training openings.Building on this resource, the Backstage

Centre offers ‘a dedicated meeting point for technicians, producers, creative teams and learners of all ages. We offer space to train and learn at every stage of your career, whether you’re a world-renowned international artist or a young person taking your � rst career steps.’ There is a youth group based at the centre who meet monthly from 5pm until 8pm to take part in backstage and technical masterclasses. These young people, aged 14 to 25, get opportunities to work alongside industry professionals in some of the most up-to-date venues in this country. In addition to this, the Backstage Centre also offers a number of work experience placements each year.

Schools and colleges close to Pur� eet should certainly investigate the many opportunities available for teenagers and young people at the Backstage Centre.

South Essex College of Further and Higher EducationSouth Essex College is one of the largest providers of skills training in South Essex and has over 7,500 full-time students. In 2014, it opened a new Thurrock-based campus with specialist workshops and studio spaces designed with industry training in mind. The new BA in Costume Construction was launched here in collaboration with the ROH. South Essex College offers over 40 apprenticeships and many vocational courses alongside its traditional A-levels, making it easier for young people to � nd a pathway to suit them and also to equip young people with the skills required by the industry and local businesses.

Royal Opera House and ROH BridgeSince 2011, all the sets and scenery for every performance on the ROH stage have been built and painted in the Bob and Tamar Manoukian production workshop at the HHPP. At the same time, the ROH’s learning and participation team moved onsite and expanded the programme of work in schools and the local community that � rst began in 2007. The Royal Opera House Thurrock Community Chorus now has 140 members, and its youth vocal group, RM19, is now established for 11 to 25 year-olds.

The ROH has now been working at the Pur� eet site for over ten years and during that time has offered a wide variety of activities for young people to get involved with, including a free screening of in the orchard at HHPP which was attended by roughly 600 people, a community day of activities, and workshops with scenic artists.

The ROH Bridge scheme works to ‘connect children and young people with great art and culture.’ Its mission goes on to say that: ‘Through research, advocacy and co-investment we nurture networks, share learning and foster innovation within the education, arts and culture sector – particularly in communities where there is limited local provision or experience.’ ROH Bridge is funded by Arts Council England and is part of a national network of ten ‘bridge’ organisations.

One example of the work that the Bridge scheme has facilitated is some linked work between local schools, engaging students with

The walled garden at High House Production Park


Lucy Rix tells us a little bit about the range of work being done at High House Production Park, and why it’s worth going to visit

A creative home

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some overseas training openings.Building on this resource, the Backstage

Centre offers ‘a dedicated meeting point for technicians, producers, creative teams and learners of all ages. We offer space to train and learn at every stage of your career, whether you’re a world-renowned international artist or a young person taking your first career steps.’ There is a youth group based at the centre who meet monthly from 5pm until 8pm to take part in backstage and technical masterclasses. These young people, aged 14 to 25, get opportunities to work alongside industry professionals in some of the most up-to-date venues in this country. In addition to this, the Backstage Centre also offers a number of work experience placements each year.

Schools and colleges close to Purfleet should certainly investigate the many opportunities available for teenagers and young people at the Backstage Centre.

South Essex College of Further and Higher EducationSouth Essex College is one of the largest providers of skills training in South Essex and has over 7,500 full-time students. In 2014, it opened a new Thurrock-based campus with specialist workshops and studio spaces designed with industry training in mind. The new BA in Costume Construction was launched here in collaboration with the ROH. South Essex College offers over 40 apprenticeships and many vocational courses alongside its traditional A-levels, making it easier for young people to find a pathway to suit them and also to equip young people with the skills required by the industry and local businesses.

Royal Opera House and ROH BridgeSince 2011, all the sets and scenery for every performance on the ROH stage have been built and painted in the Bob and Tamar Manoukian production workshop at the HHPP. At the same time, the ROH’s learning and participation team moved onsite and expanded the programme of work in schools and the local community that first began in 2007. The Royal Opera House Thurrock Community Chorus now has 140 members, and its youth vocal group, RM19, is now established for 11 to 25 year-olds.

The ROH has now been working at the Purfleet site for over ten years and during that time has offered a wide variety of activities for young people to get involved with, including a free screening of Turandot in the orchard at HHPP which was attended by roughly 600 people, a community day of activities, and workshops with scenic artists.

The ROH Bridge scheme works to ‘connect children and young people with great art and culture.’ Its mission goes on to say that: ‘Through research, advocacy and co-investment we nurture networks, share learning and foster innovation within the education, arts and culture sector – particularly in communities where there is limited local provision or experience.’ ROH Bridge is funded by Arts Council England and is part of a national network of ten ‘bridge’ organisations.

One example of the work that the Bridge scheme has facilitated is some linked work between local schools, engaging students with

SEN/D in the arts by having schools visit each other on a weekly basis to develop a living piece of art.

Tours are available for schools groups to the costume buildings on a number of Fridays between September and November. The tour is a behind-the-scenes experience that allows visitors to discover how a designer’s dreams and ideas become reality by exploring some of the 2,000 costumes housed at the Bob and Tamar Manoukian production workshop and costume centre. The tour takes an hour and fifteen minutes and would be an ideal visit for budding designers, technicians and stage managers. See here to book: roh.org.uk/tours/thurrock-tour

KinetikaAnother company based at HHPP are Kinetika. This internationally-renowned company has a 20-year track record of combining world-class design with community projects to produce spectacular outdoor events that engage diverse audiences. Much of its work is done alongside Thurrock Council to produce community events that involve young people and families. Recent projects in the local area have been: Thurrock 100 recipes, a project involving local walks, stories and a dance project; processional art work and mass movement projects; and a collaboration with the Royal Shakespeare Company for Midsummer Dance Party, which involved a core group of local 13- to 16-year-olds as dancers to lead a mass movement finale.

Kinetika joined the creative community at HHPP to enable it to contribute to the wider programme of cultural engagement being developed by the companies based at the park. The long term goal is for young people to be able to get hands-on experience in the outdoor arts and to be able to work alongside professional arts practitioners.

High House Production Park feels like a really exciting place to be both as an industry specialist and as a visitor. Where else can you see the work that goes on to create fantastic and successful art, yet also be encouraged to take part or to ask questions? It’s a bubble that’s worth being inside if you really want a glimpse of a creative community.

The walled garden at High House Production Park


hhpp.org.uk

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© M

att Crockett

© D

arren Bell

Was the Wicked Witch of the West really wicked, or was she the innocent victim of a corrupt regime?

Based on the acclaimed novel by Gregory Maguire that reimagines the stories and characters created by L. Frank Baum in The Wonderful Wizard of Oz, Wicked tells the incredible untold story of an unlikely but profound friendship between two sorcery students.

Voted Best Theatre Production for Schools by teachers at the School Travel Awards two years running, Wicked’s topical story of friendship, acceptance, integrity, peer pressure and propaganda is appropriate for PSHE and citizenship teaching and whole-school anti-bullying strategies.

Highly pertinent for all students studying BTEC Nationals in performing arts, as well as a wealth of other subjects, the song ‘Defying Gravity’ is now a set work for the Edexcel GCSE music qualification.

The inspiration for the novel came from the stories and characters created by L. Frank Baum in The Wonderful Wizard of Oz (first published in 1900), which was the first of 14

‘Oz’ books written for children by Baum and illustrated by W. W. Denslow.

Baum’s story continues to inspire writers and designers and has provided the source material for countless films, television shows, stage productions, books, music, comics and video games. Most famously, the story was adapted into the Oscar-winning 1939 musical film The Wizard of Oz starring Judy Garland.

Wicked is often described as a ‘prequel’ of The Wizard of Oz, although Gregory Maguire describes his novel as ‘a reimagining of the same world’.

To discover Wicked, explore resources, and find out about the official Wicked workshop programme, visit www.wickedthemusical.co.uk/education.

12 www.teaching-drama.co.ukTeachers’ Guide to Performing Arts Trips 2018–19

Wicked

TGPAT1819_012_Wicked advertorial [APPROVED].indd 12 04/10/2018 07:42:57

“With a plot that explores acceptance and difference, Wicked delivers everything you need to inspire any student.”

Director of Performing Arts, Churchill Academy and Sixth Form, North Somerset

©WLPL

THE UNTOLD STORY OF THE WITCHES OF OZ

APOLLO VICTORIA THEATRE • LONDON

@WickedEdu • #WickedUK

Discover more at WickedTheMusical.co.uk/education

EDUCATION RESOURCES AND WORKSHOPS AVAILABLE

WKD275_Teachers_Guide_A5_AW.indd 1 03/10/2018 16:54TGPAT1819.indd 13 04/10/2018 16:20:30

The Woman in Black is a gripping exploration of terror, ‘a masterpiece’ (The Guardian) that’s been thrilling audiences of all ages with its unique blend of suspense, drama and bold stagecraft.

Now celebrating nearly three decades in the West End, The Woman in Black is ‘a marvellous exercise in tension, spun from ‘perfectly paced storytelling’ (The Independent) that has enthralled millions of people since its debut.

Feel the power of The Woman in Black for yourself and experience the ‘most brilliantly effective spine-chiller you will ever encounter’ (The Daily Telegraph).

Suitable for KS3 and above, with strong curriculum links to English, drama and theatre studies, The Woman in Black offers an opportunity to study a wide range of literary and dramatic skills, including the creation of tension and atmosphere, storytelling, the development of character, and mime.

The official Woman in Black education pack featuring a range of cross-curricular resources and lesson ideas is available to download from www.thewomaninblack.com/education. Workshops are also available to book, which take your group into the Fortune Theatre and on to the actual set to explore and experience what makes this ghostly tale one of the most successful West End shows ever.

PW Productions and the cast of The Woman in Black are pleased to offer a Q&A session for 20

minutes after the show for schools and groups. Covering any aspects of the production, and with face-to-face time with members of the cast or crew, the Q&A session helps to deepen understanding of the narrative and dramatic tools used to create the stage play. For further details and to arrange a session please contact Jon Huyton on 07971 078411.

Ten+ school group rate: best available seats £21.50, valid for certain performances. One teacher per group of ten goes free. Currently booking until July 2019.

The Woman in Black

© M

att Crockett

To book group tickets call 020 7206 1174; www.thewomaninblack.com.

14 www.teaching-drama.co.ukTeachers’ Guide to Performing Arts Trips 2018–19

TGPAT1819_014_Woman in Black advertorial [APPROVED].indd 14 04/10/2018 16:35:31

ADAPTED BY

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FORTUNE THEATRE COVENT GARDEN, LONDON WC2*Subject to availability. Restrictions apply.

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BRAND NEW GCSE AND A-LEVEL WORKSHOPS - LED BY THEATRE PROFESSIONALS.

Visit our website for more information.

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Performance Facilities for Education, Leisure, Theatre and Television

Tracks - Curtains - Lighting - Sound - Projection - Seating - Staging - Rigging

ASG specialise in the design, supply, installation and maintenance of a variety of Performing Arts Facilities & Audio-visual equipment.

Tel: (01942) 718347Web: www.asgstage.co.uk E-mail: [email protected]

ASG STAGE PRODUCTS LIMITED, Redgate Road, South Lancs Industrial Estate Ashton-in-Makerfield, Lancashire, WN4 8DT, UK

Visit us at www.asgstage.co.uk. Follow us on Twitter @ASG_Stage. Or call us on 01942 718347

TGPAT1819.indd 16 04/10/2018 16:20:31

Designing music and drama spaces for education that exceed expectations without exceeding budgets.(Left) Menuhin Hall, Yehudi Menuhin School, Surrey. Burrell Foley Fischer Architects. Photo: Dennis Gilbert(Right) The Egg Children’s Theatre, Bath. Haworth Tompkins Architects. Photo: Philip Vile

2 St. George’s Court, 131 Putney Bridge Road. London SW15 2PATel +44 (0) 208 877 5860 / [email protected]

www.ampcstudio.com / www.soundspacedesign.co.uk

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TGPAT1819.indd 17 04/10/2018 16:20:33

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Created by practising music teachers and consultants for Music Teacher magazine, our extensive archive of teaching materials will save you time and keep your teaching fresh, offering practical teaching tips, useful background information, assignment ideas and live links to YouTube clips and helpful websites.

Materials include schemes of work, teacher development suggestions, wider skills advice and revision materials. PLUS, we’ll be adding 20 new sets of materials a month!

Music Teacher July 2016

1

KS5KS4

John Kelleher

is a freelance

education consultant

specialising in

music and music

technology. He

currently works

with Music Mark,

Musical Futures

and a number of

other organisations.

Before moving into

consultancy work,

John was part of the

senior leadership

team and director of

music at a London

secondary school.

Context in the new GCSEs

by John Kelleher

INTRODUCTION

At first glance, the new GCSE specifications bear a striking resemblance to their predecessors. Performing,

composing and listening. It’s a structure that teachers have been familiar with since (at least) the introduction

of the National Curriculum in the 1980s. As a result, much of the focus of online discussion about these

specifications has focused on the set works that are (or are not) offered by each board. That’s entirely

understandable. Set works are one of the easiest ways to differentiate between the specifications.

Underpinning the reforms, however, has been a more fundamental shift in the structure of all GCSEs in music.

The number of assessment objectives has risen from three to four.

Such a fundamental change in the framework of the qualification has seen an inevitable change in the structure

of each specification, and has a direct implication on what teachers will need to deliver in GCSE lessons.

This resource will help you to understand how the assessment objectives have changed, and will provide you

with strategies that you can use to deliver the increased focus on musical context that results.

WHAT ARE ASSESSMENT OBJECTIVES?

The term ‘assessment objective’ is one frequently discussed in teaching circles. Surprisingly, however, I rarely

hear the term mentioned in music teaching circles. When I was a religious studies teacher, these two words

were spoken on a near-daily basis. In music, however, I can count the mentions on one hand.

There is, perhaps, a simple explanation for this. The assessment objectives in music have traditionally aligned

with the trinity of musical disciplines – performing, composing and listening.

In the outgoing GCSEs, the assessment objectives are:

� Assessment Objective 1: Performing skills – performing/realising with technical control, expression and

interpretation.

� Assessment Objective 2: Composing skills – creating and developing musical ideas with technical control

and coherence.

� Assessment Objective 3: Listening and appraising skills – analysing and evaluating music using musical

terminology.

In short, performing, composing and listening.

Not only do these three assessment objectives fit in nicely with our traditional division of musical activities, but

they also align very clearly with the examination system that we are accustomed to. With a few exceptions,

each assessment objective has been assessed through a dedicated element of the course: performing

coursework, composing coursework and a listening exam.

In the new GCSEs, however, the assessment objectives have changed:

� Assessment Objective 1: Perform with technical control, expression and interpretation.

� Assessment Objective 2: Compose and develop musical ideas with technical control and coherence.

� Assessment Objective 3: Demonstrate and apply musical knowledge.

� Assessment Objective 4: Use appraising skills to make evaluative and critical judgements about music.

On occasion,

the assessment

objectives have

been assessed

holistically. An

example of this

is the ‘Integrated

Assignment’

from AQA’s old

specification.

8


MUSIC THEORYWe all know that music theory is important, but getting the balance right between making music and learning

about how it works can be a difficult balancing act. Again, this is an area that might be more important for some

students than others, although making that decision can be difficult to gauge! Much music theory can be learnt

through doing music, but to get a coherent understanding of how the system works, it is sometimes necessary

to put the instrument down and pick up a pencil and paper.One way to address this issue is to ‘subcontract’ it to a virtual external provider. In this example, the external

provider is an online facility: musictheory.net. Many music teachers will be aware of this website, which provides

an engaging, step-by-step overview of our music theory system, complete with tests for self assessment. The

site’s producers have now taken this one step further by designing a couple of low-cost apps for mobile

devices. This is a great way for students to learn, as we know the ‘little and often’ approach to learning music

theory works well. Theory lessons is an enhanced offline version of their animated lessons, and

Theory lessons is an enhanced offline version of their animated lessons, and

Theory lessons

Tenuto is an Tenuto is an Tenuto

offline version of the associated tests.

FIRING THE IMAGINATIONIt is well known that many composers, like writers and artists, keep notebooks of ideas that they can collect

on the hoof for use at a later date. So when the time comes to compose, rather than staring at a blank sheet of

paper, they have some ideas they can start to work on.Compiling a few imaginary pages from a composer’s notebook can be a great source of stimulus for your

students’ holiday composing assignments. There is also an element of puzzle-solving to this approach, which

may well appeal to students. Devise a few ideas from scratch, or compile them from existing pieces.Here are two ideas to get you started. The first features some extracts and ideas from the second movement of

Vaughan Williams’s Sea Symphony. It includes an evocative picture, some lines of relevant poetry (also used

in the original), some listening suggestions and a musical extract.

July 2016

three assessment objectives fit in nicely with our traditional division of musical activities, but

they also align very clearly with the examination system that we are accustomed to. With a few exceptions,

each assessment objective has been assessed through a dedicated element of the course: performing

4


� ‘This is the theme tune from the video game Battlefield 2. Write a paragraph, using sentences, explaining

how the music conveys the scene of a battlefield. You may wish to refer to instruments, rhythm, melody,

texture, tempo and any other features that are relevant to the context of the question.’ – 9 marks

PLANNING FOR AO4When planning how you will deliver the teaching of Assessment Objective 4, it’s wise to take a ‘walk before you

can run’ attitude. As with an AO3 question, AO4 responses require that students know and understand musical

terminology. The differentiator between AO3 and AO4 is that the latter expects pupils to apply this knowledge

and understanding in an evaluative and critical manner.Whereas an AO3 question might ask the candidate to identify a rhythmic device, an AO4 question would ask

them to evaluate the effectiveness of its use. An AO3 question could ask candidates to provide an Italian term

for tempo, but an AO4 question would ask them to compare this to the tempo of another piece.In short, AO4 questions require candidates to demonstrate knowledge and then use that knowledge. It is use that knowledge. It is use

therefore critical that students have a secure foundation of musical knowledge and terminology before they are

expected to evaluate music. The old joke about tomatoes provides a useful point of comparison:‘Knowledge is knowing that a tomato is a fruit. Wisdom is not putting one in a fruit salad.’To put this into the language of Ofqual:

‘AO3 is knowing that a tomato is a fruit. AO4 is not putting one in a fruit salad.’Your planning, therefore, should make sure that pupils know the language first. Once this milestone is achieved,

you can start to frame that knowledge in the context of AO4.

AO3 in lessons, AO4 in homework

One option for the delivery of AO4 content is to keep AO3 knowledge as lesson content and to treat AO4

as the basis for homework activities. This is effective because it allows you to make use of simple formative

assessment strategies to ascertain whether or not the AO3 knowledge is secure. It also allows you to focus on

keeping your limited curriculum time focused on music making rather than written activities.Since the AO4 questions necessitate that candidates possess knowledge, homework will quickly reveal whether

or not they understood the content of the lesson. An AO4 question about dynamics answered with reference

to tempo demonstrates a clear lack of AO3 knowledge. Such an outcome would allow you to focus on the

candidate’s most pressing need (to learn the definition and examples of dynamics) rather than overburdening

them with reference to the evaluative process.

It makes a lot of sense, therefore, to spend your lesson time workshopping various contrasting interpretations

of any given piece in the lesson with a focus on AO3 knowledge. A lesson focusing on articulation, for example,

could see the candidates perform ‘Defying Gravity’ from Wicked in the following ways:Wicked in the following ways:Wicked� relentless staccato

� relentless legato� contrasting staccato and legato sections� contrasting staccato and legato within phrases

A full lesson spent on these various approaches would, hopefully, leave students entirely sure of the definition

of these two musical terms. This could then be followed up with an AO4 homework that asks:� ‘Explain how articulation changed the atmosphere of our performance of “Defying Gravity”.’ – 4 marks

Music Teacher

Vaughan Williams’s in the original), some listening suggestions and a musical extract.


1

KS5KS3/4/5

David Ashworth

is a freelance

education

consultant,

specialising in music

technology. He is

project leader for

www.teachingmusic.

org.uk and he has

been involved at a

national level in most

of the major music

initiatives in recent

years.

Making music during the holidays

by David Ashworth

INTRODUCTION

Setting work for students during holidays can be challenging. They will typically not have access to the school’s

musical resources or the support, guidance and encouragement from their teachers. But they often will have

plenty of something else, which is such a precious commodity in all schools – time.

In this resource, we consider some possible activities that can be used by students working away from school

and can easily be adapted and edited to make them appropriate for a wide range of ages and stages.

We begin our resource by asking students to report back on what they did on their holidays – through the

medium of musical sounds. We then move onto ways in which they can tap into their local community through

music making and related activity.

Next, we consider ways in which the internet can be harnessed for music education purposes – from online

tuition courses through to flipped learning strategies in which student becomes teacher. This is followed by an

important set of activities that encourage students to think more deeply about music – an area that is easy to

overlook in our crowded curriculum. Finally, we look at some strategies for preparing for composition.

All these activities can relate to school work that has been covered before the holiday break, or might be

picked up during the course of the next term.

WHAT WE DID ON OUR HOLIDAYS

Or rather, what we heard on our holidays…

A typical holiday activity, especially for primary schools, is to ask students to write about or describe for the

class an interesting holiday experience. With ready access to mobile technologies, some students will use

photographs or short video clips in a presentation, which can be projected onto a screen to share with the

class in a more multimedia fashion.

Students share recollections and images of a holiday experience, but they rarely share the sounds. Why is

this the case? Most will now have ready access to a sound recorder, typically via an app on their phones, but

it has probably never occurred to most students that they can capture some of the distinctive sounds of a

holiday environment and use simple audio editing software to build up sonic collages that can make a musical

statement about a time and place.

Sonic Postcards was a project devised about ten years ago by Sonic Arts Network. Specialist practitioners

would visit schools armed with good-quality microphones and mp3 recorders to help children record the

sounds of their environment and then use the audio editing programme Audacity to make collages of sound.

These musique concrète-style pieces were then uploaded to a website and shared with other schools across

the UK. Visit the Sonic Postcards website for more details.

Ten years later, the technology has moved on, and schools and students will typically have the technology

required on mobile devices running relevant apps. However, most students will still require some guidance into

how to use their collections of sound recordings to make coherent musical statements.

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TGPAT1819.indd 19 04/10/2018 16:20:34

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TEACHERS’ GUIDE TO PERFORMING ARTS TRIPS …...Cover image: Hip Hop to Opera Cover credit: Laima Arlauskaite Matt Crockett 12 14 Teachers’ Guide to Performing Arts Trips 2018–19

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