BEYOND THE SCHOOL - DEVELOPING PARTNERSHIPS

Researched and Written by David Watters

never_blend_in@rocketmail.com

“Schools are now able to work in partnership with a wide range of individuals and organisations to enrich provision for creative and cultural education. The benefits of successful partnerships, and the roles of various partners in creative and cultural education, are different but complimentary.” DfEE (1999)
Introduction

The purpose of this paper is to reflect upon the variety of partnerships fostered by Teaching Practice School One (TP1) in order to ascertain the level of impact upon the students‘ development, musical or otherwise, and consider the schools relationship with both the local community and creative connections with visiting musicians.

For students, staff and visiting musicians to obtain maximum benefit, from creative partnerships, a significant amount of planning and co-ordination, between those involved, is necessary. If careful consideration is given to the project aims then the educational, personal and professional rewards, accessed through such endeavours, can be far reaching.
The opportunity for schools to establish cultural links with the community have never been better and Departments of Music are most fortunate of all in that there now exist a multitude of Arts Organisations eager to foster educational attachments. There are mutually beneficial gains to be made for all parties involved in such creative relationships, including the opportunity for artistic, cultural, personal, spiritual and social growth for all who participate.

Relationship with the Local Community TP1 has an extremely inspiring proactive approach to developing community partnerships and, as a Specialist Sports College , have a £2.5 million Leisure Centre for the use of the school and the surrounding community. Students at TP1 work widely with members of the community through a variety of activities including an annual Christmas lunch for Senior Citizens organised and run by the students, a sponsored run each year for local charities and work experience in Year 10 and the Sixth Form. Besides this the school run a wide range of sports and computer courses and a full-time day nursery for local parents to use. In the current prospectus the Head Teacher, at TP1, is keen to emphasise that, “We work closely with our community partners.”

Creative Connections

It is clear that the Head of Music places great value on culturally relevant and curricular related relationships and has organised a variety of workshops including visits from The Bollywood Brass Band, Peter Churchill (Introducing Gospel music) and the local Community Music Service who give students a taste of the different musical instruments they may choose to learn. Organisational Implications

It is important to ensure that teachers involved with Creative Partnerships have the time to organise and participate fully in the activity. Supply cover, to release such teachers for planning and delivery, must be taken into account. Teachers must have full knowledge and understanding about the visiting group, and the workshops that they provide, so that they can share this knowledge with their students. 2

Besides the above, budgeting and time management issues must also be taken into consideration.

One particular implication is the cross-curricular connection which can be considered. There are specific links to Citizenship which further justify the validity of nurturing Creative Partnerships between schools and outside organisations.

Citizenship
Citizenship at KS3 focuses on the “Democratic Community”, with particular emphasis on the rights and responsibilities of individuals and communities where views and desires may compete or conflict. Students learn to develop skills of democratic participation, which are undoubtedly relevant when interacting with external visiting Arts Groups.“This course introduces pupils to key ideas that are central to developing an understanding of what active citizenship is all about. They consider their rights and responsibilities and think about issues of fairness, in the context of the communities to which they belong.” National Curriculum, 2006, Attainment at KS3These concepts are further developed at KS4 where students learn about planning and taking part in a community event. Here students gain an understanding of how to develop successful working relationships with the key partners in their local community.

The National Curriculum for citizenship attainment targets for KS4 specify that ‘pupils learn about fairness, social justice, respect for democracy and diversity at school, local, national and global level through taking part in community activities.’

Academic Investigation Relating to HypothesisOpinion on whether Creative Partnerships offer mutually beneficial rewards is somewhat divided. Although there is a general belief that participants may be enriched, as a result of collaboration, views differ as to the extent.

Estelle Morris MP, Minister for the Arts, determined that ‘The aim of Creative Partnerships is to give children and young people, particularly those living in disadvantaged areas, access to rich and diverse cultural experiences through working directly with artists and other creative professionals.’ Dobson Report , (6 Dec 2004, Column 334W)

In 1999, the DfEE published a Report which strongly advocated Partnerships stating that, ‘Such partnerships enrich and extend the experiences of young people and support teaching and training. In both ways they can help directly to raise standards of achievement.’ (DfEE Publications 1999 p138)

Whilst in agreement with these principles, Julia Winterson made a point in 1999, which is still true today, that ‘visiting musicians can be a welcome and enjoyable diversion from normal school routines and, at times, they can have a profound effect on individual participants, but there is little evidence to suggest that the work helps with the school music curriculum.’ Winterson, J (1999)

Winterson, in her Strategy Study (1999), provided a valuable method for schools and Arts organisations to evaluate the effectiveness of collaboration. (Appendix 1.1A)

Not all Education Departments have something relevant to offer schools and Heads of Music should be informed and discerning before entering into a creative partnership so that the experience can offer more than an “enjoyable diversion.” Departmental budgets are not inexhaustible and should be spent wisely on activities which compliment the curriculum and enhance the musical development of all participants.

In the QCA and Arts Council of England publication From policy to partnership: Developing the Arts in Schools (2000) Felicity Woolf advises on how schools can establish partnerships which meet their own needs. A summary of Woolf’s main points can be found in Appendix 1.1B

Moving onwards, however, it is clear that there now exist a great many companies who are all too aware of the National Curriculum and have engaged the talents of specialist Educational Advisors to ensure that their product delivers all that their customers require.

Royal Opera House Education

One such company is Royal Opera House Education (ROH) which represents the work of The Royal Ballet and The Royal Opera Companies, and the Orchestra of the Royal Opera House.

Their website informs us that:

ROH Education have a training programme which offers teachers methods, exercises and structures that enable them to undertake creative opera projects in their schools.

Through this programme students are taught to write, compose and design their own short original operas. Further to this they will then form opera companies to stage the finished work. While some students play roles within the opera, others take on responsibility for stage management, marketing and front of house. Throughout the process ROH staff support both teachers and students

The expertise of ROH Education is broad and illustrates the interdependency of all factions within the Performing Arts. This knowledge and assistance can be utilised to broaden student understanding that musicians do not work in isolation and that backstage and front of house careers exist which have an equal value.

Through involvement with ROH Education every aspect of the music curriculum, both at GCSE and A Level, is covered; students learn to Listen and Appraise, Compose and to Perform. They have the opportunity to develop these skills and put them into practise in an immediate sense which should enhance all prior and future classroom learning.

More than many other Educational Departments ROH offer projects which are immediately cross-curricular. The courses are relevant to a wide number of subjects. Music and Drama are automatically related but other departments such as Art and Design and Technical Departments may be involved in the design of costume and building of scenery, the English department could participate with the creation of a libretto and Humanities may be useful from a research point of view. The cross-curricular possibilities are infinite as are the rewards for all involved; students, staff, the ROH, parents and the local community.

Conclusion

To conclude, discerning judgement by HoD’s can mean that Creative Partnerships have the potential to provide learners with Knowledge, Skills and Understanding across many areas of the curriculum and enhance the learning experience in a way which inspires and motivates.

Cultural relationships can broaden and enrich the curriculum, which potentially will stimulate pupils’ imaginations and excite their interest in musical development. This type of partnership puts into context the work covered within the music department and may be particularly effective in reaching young people who are often disheartened by more academically based approaches.

All social situations allow for growth and, through interaction with Arts Organisations, the teacher has an opportunity to develop both personally and professionally, learning new skills or building on skills already held. The same can be said of those visiting the school, since the pool of knowledge and experience is contributed to by all participants. Above all, a musical school is a happy school. A high profile music department can have a significant effect on the morale of a school and, ultimately, on the community at large.

1.1 BIBLIOGRAPHY

References
Reading
Everitt, A Joining In; An Investigation into Participatory Music 1997, Calouste Gulbenkian Foundation , UK
Publications
Department for Education and Employment (DfEE) (1999) All our futures: Creativity, Culture and Education. DfEE Publications Dobson Report (2004) Hansard PublicationsWinterson, J The Community Work of Orchestras and Opera Companies; the experiment is over (1999). Professional Integration Project
Woolf, F From policy to partnership: Developing the Arts in Schools (2000) QCA and Arts Council of England

Websites
Arts Council of England – http://www.artscouncil.org.uk/

Bollywood Brass Band – http://www.bollywoodbrassband.co.uk/

CMS (Barking and Dagenham – http://www.barking-dagenham.gov.uk/

DfEE – http://www.dfes.gov.uk/publications/

National Curriculum Online – http://www.nc.uk.net/index.html

Professional Integration Project http://pipdbs.rcm.ac.uk/com.htm

ROH Website, Introduction – http://info.royaloperahouse.org/Education

United Kingdom Parliament Online – http://www.publications.parliament.uk

Further Research

Reading

Brinson, P. (1982) The Arts in Schools: Principles, practice and provision Gulbenkian Foundation. London : Calouste Gulbenkian Foundation

Kushner, S. (1991) The Children’s Music Book. Performing Musicians in Schools London : Calouste Gulbenkian Foundation

Peggie, A. (1997) Musicians go to school. Partnership in the classroom London: London Arts Board/Yamaha-Kemble Music (UK) Ltd
Sharp C. & Dust K. (1990/R1997) Artists in Schools. A handbook for Teachers and Artists London: Bedford Square Press
Websites
City of London Sinfonia – http://www.cityoflondonsinfonia.co.uk/education/London Philharmonic Youth Orchestra – http://www.lpo.co.uk/education/lpyoRoyal Festival Hall – http://www.hayward-gallery.org.uk/main/education

APPENDIX 1.1

1.1A Winterson, J (1999). PIP Questionnaires (Participants, Artists & Teachers)

EVALUATION FORM – PARTICIPANTS 1. Did you enjoy the project? YES / NO 2. Did you learn anything new about any of the following? Please tick. Composing ? Performing (instrumental or vocal) ? Improvising ? Contemporary music ? Other ? Artist’s particular area of expertise ? 3. Did you learn anything new about any other subject? YES / NO If yes, what was it? 4. Did you like the piece that you created? Hated it / It was OK/ Liked it / It was brilliant 5. Did you enjoy creating it? Hated it / It was OK/ Liked it / It was brilliant 6. What was your favourite thing about the project? 7. What was your least favourite thing about the project? 8. Is there anything you would like to change?   THE CONCERT 1. Have you seen an orchestra playing in a concert before? YES / NO 2. Would you like to go to another concert? YES / NO 3. Did you enjoy the concert? Hated it / It was OK/ Liked it / It was brilliant 4. Did you like the sort of music they played? Hated it all/ Hated some of it/ Liked some of it/ Liked all of it 5. Would you like to hear some more music like this? Never/ Maybe/ Yes / Can’t wait 6. Whose pieces did you like best? The orchestra/ Your Group/ Both the same 7. Did composing your own music help you to understand the music that the orchestra played? YES / NO Please use this space to add any further comments about the concert.

1.1A Continued

Winterson, J (1999). PIP Questionnaires (Participants, Artists & Teachers)

EVALUATION FORM – ARTISTS For most questions please tick or underline. If you have time, any additional comments would be very useful.  1. Were you involved in the initial planning of the project? YES / NO Were you able to have regular discussions with the teachers during the project? YES / NO 2. Were working spaces and resources clearly agreed before the project? YES / NO Were the resources adequate? YES / NO 3. Was the level of support from the Festival Administration satisfactory? YES / NO 4. Were the pupils clear about the aims of the project? YES / NO 5. Were the aims related to the school curriculum? YES / NO If YES, which area of the school curriculum? Please underline. Key Stage 1/Key Stage 2/Key Stage 3 GCSE Music/Dance/ Other – please specify. A Level Music/Performing Arts/Dance/Other – please specify BTEC Diploma in Performing Arts/Popular Music/Music Technology 6. Did the pupils develop their skills and understanding in any of the following areas of music? Please tick: Composing/ Performing (instrumental or vocal)/Improvising/Contemporary music/Artist’s particular area of expertise/Other- please specify 7. Did the teachers make you aware of school policies and procedures (e.g. Equal Opportunity Policy, discipline practices, addressing pupils and staff etc) YES / NO 8. Did the teachers give guidance as to the experience and levels of the pupils involved? YES / NO 9. Are any follow-up visits planned? YES / NO 10. Was the eventual outcome the one that was envisaged at the start of the project? YES / NO 11. Was the outcome successful in terms of: the piece created? YES / NO The final performance? YES / NO Did the performance suitably reflect the work of the project? YES / NO 12. What were the aims of the project? Did the project meet all its aims? YES / NO. If no, please give reasons. 13. Did the teachers attend all sessions? YES / NO. If no, please give details. 14. In what ways were you able to work with the teachers in the classroom during the project? 15. In what ways did you facilitate follow-up work between sessions? 16. Has this project influenced your ways of working in other projects either with the Festival or other arts bodies? YES / NO. If yes, please specify. 17. Has this project influenced your work as a composer or performer? YES / NO. If yes, please specify.

1.1A Continued

Winterson, J (1999). PIP Questionnaires (Participants, Artists & Teachers)

EVALUATION FORM – TEACHERS  For most questions please tick or underline. If you have time, any additional comments would be very useful. 1. Were you involved in the initial planning of the project? YES / NO Were you able to have regular discussions with the artists during the project? YES / NO 2. Were working spaces and resources clearly agreed before the project? YES / NO Were the resources adequate? YES / NO 3. Was the level of support from the Festival Administration satisfactory? YES / NO 4. Were the pupils clear about the aims of the project? YES / NO 5. Were the aims related to the school curriculum? YES / NO If YES, which area of the school curriculum? Please underline: Key Stage 1/Key Stage 2/Key Stage 3 GCSE Music/Dance/ Other – please specify. A Level Music/Performing Arts/Dance/Other – please specify. BTEC Diploma in Performing Arts/Popular Music/Music Technology 6. Did the pupils develop their skills and understanding in any of the following areas of music? Please tick: Composing/Performing (instrumental or vocal)/Improvising/Contemporary music/Artist’s particular area of expertise/Other- please specify Did the project help to develop skills and understanding in any/other subject area of the school curriculum? If yes, please specify YES / NO Did the project benefit pupils in any other way? eg. social or communication skills. If yes, please specify. YES / NO Has the project influenced the pupils’ attitude to and engagement with music activities inside and outside the classroom? If yes, please specify. YES / NO 7. Were the artists sensitive to school policies and procedures (e.g. Equal Opportunity Policy, discipline practices, addressing pupils and staff etc.) YES / NO 8. Was the project pitched at a suitable level for the pupils involved? YES / NO Were the artists able to communicate ideas easily to all the pupils? YES / NO 9. Are any follow-up visits planned? YES / NO 10. Was the eventual outcome the one that was envisaged at the start of the project? YES / NO 11. Was the outcome successful in terms of: The piece created? YES / NO The final performance? YES / NO Did the performance suitably reflect the work of the project? YES / NO 12. What were the aims of the project? Did the project meet all its aims? YES / NO. If no, please give reasons. 13. Did the artists attend all sessions as scheduled? YES / NO 14. In what ways were you able to work with the artists in the classroom? 15. In what ways were you able to work on the project between the artists’ visits? 16. Has the project influenced your curriculum planning for the future? YES / NO 17. Has this project influenced your work as a teacher? YES / NO 18. Did the project create any time-tabling problems? YES / NO Could these have been eased by a different schedule? YES / NO. If yes, please specify.

1.1Extract; QCA and Arts Council of England publication From policy to partnership: Developing the Arts in Schools (2000)

Summary of Woolf’s main points:  · How can arts partnerships help? Partnerships with the world of the professional arts and creative industries can contribute to improving standards in the arts through raising expectations and demonstrating excellence. · Partnerships can offer pupils a much greater range and depth of arts experiences than can be provided by the school alone. Specialist venues, such as theatres and art galleries are designed to enable works of art to achieve their greatest possible impact. Young people may be affected positively by the atmosphere of a new environment, and this may help them to increase their understanding and enjoyment of an art form or work of art. Working directly with an artist is likely to give pupils a greater insight into the creative process. Working with an artist can enable teachers to observe their pupils learning, and to gain new insight into pupils’ achievement and potential. Partnerships offer teachers opportunities for professional development, allowing them to update and refresh their skills, knowledge and understanding of the arts.

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