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School Case Studies: 2006-2011

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School Case Studies: 2006-2011 School case studies: 2006-2011 School case studies: 2006-2011 Creativity, Culture and Education Great North House, Sandyford Road, Newcastle upon Tyne NE1 8ND www.creativitycultureeducation.org Registered charity no.1125841 Registered company no.06600739 July 2012 Contents Introduction 03 Introduction David Parker, Director of Research and Impact – Creativity, Culture and 06 Case Study 1 The Arnold Centre, Rotherham Education (CCE) 14 Case Study 2 Lancasterian Special School, West Didsbury 22 Case Study 3 New Invention Junior School, Willenhall 28 Case Study 4 Minterne Community Junior School, Sittingbourne 36 Case Study 5 Penn Hall Special School, Wolverhampton 44 Case Study 6 McMillan Nursery School, Hull 52 Case Study 7 Prudhoe Community High School, Prudhoe The case studies that follow give an insight into 60 Case Study 8 Our Lady of Victories Catholic Primary School, Keighley Creative Partnerships continues to exert an how Creative Partnerships has had a lasting effect 68 Case Study 9 Fulbridge Primary School, Peterborough influence on education through the shared within schools. Each narrative offers an honest 77 Case Study 10 Thomas Tallis School, Blackheath experience of teachers, creative professionals reflection of where schools are now that the 85 Case Study 11 Accrington Academy, Accrington and young people who participated in the programme and the levels of financial support it programme until it ended in summer 2011. once offered are no longer available. They are While the programme is complete, the stories of adaptation and assimilation and are practice continues to develop in new and testimony to the vision and commitment of education professionals who are driven to help interesting ways. individual learners fulfil their creative potential. A broad range of schools feature here, some of which were showcased in an earlier version of this publication – The Arnold Centre, Lancasterian School and New Invention Junior School have all developed in new and inspiring ways and show how over time teachers take ownership of externally managed programmes and make them their own. In addition a number of schools feature here for the first time, although their association with Creative Partnerships in many cases has been long-standing. Together these schools show how partnerships with creative organisations and individuals can be a catalyst for change, but also point to how much hard work and commitment is required from the school and the staff within it. These are not stories of schools buying in services, but rather tales of long-term partnerships cultivated and nurtured that lead to lasting shifts in practice and educational priorities. 03 Creativity, Culture and Education continues to believe in the power of creativity to change educational practice for the It comes as no surprise to find a broad range of better, but we are themes here. For some schools the development of creative skills in young people was the primary also more conscious stated objective, for others the use of creativity was put to service other needs: reaching out to the than ever before of wider community, building a platform for sustained parental involvement in the life of the school, the effort required by focusing in on a particular subject area within the curriculum, or overhauling the whole of the all the partners curriculum to make every subject area more relevant and exciting to young people. All of these involved to reap the examples and more are set out in the snapshots rewards available. that follow. Creativity, Culture and Education continues to believe in the power of creativity to change educational practice for the better, but we are also more conscious than ever before of the effort required by all the partners involved to reap the rewards available. We hope the case studies here give a flavour of how exciting and far-reaching this creative work has been and illustrate how when programmes end there is no reason why practice should not, despite inevitable new challenges, continue to develop and thrive. 04 05 Case study 1 Arnold Centre Pilot Enquiry School Programme – Why did School Background the school apply in 2007? Arnold Nursery School is a part of The Arnold Prior to involvement with Creative Partnerships for Centre, which provides education and childcare this Enquiry project, the school had occasionally for children from birth to five years. It gained worked with artists on an ad hoc basis, but this was Early Excellence status in 2002 and was the first time it had worked with artists pursuing recognised as a Children’s Centre in 2006. It is some of the aims of their whole school plan. located in a socially and economically deprived Many pupils enter the nursery with low levels of part of Rotherham in South Yorkshire, in the language and communications skills, and many have middle of three council estates. The children’s little experience of the local community or the wider standards when they enter the nursery are well environment, a lack of richness of experience that below average, particularly in language and hampers the development of communication skills. communication. Most of the children come The school therefore prioritises the development of from white British backgrounds, with an language, communication and literacy in its School increasing proportion from Asian backgrounds. Development Plan and this project was specifically A few children are asylum seekers. A high planned to assist this. proportion of children have identified learning The school wanted to develop language skills difficulties or disabilities. through an inspiring exploration of environment ‘What effect does parental involvement have and by bringing in parents, who in this school are often little engaged in their children’s learning. They on a child’s ability to work creatively and how wanted to give families experiences that they would not normally have. It was important to draw in does it impact on levels of communication, parents in ways that they would find non- threatening, and a participative creative project was self-esteem and achievement?’ considered to be perfect for this. The hope was that parents would recognise the value of supporting their children’s learning and continue to be involved with their children and with the nursery after the project finished. 06 07 The project was highly successful in bringing parents into a partnership with their children’s school. It was hoped the project would enable children and scale work in wood in the playground. Although the cogs, clay, and so on. The Creative Agent described Impact on creative providers their parents to create pieces of work together, head teacher and Creative Agent were aware that all these as ‘little nuggets of starting points’. For The four artists involved in this project varied in their drawing language out of the children and drawing this was perhaps a stereotyping of gender interests, her ‘Enquiry projects are all about this: not experience of working in these contexts. For instance, parents into their children’s education and school it was certainly a successful strategy. Fathers who incredible resolutions, but starting the the Creative Agent had worked with Creative experiences. Language skills would be developed would probably not have actively volunteered to questioning.’ Partnerships for several years, and felt that her through planning and discussion and through the come into school were drawn in by the chainsaw, the The nursery head teacher, Margaret Hague, felt that learning curve on this project was not steep, while shared experience of visits to look at sculpture. noise and the scale of the project, and the children creative work is particularly good at engaging one of the other artists involved had to change their loved the spectacle and the play potential of the The enquiry question chosen by the school to parents, simply because it is unthreatening, initially over-ambitious plans and re-gauge the work sawdust. This project also enabled the school to encapsulate this was: enjoyable, relaxing; it made parents want to have a to fit the circumstances. make progress on another of their priorities: to go themselves, and unlike maths or science, no-one ‘What effect does parental involvement have integrate indoor and outdoor spaces, providing the can feel there are right and wrong ways to do it. on a child’s ability to work creatively, and how same quality of learning environments in each space. What made the project so successful? does it impact on levels of communication, The area with the sculpture is now used as a After an initial meticulous planning process the self-esteem and achievement?’ storytelling space and a meeting point, giving the Impact on young people work a lasting legacy. Creative Agent handed most of the responsibility for Most of the children at The Arnold Centre not only the project to the school itself. This was since she felt In the third phase, the artist worked intensively with a arrive with poor language, but often with a paucity of What was the project? it was important that they were in charge of what group of parents and children. In some ways the experience on which to use their language skills. The happened. She thought that schools had become The project had three phases, all exploring work was low key, without large-scale products or project at all stages produced more sophisticated more demanding over the years in what they want sculpture, environment and art, connected through outputs, but the quality of work and of discussion language from the children, developing an ability to out of working with creative practitioners, and that the story of Goldilocks and the Three Bears. The was very high. Carrying on the Goldilocks theme, use mathematical terms related to size and scale, this confidence and equal partnership is an important Goldilocks story proved a valuable linking theme, children and parents made small, medium and large and to discuss their work using creative technical factor in the success of projects.
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