LEARNING THROUGH CULTURE The DfES Museums and Galleries Education Programme: a guide to good practice

LEARNING THROUGH CULTURE The DfES Museums and Galleries Education Programme: a guide to good practice

Researched, written and compiled by: Amanda Clarke Jocelyn Dodd Eilean Hooper-Greenhill Helen O’Riain Llewela Selfridge Frazer Swift ONE GE PA Researched, written and compiled by: Amanda Clarke Jocelyn Dodd Eilean Hooper-Greenhill Helen O’Riain Llewela Selfridge Frazer Swift

Acknowledgements Thank you to all those projects that contributed images and resource material and their time.

Graphic design: Tom Partridge

Commissioned photographs: Janine Wiedel

ISBN 1 898489 24 6 Published by RCMG, February 2002 Copyright DfES DfES publication reference number DfES/0159/2002

Further copies of this publication are available from: Research Centre for Museums and Galleries (RCMG) University of Leicester 105 Princess Road East Leicester LE1 7LG Email: [email protected] Or can be downloaded from www.teachers.net

This publication is also available in large print and computer disc formats on request from RCMG TWO GE PA Contents

Section 5 New Technologies, new challenges 25 Introduction 25 Video 05 25 Interactive smart board 27 Using the web 27 Virtual visits 27 Internet classroom Introduction 4 28 Online resources 28 Video conferencing Section 1 The value of visiting a museum or gallery 29 Email update 5New situation, real objects 30 Difficulties and overcoming them 6 Relevance to and enhancement of the curriculum 30 Developing new skills 01 6 Learning is different in a museum 30 Summary 6 The value of working with an 'expert'! 7 Inclusive Section 6 Entitlement 7 Summary 31 Introduction 31 Open to all Section 2 Learning based on museum collections 06 32 Targeting Education Action Zones 9 Motivating and inspiring 32 Special educational needs 9Developing skills 34 Cultural inclusion 02 9 Increasing knowledge and meaningful 34 Promoting self-worth understanding 10 Using artefacts: Ijeles and headrests Section 7 Professional impact at the Horniman 35 Introduction 10 Promoting access 35 Real partnerships: new relationships 10 Encouraging high standards 07 38 Family and community involvement 11 Long-term value 38 Learning new skills 11 Summary 39 Working through difficulties 40 Summary Section 3 Using museums to deliver and enhance the curriculum 1: Core subjects Section 8 Long-term impact 12 Introduction to core subjects 41 Introduction 12 Inspiring literacy 41 Disseminating good practice 03 16 Hands-on numeracy 08 41 Written into planning 17 Enhancing science 42 Professional development 17 Summary 43 Resources 44 Issues Section 4 Using museums to deliver and enhance the curriculum 2: Non-core subjects and cross-curricular Section 9 Developing effective projects opportunities 45 What is a project? 19 Introduction 45 Developing and testing ideas 19 Focus on specific foundation subjects 09 46 Working in partnership 04 22 Cross-curricular opportunities 46 The project team 23 PSHE and citizenship 47 Planning the project 24 Vocational education 48 Delivering the project 24 Summary 48 Evaluation 50 Where to go next

Appendices

1 List of DfES MGEP Projects

2 Project information, contacts and resources THREE GE PA 3 Glossary

4 Illustrations PAGE FOUR Introduction to initiative, thelargest amountoffundingever awarded their linkswithschools.TheMGEPwasa£3m develop theireducational role, andto strengthen s galleries to enrichtheireducation andsecondly to use oftheopportunitiespresented bymuseumsand objectives thatwere twofold; firstly, to improve pupils’ When theMGEPwaslauncheditunderpinnedby galleries could offer. guidance onhowto usetheresources museumsand was apparent thatmanyschoolswouldwelcome people’s education wasunder-utilised.Similarly it clear thatthesupportmuseumscould give to young ex While itwasrealised thatmanymuseumsoffered quality ofchildren’s learning. museums andgalleries more fully to improve the education andthemuseumsector itselfto use r and Galleries Education Programme (MGEP),in Education andSkills(DfES)launchedtheMuseums Employment (DfEE)nowtheDepartmentfor In 1999theDepartmentfor Education and esponse to aclear desire withingovernment, timulate and encourage museumsandgalleries to

c museum education. ellent education services, somedidnotand itwas including aglossary. the appendices offers otherusefulinformation establishing andmaintaining successful projects and from theMGEP,sectionnineoffers guidance on All oftheexamples insectionsoneto eight are drawn underlying principles can bebuiltonincreative ways. f l l museums andgalleries for genuineandlong-lasting r produced to highlightgoodpractice. Itintends to the participantsofMGEPandithasbeen This guidehasdeveloped outoftheexperiences of f the initialround; thesewere shortinthetimescale About onethird oftheprojects received fundingafter masters to challenging contemporary art. to e r and Citizenship.Itwascomprehensive interms ofthe from core subjectslike Literacy to ArtandDesign diverse intherange ofcurriculumareas itcovered, Key Stages, from early years to post 16.Itwas The programme wasinclusive initsrange across the and galleries andhugeLondonnational museums. museums inrural areas, local authoritymuseums museums, whichincludedtinyvolunteer-run Bradford. TheMGEPinvolved anextensive range of inner-city schoolsinManchester, Leeds,Londonand ov thousands ofschoolchildren geographically spread separate projects givingmuseumexperiences to Running from 1999-2002theprogramme funded65 earning can beachieved. Theguidedoesnottake the earning andto showsomeofthewaysinwhichthis orm ofasetprescriptions; rather it showshow or theirdelivery andmodest inbudget. aise awareness ofthehighpotential thatexists in ange ofmuseumandgallery collections and xhibitions thatwere used,from transport collections

er England,from schoolsinrural Devon to many archives ofthe Second World War, from old T eacher after avisitto WingfieldArts Section 1 potential for meaningful learning. rich anddiverse environments thathave enormous from theMGEPisthatmuseumsandgalleries provide difficulties along theway,overriding conclusion classroom. Although manyprojects experienced some ways ofthinkingcan occur while workingout ofthe w environment isrichanddense;thecollections can wonderful! galleries are fullofpotential for learning. The delightful… but special,partoftheireducation. Museumsand was It getting. e were they All pupilsare entitled to high-qualitymuseumlearningwhat seeing and children the with here being of joy 'The a museumorgallery The value of visiting xperiences thatare recognised asbeinganintegral, ork across the curriculumandopportunitiesfor fresh (Ifat Sultana). was ' re Bradford schooltaking partinthesameproject way of learning. Usually we're stuck in a portacabin a in stuck we're Usually learning. of way year. Too many of our children have never been to a to been never have children our of many Too year. gallery before. The building and the artworks excited artworks the and building The before. gallery them c were first timewere astonished bythegallery itselfand awe. Aclass visitingCartwrightHallinBradford for the t gallery (anewexperience for manychildren andsome The physical experience ofvisitingamuseum or New situation, real objects alled: eachers) created hugeexcitement andconsiderable a good experience I should like to repeat every repeat to like should I experience good a '. (JaneLaw,teacher). Ateacher from another 'wide-eyed' 'wide-eyed' ‘It takes us out of the real world, a different a world, real the of out us takes ‘It when confronted withtheartworks.It ' 01 .'

PAGE FIVE PAGE SIX organically cross-curricula work,someofwhichjust developed There were manyopportunitiesto develop (Rupert Lovesy, CurryRivel School). available inaclassroom. that avisitto amuseumcould bring thatare not Many teachers commented ontheadded dimensions Learning isdifferent inamuseum class teacher). we meaningful waysofmeetingtargets. InLeedschildren done intheclassroom, they provided newand Curriculum, butrather thandelivering whatcould be Many projects were directly focused ontheNational Relevance toandenhancement ofthecurriculum Primary School,WingfieldArts). class teacher explained: Ancient Egyptbutproviding somuchmore. Asthe meeting theobjectives oftheProgramme ofStudyon k through videoconferencing, were able to talk to the the whole college [museum] and saw other things. other saw and [museum] college whole the more specific than a classroom experience. It makes It experience. classroom a than specific more ove see itthrough, somethingofaluxuryin today's it wasto have thetimeto immerse themselves and c solving to observational inquiry,allencouraging self- groups, developing manynewskillsfrom problem- to ro [the National Tramway Museum]… it's all very well very all it's Museum]… Tramway National [the topic several times before and it gave it a totally new totally a it gave it and before times several topic There were strange pictures on the wall and a plaster a and wall the on pictures strange were There eeper ofarchaeology in'AsktheExpert'sessions - so much more sense, for example seeing pilots' seeing example for sense, more much so the learning more meaningful: 1930. Working withreal objectsonreal problems made Arm MuseumaspartoftheirworkonBritain since Children from CurryRivel Schoolvisited theFleet Air intrigued bytheunusualcollections: 'real' thing.AtWingfieldArts,thechildren were Museums offer theopportunityofinteracting withthe in all the strands, a natural thing natural a strands, the all in talking hypothetically but they won’t be able to get a get to able be won’t they but hypothetically talking perspective.' man, a tuning fork and very strange garden tools with tools garden strange very and fork tuning a man, clothes. The children could really feel, touch, see and see touch, feel, really could children The clothes. onfidence andesteem. Manycommented onhowgood true picture. Going there, seeing it all happening, it's happening, all it seeing there, Going picture. true sculptures on the top. I liked seeing the sculptures. the seeing liked I top. the on sculptures compare materials… [They could] problem-solve [the problem-solve could] [They materials… compare far better than anything that could be done in the in done be could that anything than better far

There was a big shower curtain shower big a was There re l ways] clothes were needed for warmth for the pilot the for warmth for needed were clothes ways] classroom.' a website. Children worked individually orin e-play to screen printing;animationto uploading on rc

able to holdoriginalEgyptianartefacts and, ro wded curriculum. : : 'it's been wonderful, not a strain to bring to strain a not wonderful, been 'it's The variety ofexperiences ranged from ' I've worked on the Egyptian the on worked I've ' 'Being able to go to the place the to go to able 'Being 'A visit is so much so is visit 'A ' (Pupilfrom AllSaints '. (DebbieStevens, . 'We went around went 'We .' Museum). Primary SchoolonvisitingtheNationalTramway museum educator r around amuseumwasmadeless threatening bythe In aDerbyschool,theunfamiliarity oftaking aclass Primary School,Devon) since qualifying… I couldn't see how it would work would it how see couldn't I qualifying… since historically, question historically. She brought in the in brought She historically. question historically, eassuring professionalism andexperience ofthe though, how the children could spend a whole day whole a spend could children the how though, artefacts - an elephant skull, a pinnacle (from a roof), a (from pinnacle a skull, elephant an - artefacts there… I wanted to see what would happen though… I though… happen would what see to wanted I there… a child's shoe. We worked in groups. She gave us gave She groups. in worked We shoe. child's a knew Ann (the education officer) would be there… it there… be would officer) education (the Ann knew guidance on how to use them. The relationship with relationship The them. use to how on guidance we appreciated thedifferent professional dimensionsthey had to workwithamuseumeducator andmany F The value ofworking withan'expert'! to c ways thattheclass teacher hadnotpreviously c unusual selection ofobjectsfrom themuseum's educator wentoutinto schools,bringingasmallbut many schoolsare inrural situations,amuseum was a revelation realising there was someone there someone was there realising revelation a was the children was so positive, it was lovely to see, to see, to lovely was it positive, so was children the who could help you. help could who react to their reactions. I was just amazed by the by amazed just was I reactions. their to react onsidered andallowed observation andinquiryskills ollection. Shepresented theobjectsto thechildren in or manyschoolsthiswasthefirst opportunitythey elephant's skull - it's huge and heavy. Also, we had to had we Also, heavy. and huge it's - skull elephant's

be careful, another good learning opportunity. We opportunity. learning good another careful, be be developed: re made new comparisons. We looked at it from different from it at looked We comparisons. new made angles - this is now built into the way we shall look at look shall we way the into built now is this - angles artefacts.' artefacts.'

able to bringto learning. InNorthDevon, where (Theresa Winters, headteacher, Shirwell 'Ann… showed us how to look to how us showed 'Ann… . 'I've not been on a museum trip museum a on been not 'I've . ' (Class teacher from Nightingale biggest part for them [the children] was to be aware be to was children] [the them for part biggest that you could come into a gallery… to see things see to gallery… a into come could you that v able to become fully involved, to shine.Otherprojects we c allowed allchildren, regardless ofability,to museum, ordeveloping workasaresult ofavisit, we c involved inprojects, occasionally workingin Primary, secondary andspecialschoolswere all Inclusive fully engaged. at 9.15amandworkingthrough to theendofday, they amazedtheirco-ordinator byarrivingpromptly in theDulwich Picture Gallery's DoesArtMatter? r who often have violent backgrounds. They are not House Resource Centre are young offenders, boys also became involved. Thestudents atOrchard Disaffected students orthosewithdifficulthistories (Ifat Sultana, class teacher from Bradford). that you can relate to in the museum from India and India from museum the in to relate can you that Pakistan… it makes them feel less alien' alien' less feel them makes it Pakistan… enowned for theirconcentration, butwhile engaged alued andpromoted cultural differences: ontribute insomeway. Infact, manychildren who ollaboration. Manyteachers andmuseumeducators re re

c profoundly aware thatworkingwithina onsidered to have learning difficultieswere 'The ● ● ● ● ● ● can: ● galleries and Museums Summary parents andthewidercommunity and extend opportunitiesfor learning for Open upnewpathwaysto learning for teachers, success Increase self-esteem through achievement and they can achieve non-verbal ways,andto demonstrate what difficult to access ideasandemotionsin Enable thosewhofindclassroom learning schools to solve problems Provide theopportunityto worktogether with unleashing creativity s Provoke alternative waysoflearning through e beyond itbyoffering aholistic learning Enhance theNationalCurriculumandreach objects, sites andactivities Curriculum targets bybasinglearning on Provide unusualwaysofachieving National timulating senses,arousing curiosityand xperience

PAGE SEVEN PAGE EIGHT Fo Manufacturing visited theDeanHeritage Centre inthe w Somewhere motivated bydiscovering howobjects Reading Museum'scollection. e t their workbackinschool.Theirdesignandtechnology their fascination resulted innewattitudestowards t attention spans and needing communication skills. We skills. communication needing and spans attention eacher explained: echnology ofpole lathing,known as'bodging',and Other children were amazedattheageofobjects: and accessible inspiration. the objectsthey hadseenandasource ofcontinuing the wallsofclassroom, asaconstant reminder of them asacreative stimulus backinschool,plastering photographs, word banks,poems,thoughts-andused information aspossible onsite -sketches, visiting CartwrightHallinBradford collected asmuch c the classroom, where theimpactofusingobjects with theobjectswasmuchvalued -but alsobackin immediately onsite where theopportunityto interact thing.' Manywere inspired bytheobjects-both affected bytheopportunityto workwiththe'real infants orsixthformers, allseemto have been Children participatingintheMGEPprojects, whether Motivating andinspiring ways. impressed andaffected students inmanydifferent firsthand hadaprofound effect onlearning and opportunity to see,touch andinteract withobjects shoe; African masksto enormoussculptures! The engines; dresses wornbytheBrontes to anelephant's the MGEP,from originalRomanartefacts to steam e things thatmuseumsandgalleries can offer. An Direct contact withcollections isoneofthespecial 'It can't be that old!' that be can't 'It Child's comment after a visit to the Fleet Air Arm Museum Arm Air Fleet the to visit a after comment Child's 'When Icame awaymybrain wasfullofthings.' museum collections Learning basedon Section 2 xamine athousand-year-old Egyptianartefact from went for a day at the Dean Heritage Centre. When they When Centre. Heritage Dean the at day a for went orked. Agroup ofstudents taking GNVQs in came back they wanted to build a lathe (tones of (tones lathe a build to wanted they back came ould provide inspiration for aterm's work. Oneclass xtremely diverse range ofcollections wasinvolved in re disbelief). They've been in at lunchtime. In terms of terms In lunchtime. at in been They've disbelief). ownership, and taking things home to show the family, the show to home things taking and ownership, it's been very motivating. And this was achieved in one in achieved was this And motivating. very been it's day. Now it's “come on sir, let's get the get let's sir, on “come it's Now day. st

of Dean.They were introduced to the 'We had 12 GNVQ pupils with short with pupils GNVQ 12 had 'We , exclaimed onepupilentrusted to lathe”.’ power of the objects was really significant; for significant; really was objects the of power hstory officer,County Archives, Sandwell). example from one identity card one child found out found child one card identity one from example was illuminating: the opportunityto seeoriginalplanesfrom thatperiod life inWorld War Two from avariety of perspectives, At theFleet AirArmMuseum,where pupilsexplored grounded waysandpreconceptions can bechallenged. c Through engagingwithmuseumcollections children Increasing knowledge andmeaningfulunderstanding links betweenthepast andthepresent. about tinywaists andtinyshoesprovided useful Bronte family. Thesegenerated alot ofdiscussion children were shownthedresses belonging to the inquirey. AttheBronte Parsonage Museumthe listening skills,aswellobservation, deduction and from? -agreat opportunityto develop speakingand it, whatisitusedfor, whousedit,whatisitmade Handling objectsprovokes lots ofquestions: howoldis f objects andusingthedetails discovered to deduce involve peeringclosely orscrutinisingunfamiliar mean seeingfamiliar thingsthrough fresh eyes. Itcan close observation ofartefacts andspecimens.Thiscan Studying museumcollections orworksofartinvolves Developing skills visit isbasedoncareful andrigorous planning. School, Lydney). Thesuccess oftheone-daymuseum unexpectedly close to awartimeconnection: a project ontheHomeFront enabled onechildto get Primary School,Fleet AirArmMuseum).AtSandwell, see it for real, for example the material the aircraft is aircraft the material the example for real, for it see 'Being close up, seeing the techniques involved - as - involved techniques the seeing up, close 'Being that an Asian family had lived in his house during the during house his in lived had family Asian an that acts andconstruct meanings. made from. The children did not believe that they were they that believe not did children The from. made with the embroidery - it encouraged [the pupils] to pupils] [the encouraged it - embroidery the with war. The sense of cultural connection was significant was connection cultural of sense The war. an develop theirunderstanding inspecificand not made out of plastic until they saw the wood and wood the saw they until plastic of out made not analyse what they were looking at. Better than photos than Better at. looking were they what analyse for this Asian child.’ child.’ Asian this for metal or books.' books.' or .' (MichaelaJauncay, class teacher Castle (Andrew Winstanley, Whitecross Secondary (Isobel Coney, artteacher. V&Aproject). 'Real objects are vital. You need to need You vital. are objects 'Real (Maureen Walden, education and 02 'The

PAGE NINE Made in Walsall was one of the Programmes of Study in Promoting access the Walsall Museum’s Entitlement Project. Designed for year-eight history pupils studying the Industrial Learning from objects is stimulating for all children and Revolution, it specifically deals with living and working can be an especially effective way of learning for conditions in the leather industry. 'The children were children who have difficulty accessing information able to touch and handle something old… and they through other sources. Handling and exploring objects would ask questions… They found by investigating that does not require writing skills, and the security of the objects were not what they had thought. They were actually seeing what you are learning about can surprised, their preconceptions were wrong. By promote confidence, allowing less assured children to handling, they found out that things were not as heavy participate. As Jean Whitaker, class teacher at Allerton as they expected... Working with objects leads on to Primary School in Bradford discovered when working on other questions... They loved measuring and Inish Kapoor's sculpture at Cartwright Hall where magnifying. They loved the sights and smells of the old follow-up work was mainly art-based: 'statemented stuff. (Emma Martin, class teacher, Hardon Primary). children often have learning difficulties… this didn’t come out with the artwork… I was really pleased with the work done by a dyslexic boy... it was really mature Using artefacts: Ijeles and headrests at the Horniman work… interesting - not something any of the other children did, very interestingly set out.' At the Horniman Museum in London, the 12 schools Encouraging high standards participating in the MGEP each chose a different artefact from the African collection to focus Wingfield Arts worked with KS2 on - ranging from an African pupils on the theme of headrest to a Nigerian ijele (a developing art as an integral Nigerian masquerade costume). part of people’s lives, looking at Actually seeing the objects was art in a domestic rather than a inspirational but also provided gallery setting. Perhaps opportunities to delve deeper because children had been and explore the cultural actively involved in the learning meanings behind them. process, both physically and Children at Brent Knoll Special emotionally, the quality of work School chose the Shona produced was often of a higher headrest as their object, along standard than anticipated: 'I with a 'key word' - dreams. was genuinely thrilled and They examined the object, shocked by the quality of the recorded what it looked like and work… the whole thing went felt like, but then took simple observation further by further than I expected, in ways investigating the symbolic meaning behind the object that could be tested. I got the and exploring how it made them feel. The resulting impression that this project has creative and written work was of an extremely high spoken to them about things standard. that mattered.' (Ian Chance, director, Wingfield College).

At Cartwright Hall, Bradford, having been inspired by an impressive sculpture called the Bell Metal Lamp, one class, whose school was in an Education Action Zone, returned to school and continued working on the project for the … hard and uncomfortable because they are made remainder of the term with of wood … peaceful…happy… sleepy ... confused and impressive results: '[the tired … horrible. children] were quite poor in (words describing the Shona headrest) literacy at the beginning of the year… they are slowly building We had to put our head on the table and draw round up now… I can’t believe how much they are using it. We worked together. Tony showed us how to keep wonderful descriptions and vocabulary… the lamp has our heads still like we were sleeping. (child’s writing) really got their imaginations.' (Sandra Brickley, class teacher). TEN Headrests were used to rest the head when GE

PA sleeping. Among the Shona people of Zimbabwe only the men used headrests. The cross supports represent people sleeping with out-stretched arms and legs. (caption) WHERE? WHEN? WHOM? BY FOR understanding. ov detailed memoriesfeed theimaginationandcontinue use their memories of using objects six months later.’ months six objects using of memories their use animals, birds, fishes, insects, unicorns, mermaids, a mermaids, unicorns, insects, fishes, birds, animals, peacock, a whale… On the floor there was a glass with glass a was there floor the On whale… a peacock, School, replied withouthesitation: from StBartholomew’s Church ofEnglandPrimary Museum ofNatural History ayear previously thepupil, r in mainstream education. Whenasked ifshecould disaffection anddemotivation amongpupilsstruggling project aimedattackling underachievement, pupil to Brighton andHove Museumparticipatingina This isconfirmed bytheexperiences ofoneyear-four Reading Museumhasdiscovered that: periods oftime.Research into theuseofloan boxes by e Museum andgallery collections offer richanddense Long-term value (Part ofastory byayear-three pupilhavingbeeninspired bythelamp). beautiful metal lamp. lamp somuch.Icouldn’t take myeyes offthe lamp wastriangular,cold andmysterious. Iliked the saw agorgeous bronze coloured bellmetal lamp.The was ashighabeanstalk andaswideagiant.I Margate RoadsoIdecidedto dashinside.Theshop I waswalkingandwhistling past ahugelampshopon Learning from objects er timeto provide buildingblocks for new a badger, snake, insects, butterflies under. There was There under. butterflies insects, snake, badger, a WHAT? emember whatshedidonavisitto theBooth a snake - big and curled up - it could eat us.' us.' eat could it - up curled and big - snake a xperiences thatcan berecalled andvalued over long OILIMPLICATIONS SOCIAL EAINHPTO RELATIONSHIP O HROBJECTS THER PRESENT P AST VALUE USE CONSERVATION A ITR FOBJECT OF HISTORY CQUISITION 'We saw stuffed saw 'We 'Children could 'Children These OBJECT PRODUCTION WHEN? BY WHOM? HOW? WHERE? COMPLEMENTARY ● ● ● ● ● ● ● ● can: Objects Summary PHOTOGRAPHS P DOCUMENTS ILLUSTRATIONS AINTINGS INFORMATION engagement Increase levels ofinvolvement and whom traditional methodshave little appeal Motivate learning, includingchildren for Provide personal relevance Provide alternative waysofworking through direct contact Increase knowledge andunderstanding Help develop skills Sharpen visualawareness Inspire creative work ENVIRONMENTAL WHERE FROM? WHY? WHICH? MATERIALS RELEVANCE ETEI VALUE AESTHETIC IMPLICATIONS HISTORICAL

PAGE ELEVEN Section 3 03 Using museums to deliver and enhance the curriculum 1: Core subjects

'Open doors, open arms…' Anna Bourke, primary literacy adviser, Nottingham City Council

Introduction to core subjects Inspiring literacy

The National Curriculum, introduced in 1989 and last Many MGEP projects used literacy as an inspiration, reviewed in 2000, contains Programmes of Study for often combining it with other subjects in an each curriculum subject and each Key Stage. There imaginative and innovative way. Some focused very are three core subjects - maths, English and science. tightly on the NLS, others used it as a springboard to Teaching requirements are clearly laid out in the explore personal preferences, but all seem to have had National Curriculum documents. a considerable impact not just in schools, but in the museums themselves. An additional two strategies have been introduced into primary schools to raise standards - National Word Power in the Power Hall at the Museum of Numeracy Strategy (NNS) and National Literacy Science and Industry in Manchester Strategy (NLS). Frameworks for teaching these strategies have also been published, offering detailed Word Power in the objectives for planning and teaching. All primary Power Hall, schools are expected to devote an hour a day to developed by the literacy and numeracy. The Key Stage 3 National Museum of Science Strategy is aimed at raising standards for all pupils in and Industry in the early years of secondary education. The initial Manchester was an focus is on the English and Mathematics strands that extremely well- began in September 2001. researched project that focused tightly on Many of the projects in the MGEP have focused on the requirements within core subjects, in particular literacy. This is partly the National Literacy because it is a core subject and a strand running Strategy at Key through most other curriculum areas; but also Stages 1 and 2. Chris because many projects concentrated on areas where Chadwick, education literacy was a priority. Some projects worked with services manager, schools in Education Action Zones (designated areas explained the designed to support schools in deprived areas); objectives: ‘We others worked specifically with Education Authorities wanted to encourage where literacy was known to be a concern, including people to come to the those where schools had failed OFSTED inspections. museum; to develop breadth and depth to As can be seen by the scope of the projects, the curriculum by museums and their collections offer huge potential using literacy… we to enhance the teaching of the core subjects, knew it had to be particularly, but not exclusively, literacy. literacy, not science dressed up as TWELVE literacy; to use a GE permanent gallery PA that would be interesting for boys, who are often most resistant to literacy… It had to be After discussion with their teacher 'consultants' they specific… we wanted them to use the exhibits but not were persuaded to develop three packs suitable for the just as background… this was an opportunity to use direct requirements of the NLS for Years 1/2; 3/4 and real objects… we didn’t just want to ask questions, we 5/6. As Chris Chadwick, education services manager wanted them to think too… We are trying to show that at the museum acknowledged: 'right from the word go museum education makes a difference.' we followed what teachers wanted’. This is a good example of how consultation and co-operation between Working closely with teachers and literacy advisers, museums and teachers can produce resources that are the museum developed literacy sessions with a of real value and relevance. science focus, to take place in the mighty Power Hall, an impressive collection of vast and noisy engines. The Focus on Literacy at Nottingham Museums focal point was Pender, a real steam engine, and the initial session was led by Forgetful Fireman Fred and Due to poor Engineer Eric, two museum demonstrators who literacy unexpectedly found themselves in new roles! Initially standards in reluctant, they blossomed: 'We talked them into it. At Nottingham, first they were really nervous, by the end they were one of the playing up! Laurence Oliviers by the end!' (Sylvia aims of Focus Hadfield, education officer). Their session was followed on Literacy up by carefully differentiated literacy activities in was to target various sites around the Power Hall. Children were low achieving encouraged to use the sights, smells and sounds secondary around them to collect word banks and develop schools, some of which were on special measures, and creative writing. The visit, free to all primary schools in to use the city museums as a mechanism to inspire, the Salford Local Education Authority (LEA), was excite and raise standards. Working in direct complemented by literacy packs which provided half a partnership with the LEA and schools, and using term's follow-up work, carefully constructed to provide literacy as the core subject, cross-curricula museum- word level, sentence level and text level activities based activities were developed in history, science and inspired by the initial visit and the museum's art. Schools studying Medieval Realms, as part of collections. The project is now being extended to LEAs their work on Britain 1066-1500, for example, could THIRTEEN in Manchester. visit Nottingham Castle, enjoy handling copies of GE

weaponry and armoury, and visit the underground PA The literacy packs provided a steep learning curve for caves to meet Ken Fletcher a medieval castle guard the museum educators, who initially produced one (part of the living history programme). Yosef, then a pack which they hoped would be suitable for all ages. pupil in year seven, recalls his visit to Nottingham PAGE FOURTEEN P aimed atmeetingliteracy targets. JohnYouldon from attractive andstimulating schemeofworkdirectly r T f r l night inMay1941whenabombhitWilkinson's and partly onfact -thetragic truestory ofonefateful by RobertWestall TheMachineGunners -setlocally; The packispartly basedonfiction-thepopularnovel c achieve level four inEnglish,thispackandwebsite particularly children inyear 7whoare struggling to Fr Stage 3 Aimed attheobjectives detailed intheKey We each case wasfully supported byliteracy packs. five or six packs and I passed them round to other to round them passed I and packs six or five re nationwide appealandrelevance. Thewebsite has thought itaparticularly relevant local archive, ithas (www.westallswar.org.uk) enquiries from asfar awayasNewZealand! emonade factory inNorthShieldswhichhadalarge air ascinating andsometimespoignantevidence from the teachers/departments and some teachers were teachers some and teachers/departments elating to the103people whodied.Italsooffers an aid shelter initsbasement.Theliteracy packcontains ombines literacy withstrong linksto history andICT. yne &Wear Archives Service including evidence photocopying them… we use the internet site too. It has It too. site internet the use we them… photocopying ennywell Comprehensive School,Sunderland:' re investigation, role playandexploration. Asonechild T intriguing freelance educator knownastheCreeping meeting expectations soarather eccentric and the science wasinitially a'bitwoolly' andwasnot of thehall.JimGrevatte, theproject manager,admits on theexplorer SirFrancis Willoughby, aformer owner Living Things,(Sc2).Themesandactivitieswere based enhance workbeingcarried outinLife Processes and At Wollaton Hall,science andliteracy combined to Castle: attack. We had to design a stronger one. We had We one. stronger a design to had We attack. times at least, then once more! We practised it, then it, practised We more! once then least, at times all been really useful and has enabled work to happen to work enabled has and useful really been all amework for teaching EnglishYears 7,8and9, c instructions. We had to select windows and choose and windows select to had We instructions. did it again, then we did it to an audience... I was a big a was I audience... an to it did we then again, it did oad wasbrought into assist creative workthrough across the school - excellent.' excellent.' - school the across towers, we built up a picture of our castle. Then we Then castle. our of picture a up built we towers, brown bird, I had the best costume.' costume.' best the had I bird, brown st eived anenormousamountofinterest, including c went round to see other groups. We wrote about what about wrote We groups. other see to round went we did and the best eight descriptions were read out at out read were descriptions eight best the and did we alls: the end of the day.' day.' the of end the all's War atTyne &Wear Archives Service 'At Wollaton we did a play… we wrote it three it wrote we play… a did we Wollaton 'At 'We had to pretend the castle was under was castle the pretend to had 'We Although local teachers F ollow-up workin We got We Wo the LEA. and have beenenthusiastically welcomed byschoolsin we f c Around Us'aimedatKey Stages 1and2.Theboxes Egypt; Tudor Medicine;Teddy Bears; and'Science all based onNationalCurriculumthemessuchasAncient Museum Service hasproduced ten boxes ofartefacts te introduction ofBigBooks-teaching aidsbasedon One innovation oftheLiteracy Strategy wasthe Big BooksInLancashire believes: Stories. Graham Sherfield,adviser,Torbay LEA theme, from Discovering theWritten Word to Traditional projects were developed, allwithastrong literacy the website. (www.blewa.co.uk) Sixcross-curricula accessible, bothonsite atthelibrary andvirtually via f a cross-curricula programme to supportliteracy. It schools (Camden)anddistant schools(Torbay) to create The BritishLibrary worked inpartnership withlocal a skill that runs through people's learning; it cannot it learning; people's through runs that skill a or useduringliteracy sessions. Thebooksandboxes ocused onmakingtexts from thelibrary's collections just be pigeon-holed into literacy hour.' literacy into pigeon-holed be just omplement bigbooksprepared onthesamethemes, xts thatcan beseenbythewhole class. Lancashire re r ds Alive! Atthe British Library

produced inpartnership withadvisoryteachers 'It has confirmed my conviction that literacy is literacy that conviction my confirmed has 'It Heathcliffe. Itwasghostly. Thewindowwasscary. had diedinthebed.Hefound letters shehadwritten to scratching andCathy'sghost. MrLinton found his wife a branch bangingonthewindowandnoisesof We

saw thelittle window. There wasascary scene with te c This ishowonechildsummeduptheirexperiences, Bronte inherbook,thanhavingto simply rely ontext. y dramatic andmemorable to runover themoors Wuthering Heightsalive. Howmuchmore meaningful, with avisitto themoors, really brought thenovel A visitto theBrontë Parsonage Museum,combined Pa Opening TheDoortoWutheringHeightsattheBrontë ourself andseetheplaces describedbyCharlotte ombining personal experiences andknowledge ofthe xt: r sonage Museum eight class alsorevelled intheexperience: the story involving - they loved the grand passion bit passion grand the loved they - involving story the schools were ringing me. It's a positive, confidence- positive, a It's me. ringing were schools (they watch Eastenders!) They liked the environment the liked They Eastenders!) watch (they building experience… there's little drop off, the off, drop little there's experience… building suddenly all the schools got wedges of money to run to money of wedges got schools the all suddenly (Jim Grevatte, project manager). have beeninvolved inSummerSchools: develop. Thisisthesecond year NottinghamMuseums atmosphere allowed aspecialkindoflearning to However, newrelationships andamore relaxed (Chris Chadwick,education services manager). into theholidays: developed for term-time literacy sessions continued Science andIndustry inManchester, workoriginally participated inSummerSchools.AttheMuseumof l children inyear six/seven whohave notyet reached is to provide anenjoyable learning environment for st school holidays,usually for afortnight, andhave a name suggests, thesesessions are heldduringthe provided bytheExcellence inSchoolsInitiative. Asthe literacy, fundingfor SummerSchoolshasbeen In Education ActionZones,orareas with low levels in Summer Schools (Alex Fellows). of the novel - going out into the moors in the rain...' the in moors the into out going - novel the of emphasis is on fun. We've had lots of positive of lots had We've fun. on is emphasis literature. It's relevant and child-centred. The number The child-centred. and relevant It's literature. summer schools… we were absolutely swamped!' absolutely were we schools… summer ev feedback. The atmosphere is just wonderful. The staff The wonderful. just is atmosphere The feedback. of children who read for pleasure is very small… the small… very is pleasure for read who children of and children say this is what [school] should be like!' be should [school] what is this say children and project helps counteract the strong anti-analysis-of- strong the counteract helps project r the-novel feelings the students have. It improved the improved It have. students the feelings the-novel s Scotchman Middle Schoolexplains thebenefitto his and drama. Alex Fellowes, class teacher at children to findtheirownmeaningsthrough role play the moors where thebookswere setandallowing the visiting Haworth,hometo theBronte family, exploring The project concentrated onbringingthetexts alive by the texts oftheBronte novels wasoften problematic. multicultural backgrounds meantthatunderstanding pupils inBradford where low levels ofliteracy and Museum andwasintended to supportmiddle school This project wasdeveloped bytheBronte Parsonage children's writing, creativity and art.' art.' and creativity writing, children's ong emphasisonliteracy -butalsoonfun!Theaim el four inliteracy. Atleast twoMGEPprojects tudents: 'Projects like this turn the kids on to on kids the turn this like 'Projects 'We only planned term-time session, term-time planned only 'We Another year- ‘ This year This 'They found 'They

PAGE FIFTEEN Hands-on Numeracy

Rochdale 2000 and Counting Let's Discover! at Eureka!

Fewer MGEP projects concentrated on numeracy, but The web-based Let's Discover! produced by the Rochdale 2000 and Counting, a partnership between the children’s museum Eureka! in Halifax was designed to art gallery, museum service and local studies library in support the numeracy strategy, as well as literacy and Rochdale, focused on ways of teaching numeracy using science. It is strictly in line with the National their collections. Aimed at Key Stage 2 pupils, this Curriculum and designed for Key Stage 1. Young project developed loan boxes on the theme of children can access the website numeracy, with emphasis on investigations and (www.letsdiscover.org.uk ) and immerse themselves in problem-solving activities. One box, called Let's Go problem-solving activities - how many coins do I need Shopping included weighing scales, packaging, sugar to buy the objects for sale on screen? How many sacks, stone water bottles, and pre-decimal money. animals can I find? Which ingredients do I need to make Lesson plans, supporting the National Numeracy a healthy sandwich? The website also provides Strategy (NNS), included activities on estimating and information on planning and preparing for a number skills, presented through role play and group curriculum-based visit to Eureka! work. A second strand of the project focused on family learning; photo packs in Urdu, Bengali and English SIXTEEN were used informally at home encouraging parents GE

PA as well as their children to learn numeracy skills. Enhancing science

Parachutes and balloons in Hackney

The Science Museum combined science and Summary numeracy to increase learning through museums, targeting specific schools in Hackney. Working Museums and galleries can enhance the teaching of closely with Hackney Museum and the City Literacy core subjects by: Institute, activities, workshops and resources were prepared and piloted in schools. The science ● Providing new and stimulating environments workshops, taken into schools, allowed Key Stage 2 ● Providing access to rich resources pupils to explored difficult scientific concepts such as Forces first hand and to focus on the often ● Encouraging experiential and experimental challenging attainment target: 'Scientific Enquiry' learning (Sc1). Workshops were stimulating and great fun. ● Supporting in-depth follow-up work Parents and children benefited from being able to take materials home to their families and ● Inspiring a multiplicity of responses experiment themselves. Parents’ learning was an ● important dimension of the project. Workshop tasks Demonstrating understanding of abstract were planned not to undermine the confidence of the concepts parents who spoke little English but also to be ● Tackling complex issues challenging and exciting for the children. This ● project was unusual as it appealed to fathers who Providing experiences that are meaningful and attended the workshops as well as mothers. The relevant both to the curriculum and to the involvement of parents was part of a long-term children involved. objective to develop parents learning, ‘if adults are supporting the children in their learning, then the children will do better, if an adult enjoys learning and thinks education is a good thing then the whole family benefits’. (Jill McGinley, City Literacy Institute) SEVENTEEN

‘Some parents have little education themselves and GE their child leaps ahead of them leaving the parent PA feeling de-skilled and worthless... Having parents in school allows the adults to have a more equal relationship with the teachers, parents have a lot of skills and talents….’ (Diana Stoker, City Literacy Institute). PAGE EIGHTEEN each Key Stage the core andnon-core subjectsthatare statutory for This table from theNationalCurriculumorders shows Section 4 04 Using museums to deliver and enhance the curriculum 2: Non-core subjects and cross-curricular opportunities

Introduction Focus on specific foundation subjects ...Bringing History Alive The National Curriculum consists of three main core subjects and other foundation subjects. Programmes of Study set out what should be taught in each non- History is traditionally a subject that has been core subject at each Key Stage. Visits to museums enhanced by visits to a museum. Many projects and galleries are specifically mentioned in the combined aspects of historical enquiry with other history and art Programmes of Study. Exemplar curriculum areas. Schemes of Work in each non-core subject are also provided by the Qualifications and Curriculum Authority (QCA). These schemes provide teaching plans for each year group and have been widely National Curriculum, KS1/2 p104 adopted by teachers. Secondary schools have always Historical enquiry worked in separate subject blocks, but for primary schools this has also become a common way of Pupils should be taught working. However, many projects in the MGEP, a. to find out about the past from a wide although often focusing on one subject, worked range of sources of information (for example stories, across the curriculum. Many teachers were eye-witness accounts, pictures and photographs, pleasantly surprised to find that this could be artefacts, historical buildings and visits to achieved within the framework of the National museums, galleries and sites, the use of ICT sources). Curriculum and QCA schemes, yet still leaving possibilities to work in a comparatively open-ended manner. 'Many teachers said how it was like old “topic work”, and that it was good to be able to do The opportunity to cross-curricula work, to take the lead from the work with real children.' (Robin Clutterbuck, consultant, Learning objects or visit real on the Move). historic sites provided meaning The most successful projects were often those where and substance, and museums and schools worked in close partnership and was fun. In the although they may have had clear objectives, were Home Front at prepared to be flexible to accommodate each other's Sandwell, learning about life in the Second World War needs and requirements as the project developed: 'There was enhanced by an evacuation weekend complete was lots of pressure to deliver history and geography

with a trip on a stream train and an air raid at the NINETEEN rather than an open-ended resource… we decided to

other end! Epping Forest District Museum GE promote the collections so teachers could use their own Archaeological Access project explored life in the Iron- PA interpretations.' (Sue Ball, project manager, Leeds). Age with children building their own Iron-Age Roundhouse. Further information on working in partnership is available in section nine. PAGE TWENTY them welcomed thenewapproaches to oldsubjects: access real artefacts andinvestigative approaches to glossary for details). Teachers whowere nowable to '[I've got] lots of new ideas… I feel really refreshed!' refreshed!' really feel I ideas… new of lots got] '[I've Using artefacts, theintention wasto develop museum the country andmanyoftheschoolsare very small. Herefordshire hasthesecond lowest pupildensityin schools andinpartnership withHereford Record Office. Hereford Heritage Services, worked closely with Resources inRural SchoolsinHereford, developed by ...Handling sessions inHereford real history, real discovery, real skills not English, as English, not skills real discovery, real history, real so much history can be, doing cloze procedures.’ procedures.’ cloze doing be, can history much so t eachers: education sessions to betaken outto primary schools anddelivered byfreelance museum educators. Thesessions were basedonthe National CurriculumandtheQCA schemesfor history andscience butanaddeddimension was theemphasisonlocality, intended to fo r children. Onesession, for example, eal history wasappreciated bymanyofthe st 'We've done real research skills. This is This skills. research real done 'We've e c xplored whatitwaslike to beaVictorian er prideofplace andrelevance to the ountry child. The abilityto immerse themselves in (see curriculum areas suchasICT andliteracy. the mainfocus, for others itwasusedto enhance other e However, theartcurriculumwasapproached in gallery and museum many of nature the to Due ...Art andDesign collections, the art curriculum was the theme of many of theme the was curriculum art the collections, xtraordinarily diverse ways.For someprojects itwas projects. f and cultural contexts (for example, inoriginalandreproduction genres, styles andtraditions, andfrom arange ofhistorical, social d. investigating, art,craft, designinthelocality, inavariety of understanding through …every pupilshouldbetaught theknowledge, skillsand National Curriculum,KS3&4p169 orm, duringvisitsto museums,galleries andsites, ontheinternet). Aboriginal, African, IslamicandNative American). We Renaissance andpost-Renaissance periodsin functions ofartincontemporary life, medieval, and awiderworld(for example, differences inroles and artists, craftspeople anddesigners from Western Europe c. continuity andchangeinthepurposesaudiences of design. Knowledge andunderstanding p168 National Curriculum,KS3/4:Programme ofStudy,art& st ern Europe, andindifferent cultures suchas practical investigation andexperience. w included facilitating greater understanding ofthe a programme for Key Stage 3&4students which partnership withtheInstitute ofEducation, developed The Victoria andAlbertMuseum,workingin …Art intheV&A ork ofartists inothertimesandcultures through bring in a plastic bottle and plaster cast it, with a with it, cast plaster and bottle plastic a in bring depth: of visitingthegallery andinvestigating theobjectsin piece of paper about ourselves inside. The paper The inside. ourselves about paper of piece o The visitwasfollowed upbythestudents makingtheir School experienced art inacompletely newway. the year-ten students atWhitecross Secondary and creating theirownsculptures andworksofart, By focusing onnatural materials found intheforest w museum site to helpdeliver innovative andexciting ways ofusingthenatural environment around the artists suchasAndyGoldsworthytheproject explored a hugeopen-airgallery. Focusing ontheworkof Sustainability project usedtheForest ofDeanitselfas Dean Heritage initsExpressive ArtsEnvironment and ...Art intheForest ofDean poked out of the cast, so people knew it was there but there was it knew people so cast, the of out poked the children wouldn’t have been interested in really in interested been have wouldn’t children the couldn't get at it!' it!' at get couldn't looking, really accessing the artefacts unless they unless artefacts the accessing really looking, wn plaster casts, asClara explained: were were ork basedontheartcurriculum. inform. spectacular andoriginalworksofartto inspire and The schoolsvisited thegalleries andusedthe Muswell Hill,London). (Clara, year-seven pupil,Fortismere School, to went We trip... school art our for V&A the to went 'We natural andman-madeobjectsenvironment. w a. exploring arange ofstarting pointsfor practical understanding through Pupils shouldbetaught theknowledge, skillsand National Curriculum.KS3/4p169 help us on our artefact project… We went to three three to went We project… artefact our on us help galleries - the sculpture hall, the cast gallery and the the and gallery cast the hall, sculpture the - galleries glass gallery. In the sculpture hall we used the drawing drawing the used we hall sculpture the In gallery. glass 'Looking at those precious, valuable objects... valuable precious, those at 'Looking ork includingthemselves, theirexperiences and shown shown techniques - line drawing, where you can't take your pen pen your take can't you where drawing, line - techniques off the paper; negative space drawing where you just just you where drawing space negative paper; the off draw the outline and colour the background black; and and black; background the colour and outline the draw tone drawings, where you just have to draw shadows shadows draw to have just you where drawings, tone and tone… Next we went to the cast gallery, where we we where gallery, cast the to went we Next tone… and chose a plaster cast, took some view finders, and drew drew and finders, view some took cast, plaster a chose only a small part of the cast… I liked the glass gallery gallery glass the liked I cast… the of part small a only best… in the glass gallery there was a big artwork with with artwork big a was there gallery glass the in best… lots of bits of glass which shone in different colours in in colours different in shone which glass of bits of lots the sun, which was my favourite piece of art. The The art. of piece favourite my was which sun, the banisters in the glass gallery were also really beautiful, beautiful, really also were gallery glass the in banisters for banisters, anyway!’ anyway!’ banisters, for them...' Her teacher iscertain ofthevalue 'We had to had 'We

PAGE TWENTYONE Cross-curricular opportunities Laycock Primary School chose Mughal as its inspiration. During the visit to the gallery the pupils ...Art, ICT and Literacy at Cartwright Hall captured images in their sketchbooks, prepared word banks, and explored feelings. Back in school, the artwork was used during literacy hour as a focus for investigating adjectives and developing creative writing - what can you see? who lives here? How do you know? National Curriculum. Programme of study: Where are they now? In art, patterns and shapes, art and design. KS 3 p169 colours and textures in Mughal (a silk textile inspired by Indian architecture and textiles) were explored, Breadth of study culminating in the children making their own silk During the Key Stage pupils should be taught screen versions. Their teacher, Mrs Palfreyman, was knowledge, skills and understanding through: enthusiastic about the benefits of working in such a c. using a range of materials and processes, way: 'It captured their imaginations, which is difficult to including ICT (for example, painting , collage, print do with this class... I was really pleased at the way they making, digital media, textiles, sculpture). stuck with it, and produced a finished piece of work.'

At Eastburn Primary School the pupils concentrate on the painting Heart of the West Riding, which reminded them of the scenery near their own school up on the Cartwright Hall, Bradford used its extensive collections moors. Their teacher, Jane Law acknowledged: 'I chose to inspire and motivate work across the curriculum, the Heart of the West Riding as I knew it linked in to working closely with local schools, LEA literacy and ICT various cross-curricula areas.' During literacy they advisers and Bradford College. The main criterion of wrote poems and discovered how to integrate the ArtIMP project was that children should be offered photographs they had taken with the digital camera the opportunity to work in a real gallery among real during ICT. In art they experimented with colours and artworks. ICT and literacy became increasingly feelings inspired by Heart of the West Riding: 'We've relevant after Bradford LEA received a poor OFSTED gone quite a way from the original painting but its what report, which revealed weaknesses in these areas. the children wanted, its developed their interest.' (Jane Law). At the end of the project, work was shown to the The project was delivered in three phases. Phase one rest of the school using a power-point presentation. involved eight schools, selected from the lower quartile of literacy. They were invited to the gallery to work with Many had never used a gallery as a stimulus for work artists, and for training, which was provided by the LEA before yet working within the remit of the National in partnership with the museum for teachers in ICT, Curriculum they were able to follow their own literacy and art. The children's work was then displayed interests, and to seamlessly incorporate the project in the gallery. Many teachers who saw the exhibition, into many areas of classroom activity. were inspired and applied to join phase two of the project which involved 24 schools. The third phase of the project, currently underway, is open to 72 schools and includes the completion of the website and the introduction of ArtIMP - a multimedia pod to be used in the gallery itself.

Although all schools started from a similar point - the visit to the museum - the resulting work shows how individual teachers took the project and developed it in ways that were meaningful and relevant to their own needs, and those of their children. This was fully supported by the museum staff 'There was a sense of ownership. We'd been to the gallery, our work was on the wall. I liked that.’ (Sandra Brickley, Usher Street Primary School). TWENTYTWO GE PA ...History, Technology and Literacy at the Fleet Air Arm Museum

Flying High at the Fleet Air Arm Museum offered students opportunities to explore design and technology using its unique collections and the Physics of Flight Laboratory. Students learnt how to design, build and make an aeroplane fly. Problem-solving and investigative activities were used and gave children hands-on experience too.

…Literacy, History and Art in North Devon PSHE and citizenship In North Devon, where many of the primary schools are small and geographically remote, the project …Local History, PSHE and Citizenship at Liverpool North Devon on Disk aimed to produce a high-quality online resource and to create stronger links between The Bevington Street project at the Museum of museums and schools. The initial bid to the MGEP Liverpool Life started off as a local history project. The was rejected, but smaller funding was offered at a museum wanted to have contributions from local later date. This meant possibilities had to be scaled schools to give children's voices to the exhibition City down to fit the lower budget and shorter timescale. Lives. The project was devised to focus on Bevington The resourcefulness of museum education was at full Street, model housing put up in 1912 to replace slums, stretch here, where the project had to be up and habitable until the 1970s but now derelict. Year-six running in approximately two weeks! Three pilot classes from the local primary school were initially schools were involved and each had the benefit of a recruited, but as the project developed the whole school visit to the Barnstaple Museum or Burton Art Gallery became involved. and Museum, Bideford, a handling session in school and the opportunity to develop ICT skills while preparing materials to go on the web. The project was kept deliberately open-ended in order to respond to the needs and interests of the individual schools. An unusual selection of artefacts from the museums’ collections - calling cards, shells, an elephant skull - formed the basis of the handling collection.

Using the National Curriculum as a framework, and referring to QCA schemes in art and ICT, activities were devised focusing on history, literacy and art. The children's own interests were followed where possible, and at East the Water School, the children brought in their own collections to be explored alongside the museum’s artefacts. At Forsches Cross One important aspect of the project was to explore School the emphasis was on acquiring history skills: what Bevington Street meant - to former residents 'Anne [the project co-ordinator] taught me a lot about and to people living in the area today. The children ways of using artefacts - she showed me how to look devised questionnaires and visited residents to ask historically, question historically… Those kids learnt their opinions. 'The citizenship aspect was such a lot, it was so interactive, you don’t always get particularly strong… how to behave, how to receive that from rigidly following the system, but it pulled in lemonade gracefully when visiting!' The museum was so many curriculum areas.' (Theresa Winters, class overwhelmed with the response and the community teacher). Using the artefacts as a springboard, the interest and feelings of ownership it generated. 'All class focused on history, combining it with literacy sorts of people got roped in - volunteers (55 to 85 (creative writing, investigative research, descriptive year old women) sharing stories with the children… writing) and art (observational drawings). The only The reminiscence group also got involved.' (Dilys area that did not live up to expectations was ICT. Due Howich, project manager). The children's writing to the short timescale of this project, the schools shows how their attitudes towards older generations TWENTYTHREE never really got to grips with uploading material for and their local environment changed, and how they GE the web and the digital camera refused to work. developed greater understanding for the past and PA with this more respect for the area and for older people. PAGE TWENTYFOUR museum, audio-visual tends to be a bit samey. This was This samey. bit a be to tends audio-visual museum, e Alyson Green, literacy advisersumsupthewhole children's recommendations! warmed to theexperience andeven took heedofthe meet thechildren. Havinginitially beenterrified, they The exhibition designteam were invited into schoolto quite an opportunity, but not without reservations. I reservations. without not but opportunity, an quite National Vocation Qualification (GNVQ). curriculum followed bystudents studying aGeneral Many projects focused onthevocational aspectsofthe ...Tourism andTravel inNorwichCastle Museum Vo sessions. displayed inthemuseumandused literacy training The research waspresented inabigbookformat, audio handsetsfor useinthegallery. equipment to edittheirinterviews andputthemon training packageto enable thechildren to useaudio Galleries onMerseyside (NMGM)puttogether asimple audio-visual officer for theNationalMuseumsand in preparing for theexhibition. Paul Browne, thesenior Once data wascollected, thechildren became involved enrichment, it hit so many areas… It's a stunning a It's areas… many so hit it enrichment, thought the children might struggle, they had to be fit be to had they struggle, might children the thought xperience: vo opportunities withinthelocal area to develop the benefit bybeingnearer to theworldofwork.The securely withinthevocational context. Pupils their studies andwhere schoolssetthecourse is enhanced whenthey can seetherelevance of Pupils' commitment andmotivation to thecourse GNVQ subjectspecific guidance. QCA. c c example of literacy across the curriculum, so good for good so curriculum, the across literacy of example for the purpose, it was easy for things to go wrong… I wrong… go to things for easy was it purpose, the for speaking and listening. They've seen real-life seen They've listening. and speaking ourses onoffer. onsideration whenmakingdecisionsonthe did a spoof interview with Dilys, not open-ended, then open-ended, not Dilys, with interview spoof a did application, they have seen how skills can be applied.' be can skills how seen have they application, we did the same but open-ended, they picked up on this on up picked they open-ended, but same the did we cational education c straight away! I took them through to the editing suite – suite editing the to through them took I away! straight the children picked that up really easily! I was I easily! really up that picked children the ational context willbeanimportant pleasantly shocked!' shocked!' pleasantly 'It's the best example of curriculum of example best the 'It's (Paul Browne). 'Within the 'Within to t Norfolk MuseumService, initsrole asavenue for is available insectionnine. sustainability. More information andadviseonplanning planning, orhave produced resources thatwillensure partnerships, have beenincorporated into teachers ' Many oftheprojects describedhave forged strong and information abouttrade unions. specifications, appraisal forms, organisation charts, practical information aboutjobdescriptions,personal [email protected]) contains The website (details available from inform anddevelop theirownassignments. museum, worked withtheresources andusedthisto access, andcustomer care. Studentsvisited the r t and Recreation. Working inclose collaboration with ourism, assisted local secondary schoolsandcolleges eachers, resources were developed onhuman elations, budgeting,marketing, interpretation and

Using museums and galleries to deliver deliver to galleries and museums Using ● ● ● ● ● ● ● ● deliver GNVQs inTourism andTravel, andLeisure Summary non-core and cross-curricula activities can: can: activities cross-curricula and non-core Provide planningopportunities. Open doorwaysinto thewiderworld c Develop thepotential ofICT asa Create pathwaysfor individualinterest Provide open-endedactivities Provide infinitely richresources Enhance theNationalCurriculum Curriculum Meet therequirements oftheNational ornerstone ofproject work Section 5 05 New technologies, new challenges

(National Curriculum: ICT:96) Kahlo (1940) drew these comments from one 16 year- old: 'Her facial expression and her eyes convey a 'Information and communication technology (ICT) sense of pride and determination but also she's not prepares pupils to participate in a rapidly changing satisfied, as though there's something bothering world in which work and other activities are her...' increasingly transformed by access to varied and developing technology. Pupils use ICT tools to find, It was an intense, energetic experience, involving huge explore, analyse, exchange and present information personal gain of knowledge about the gallery and responsibly, creatively and with discrimination.' artwork, as well as developing considerable technical and presentational skills. The students grew in confidence and co-operation as they saw themselves communicating successfully and eloquently in a public Introduction gallery. The exhibition videos feature only the pupils, their voices and the artwork - no adults, teachers or New technologies, broadly defined here as museum staff. Copies of videos were distributed to information and communication technologies (ICT) schools planning a visit to the gallery and were on such as the internet, email, and digitisation, can open display in the gallery itself as an introduction to the up learning possibilities that many students find exhibition. highly accessible and motivating. ICT is unusual in the National Curriculum in that it is a subject in its Interactive smart board own right but there are also statutory requirements to include ICT in all subjects, apart from PE (this is ...Discovering Ourselves at Drumcroon discretionary at Key Stage 1). Many of the projects in the MGEP have recognised the importance and The Drumcroon Wigan Website Project was a potential of using new technologies and have used partnership between the education art centre in them in diverse, innovative and creative ways. Wigan, local schools, the LEA and a web designer. Working with secondary, primary and special schools, a series of pilot outreach projects was developed. Many projects used new technologies to explore Each project was supported by computer hardware, different ways of presenting and creating artworks. digital cameras and a resident artist. A website was Digital cameras, camcorders, videos, interactive developed to give schools a resource base for the art whiteboards, animation packages and websites were curriculum containing schemes of work, resources experimented with, creating some lively and and an online virtual gallery. innovative results. At Mere Oaks School, a special school for children Video with physical or medical difficulties, students explored the theme of Ourselves. One part of the project ...SWAP at the Whitechapel Gallery involved children using an interactive smart board to create electronic images. The children first took a The Whitechapel Gallery's Schools With Artists self-portrait using a digital camera, then loaded the Project (SWAP) involved six schools in three boroughs image on to a computer, and finally 'painted' it on to a working with six artists. The intention was for the whiteboard using their fingers. This technique opened students to make a video for other students, up huge possibilities for students, particularly for Joe. introducing them to the art gallery and its exhibitions. Joe has virtually no gross motor control and very A visit to the gallery was followed up by a two-and-a - limited fine motor skills, but using the interactive half day workshop in schools led by an artist. The smart board he was able to produce some stunning images. initial visit was an eye-opening experience in itself, as TWENTYFIVE

one student discovered: 'from my visit to the gallery GE

I've learnt there's something here for everyone and I The work Joe is doing through the project has PA don't think anyone could come here and not find contributed directly to his GCSE coursework and something they'd like'. Using videos and camcorders, means that he can be entered for the Art and Design the students explored, commented on and recorded syllabus F (photography). Due to his condition, Joe is the artwork around them. The self-portrait by Frida not able to access creative art via the traditional PAGE TWENTYSIX methods but is now able to create real art using a Although the website was the culmination of the camera and computer - an art form now recognised by project, the processes by which it was achieved were the QCA. equally valuable. The lead partner, the National Tramway Museum worked with two primary schools in Using the web Derby. Both schools were from disadvantaged areas with low levels of attainment and one had just received Many projects incorporated websites but not all used a disheartening OFSTED report. Neither had worked them in the same way. Some were used as a with a museum before. The schools visited the site celebration or documentation of the project; others with a certain amount of scepticism, however teachers were an integral part of the project and developed were amazed at their pupils' reactions and the value simultaneously; some offer virtual visits to museum they got from the experience: 'Going there, seeing it all sites or give advice about preparing for a real visit, happening, is far better than anything that could have some are packed with interactive games, others ask been done in the classroom.' (Alex Scalon, Nightingale leading questions. All have the potential to reach huge Junior School, Derby). On site, children made sketches audiences and be useful learning tools. Here are a few and took photographs using digital cameras, the basis examples (a list of websites is available in appendix 2). for work back in the classroom. Although both classes were experienced ICT users, the project allowed them to reinforce skills already acquired and to learn new ones - preparing work for uploading on to the web, inserting photographs into text, presenting their work Web bites: on PowerPoint. ● Solve problems based on core curriculum with Eureka! www.letsdiscover.org.uk As Alex Scalon acknowledged: 'It's fitted in with Britain since1930, literacy and ICT. We've also used the ● See the original Ancient Egyptian artefacts and the children's internet for research. It's reinforced the Design and work it inspired at Technology QCA scheme.. We're working at level four - www.leedslearning.net/makingconnections we've just done a PowerPoint presentation... I wanted ● See how projects developed from the initial visit to the end something cheery for us and the children to do while products at www.clothofgold.org.uk/inafrica/ we were struggling to get through [post-OFSTED]. This is something that has made a difference.' ● Pour over original documents from the Second World War at www.westallswar.org.uk Internet classroom ● Learn how to make your own sculpture at www.accessart.org.uk ...Inspiration Africa! at the Horniman Museum ● Send an e-postcards and play e-games with the Virtual Inspiration Africa! a project developed jointly by the Victorians at www.tivertonmusuem.org.uk Horniman Museum and Cloth of Gold, an arts ● Learn about the wild and fierce Celts and puzzle over organisation, worked in partnership with 12 secondary, question of the month at www.museums.ncl.ac.uk/reticulum primary and special schools, focusing on the museum's African collections. Two schools entered the ● Find out what the students really thought of art at project each term. Initial visits were made to the www.whitechapel.org.uk museum followed by four intensive days in school ● Watch an animated collage at Wolverhampton where the focus was on art (drawing from objects, and www.wolverhamptonart.org.uk/web_page/get_creation.htm silk screen); literacy (creative writing) and ICT (web- based work). Work in school was supported by professional artists, story-tellers and poets, as well as museum educators and an ICT specialist and silkscreen artist from the Cloth of Gold. Virtual visits It was the intention that the web should be up and …Learning on the move with five transport museums running on day one of the project and that children's This ambitious project involved five major transport work be added as it was completed. The web was seen museums: National Tramway Museum, Crich; as 'an internet classroom' or 'contact room' where National Waterways Museum, Gloucester; National pupils could display their work, chat to pupils from Railway Museum, York; London's Transport other schools or project leaders about their work and Museum; and National Motor Museum, Beaulieu. leave messages on the bulletin board. This gave the The project enabled primary and secondary schools work an immediacy and made it so much more to make a 'virtual' visit to their sites and access their meaningful: ‘I think the internet is a good idea because collections through LEA intranets and the National you can look up and learn more…You can go back and

Grid for Learning. Working with two pilot schools look at the work you've done. You can look back on TWENTYSEVEN

each museum trialled activities on site and produced yourself when you're older.' remarked a year-five pupil GE material to go on the web from Christ Church Primary School. Another child at PA (www.learningonthemove.co.uk). Raglan Primary School commented: 'Tony taught us how to screen print; we used the squeegee to do it. All our work is now on the computer because Jacqui taught us how to put it there. It was a good idea because we could show our family… and because You can even send e-postcards to your friends! nearly 600 people emailed us.' One relative living (www.tivertonmuseum.org.uk) in Australia was astonished to see their niece on the website and emailed the school! Video conferencing

The website designer and ICT co-ordinator, ...Making Connections in Leeds Jacqui Callis, also found it had unexpected bonuses: 'Each day had an ICT part, a simple The bid for Leeds Making Connections was creative process to go through, or search for initially rejected but later offered in the second links on the key objects. They sent work to me phase of funding. As Tim Corum, the project co- at home - loads of stuff, quite sweet, especially ordinator explained: 'We had to move incredibly secondary children who didn’t always say much, quickly into an unknown area.’ Working in but these were complimentary things they may partnership with, among others, Leeds Learning not have said in the session.' ICT was also used Network (LLN), responsible for the Intranet; to inspire creativity and all children from each Parallel Interactive, web designers; and Creative school participated in designing a virtual banner Partners in Education (CAPE), the intention was full of images from the project. This had to produce an online learning resource which unexpected benefits: 'One secondary school would promote the museum’s collections, much linked up with a special school… they were of which was inaccessible due to the closure of working together to design their virtual banner. the City Museum. Bryan Stitch, keeper of The theme was a harmony, they were very archaeology was enthusiastic about introducing caring.' (Jacqui Callis). ICT into the project: 'I was excited about using digital technology… I wanted to promote the The web was used to record the development of Egyptian collections. Since the closure of the the project as it happened, in a very interactive City Museum they haven’t enjoyed much manner, and is now used as documentation and attention… I wanted to make the material a celebration of the project. available digitally.' The website was to be (www.clothofgold.org.uk/inafrica/). 'attractive, extendable and easily navigable' but otherwise the project was left deliberately open- Online resources ended - negotiation, discussion and participation with local schools determining how …Virtual Victorians in Tiverton it developed. The aim of this project managed by Tiverton Museum, was to provide an online multimedia resource suitable for Key Stages 2 Participating schools were invited to the and 3. The site is presented by a virtual Resource Centre for a handling session Victorian, a young girl called Alice Poslett and delivered by museum staff. Back in school, contains objects and photographs from the follow-up work was enhanced by visits from museum's collection grouped into themes story-tellers. Children's work was then such as everyday life; childhood and public uploaded on to the web. health, all relevant to the history syllabus. There are teacher's notes and suggestions for lesson plans. There are also lots of e-games - imaginative interactives - dress a Victorian doll, build with Victorian bricks, complete a jigsaw. TWENTYEIGHT GE PA (www.leedslearning.net/makingconnections) displayed alongside theoriginalartefacts. accessible website where thechildren's workis as they wentalong buttheendresult isan This wasvery muchaproject where everyone learnt t video conferencing? Howwouldthechildren react to a t f k schools could have AsktheExpertsessions withthe museum. Videoconferencing wasalsotried,where c Bulletin boards were setupsoschoolscould the useofbulletin boards andvideoconferencing. There wasadesire to be experimental, inparticular class teacher). good tool. I'd use it now for other subjects. Some subjects. other for now it use I'd tool. good or everyone involved asthenewtechnology hadto be alking head?Would theexpert knowalltheanswers? amed andunderstood! Whatwastheetiquette for ommunicate together, andreach 'experts' inthe eeper ofarchaeology. Thiswasasteep learning curve have emailed the curator… at parents’ evening they evening parents’ at curator… the emailed have were showing off their work and the website… its website… the and work their off showing were raised their ICT skills and the awareness of how you how of awareness the and skills ICT their raised can use it… it was a fun thing to do.' do.' to thing fun a was it it… use can (Carla White, 'It’s a 'It’s (www.ncl.ac.uk/reticulum). and illustrations. printed leaflet thatincorporated thechildren’s ideas so impressed thatthey produced aprofessionally people to visitthemuseum.Themuseumstaff were designed theirownleaflets to encourage other museum. Whenthey returned to schoolthey museum technician priorto theirvisitto the questions to askthemuseumeducation officer and Children atStAndrew's RCFirst Schoolprepared Cicero viaweekly emails. sources for example extracts oftext from Caesarand literacy work,themuseumsendingschoolRoman Britain. Oneschoolusedtheproject asafocus for its c via email.Usingthemuseum'simpressive Roman c first schoolsinNorthumberland, experimented with Museum ofAntiquitiesinNewcastle uponTyne and The ReticulumProject, apartnership betweenthe … Walking through timewiththeReticulumProject Email updates ollections theproject explored life inRomano- ontacting itsschoolsthrough videoconferencing and

PAGE TWENTYNINE PAGE THIRTY ICT co-ordinator). e new technology, itwas anopportunityto refine and learning. It's helped us find our way around the ICT the around way our find us helped It's learning. t to and museumeducators alsofound themselves rising It wasnotjust thechildren learning, manyteachers acknowledged: Liz Hatton from ShibdenHeadPrimarySchool f ArtIMP project, hadreceived newcomputer suites and Bradford, manyoftheschoolstaking partinthe r However, manypeople rose to thechallenge, Developing new skills we s and software were notsufficientto dothejob,others uploading/downloading -too daunting.Somehardware programme, orhavingto learn newskills- whether itwasadigital camera oranewcomputer fa second phaseofMGEP,meantthey hadto learn very areas. Timescale, particularly for thoseentering inthe the projects didnotnecessarily have skillsinthese problems. Manypeople delivering andparticipatingin t Because somuchoftheworkbeingdonewithnew …Lively moments! Difficulties andovercoming them problems: from theCloth ofGold,summedupafew common Jacqui Callis,thewebdesignerandICT co-ordinator on schedule -allcaused frequent headaches! the purposeofweb,gettingcontributions delivered on needs,understanding thetechnology, decidingon envisaged -findingtherightwebdesigner,agreeing f PowerPoint, scanning in photographs and entering and photographs in scanning PowerPoint, we were having to do a lot of policing. It had to be very be to had It policing. of lot a do to having were we xpand skills: suite just introduced.' just suite become more computer literate - the intranet is intranet the - literate computer more become questionnaire responses. This is my area of area my is This responses. questionnaire ound theproject anexcellent wayto explore themas ound settingupawebsite more problematic than echnologies wasfresh ground, there were inevitably eacher, Leeds). carefully planned... They all came in and wanted to wanted and in came all They planned... carefully einforced skillsordiscovered newcapabilities. In truggled withpasswords, somefound theircomputers fairly new, year three has never used it before - it - before it used never has three year new, fairly responsibility in school and so I found it easier to easier it found I so and school in responsibility start straight away - some were incredibly experienced incredibly were some - away straight start was a challenge! BT were slow with coming up with up coming with slow were BT challenge! a was develop even though we have only had our computer our had only have we though even develop s

computer users, others didn’t know anything. Some anything. know didn’t others users, computer passwords but once they did we were cruising! We cruising! were we did they once but passwords suite for a few months. We're still working on this. It this. on working still We're months. few a for suite the challenge ofnewtechnologies: primary schools only had one computer, others had others computer, one had only schools primary re t! Somefound beingfaced withnewequipment, learnt to overcome problems.’ overcome to learnt will be useful for our school as a whole.' whole.' a as school our for useful be will their own suite. There were some lively moments!' moments!' lively some were There suite. own their

not compatible withthelocal intranet. Many 'There were lots of hardware issues, also issues, hardware of lots were 'There 'We've done a lot of work on work of lot a done 'We've 'We've covered a lot of skills… lots of lots skills… of lot a covered 'We've F or otherpeople, familiar with (Jane Harrison,class 'I hoped to hoped 'I (Jane Law, re ex opportunities thatwere challenging, frustrating, same boat,where newtechnologies presented There wasastrong feeling ofeveryone beinginthe warding. citing andultimately immensely worthwhile and ● ● ● ● ● ● ● ● ● ● to: potential the ● have technologies New Summary Provide contact andsustainability. Reduce thesenseofisolation Appeal to allsortsofstudents Push theboundaries Reach large audiences Develop andextend ability Encourage anddevelop newskills self-esteem Promote feelings ofworthand Be stimulating andchallenging Encourage creativity andinnovation e Provide rich,interactive learning xperiences benefited from what wasonoffer. sure thatall,whatever theirabilityorbackground, projects reached out to includeallchildren, making particular group wastargeted but mainly the with children withspecificneeds.Sometimesa backgrounds. Alarge numberofprojects worked re integrate cultural inclusion intheirobjectives by areas struggling to raise standards. Others aimedto Education ActionZonesorthoseindisadvantaged social inclusionandtargeted schoolsworkingwithin schools withinlocal LEAs.Others choseto focus on museums ensured thattheproject benefited all by theneedsofschoolsinparticularareas. Some entitlement wasapriority-theapproach beingled museums andgalleries. For manyprojects, ta ev Entitlement inthisguideisdefinedastherightof Introduction 'Of particular importance to museums is the commitment to the participation of children from all backgrounds in backgrounds all from children of participation the to commitment the (A CommonWealth: 36/81) is museums to importance particular 'Of Entitlement Section 6 their activities… The challenge for both the museum and school sectors is to ensure that every child visits a visits child every that ensure to is sectors school and museum the both for challenge The activities… their museum regularly, and has an enjoyable, successful educational experience in every museum they visit.' visit.' they museum every in experience educational successful enjoyable, an has and regularly, museum ke c ery child,irrespective ofbackground orability,to ognising thechildren's multicultural

To (National CurriculumKS1/2,KS3/4:p12) f areas oflearning andto develop knowledge, understanding, skills andattitudesnecessary culture, race, gender,differences inabilityanddisabilities,anentitlement to anumber of The NationalCurriculumsecures for allitspupils,irrespective ofsocialbackground, part inandbenefitfrom learning experiences in or self-fulfilmentanddevelopment asactive andresponsible citizens.'

establish anentitlement... all primaryandspecialschoolsinthecapital. W six LEAsinTyne andWear received free Westall's into Manchester. Similarly allsecondary schoolsin schools inSalford LEA,hopingto eventually extend visits andaccompanying literacy packsto allprimary Industry inManchester, for example, offered free as possible benefited. TheMuseumofScience and Many projects tried to ensure thatasmany children Open toall ar literacy packs.TheMuseum ofLondontargeted 06

PAGE THIRTYONE …Roman loan boxes for all at the Museum of London One part of Brighton & Hove Museums project, Whole School Strategy for Museum Learning, involved In 1998 the Museum of London's strategic plan 'special' weeks, a one-week programme for identified one of its key aims to make its collections disadvantaged pupils using the museums and artists - more accessible to Londoners, particularly London in-residence. The head teacher of St Bartholomew’s schools. This project provided 200 primary and special Church of England Primary School explained the sort schools in all London boroughs with a 'mini museum' of children this project was trying to reach: ' The first of Roman materials. Apart from increasing access to year we tried to draw out those children who never the museum's collections, it alleviated the went out or needed challenging. The second year we oversubscribed Roman gallery which annually turns chose children who were disappearing into the hurly away 170 school groups. The boxes contain real and burly of classroom life... These are the children who replica artefacts and come complete with teacher’s produced the sculpture on display which are of very packs and a video. INSET was also provided. It has high quality, a real talking point.' been estimated that 9,300 children have already benefited from having access to the boxes. Eventually the scheme is to be extended to all 2,200 primary and special schools in the London area.

…Entitlement at The New Art Gallery Walsall

The New Art Gallery Walsall called its project Entitlement it was designed to increase awareness among secondary schools of their entitlement to access the collections in local museums and the art gallery. Secondary schools were specifically targeted as they made least use of the collections. …Supporting rural schools with Hereford Heritage Working within the National Curriculum, teachers Services were trained in using the collections. Nine study programmes were developed with associated resource Some projects reached out to schools that were often packs and handling collections. An unusual aspect of excluded due to geographical and social reasons. At this project was the 'buddy' teachers - they were Hereford Heritage Services many of its potential teachers recruited from other schools who were visitors are from very small schools, widely scattered. trained how to use a study programme by the teacher Travelling to the museum can be prohibitive - so can who had developed it. Further dissemination is an overall fee for a handling session. Working with 18 planned through INSET, a website and CD-ROM, to schools in an EAZ, and schools within the South Wye ensure that each child in the area has access to the regeneration area, the project developed loan boxes collections through their school. and handling sessions to be delivered in school by freelance educators. The charge was per child, Targeting Education Action Zones ensuring very small schools (one has only 14 pupils) were not excluded. Many projects worked with schools within EAZs (details in the glossary). This was usually intentional, …The Fleet Air Arm Museum schools or areas were selected with help from advisers and inspectors within the LEAs. The At the Fleet Air Arm Museum, based in a similarly Football Museum in Preston aimed to 'engage rural location, small schools within a 20 mile radius disaffected pupils in an EAZ through the subject of the museum were targeted and part of the project matter of football and help get them back into budget went into providing transport. This was much mainstream education. I thought it would bring an appreciated: 'Museum visits are not always part of extra dimension to the children, who find it difficult the culture of the families of children in this school, to access the curriculum because of behavioural, so some children do not have a chance to visit emotional and social problems' (Liz Locke, inclusion museums. The reduced entrance fee and transport co-ordinator, Moor Park High School, Preston). being covered have been real incentives. Also each child was given a special offer for a family discount on tickets.' (Rupert Lovesy, Curry Rivel School).

Special educational needs

Many children with special educational needs THIRTYTWO benefited from the MGEP. A different environment, the GE opportunity to work with a variety of people in a non- PA school situation, using different equipment and materials allowed children who can find traditional schooling difficult the opportunity to shine. This was frequently recognised by teachers who welcomed new and stimulating ways of getting children with learning A major outcome of the project was the permanent difficulties involved. In Devon, for example, a child with digital suite within the gallery. The suite has shown Down's Syndrome was brought into the project, even how digital technology can shortcut many of the though he was not in that class, because teachers conventional skills necessary to produce traditional knew he would benefit from learning in a hands-on, art, allowing pupils who could not acquire drawing experimental way. Many projects worked with special skills to experiment and create meaningful and schools - not necessarily creating a project designed exciting images. 'It [digital art] makes you aware of for children with specific problems, but allowing them different ways of communicating, subtle indications, the same access as other students. through their art and what they are doing, especially with those who can’t communicate in the more …Signing at the Courtauld Institute of Art traditional ways.' (Laura Regan, project co-ordinator). The Courtauld Institute of Art's project, however, did cater for the needs of a specific group and provided a … Does Art Make a Difference? signed interpreter to work with at Dulwich Picture Gallery hearing impaired children in the galleries. Jenny Leach, interpreter for deaf children, This project was keen that hearing worked with impaired children could fully young people explore the paintings, as well with as their own creativity: 'The exceptional objectives were that the needs, young children should make contact offenders from with the artworks and really Orchard Lodge look. In making, the children Resource should learn to be bold… One Centre, a of the things that worries me secure unit for about art in schools is that 11- to 16-year- children get worried how it olds with looks and creativity becomes extreme subsumed by detail and how the thing looks.' behavioural and emotional problems. The Drop-in sessions for the children and their families aim of the project was to show how learning through were organised, and the gallery trail leaflet rewritten. visual arts in long-term teaching relationships can The children's confidence and knowledge was really make a difference to the lives of individuals - not increased, and the museum educators viewed working only in terms of their academic achievement but also with hearing impaired pupils as an exciting prospect in emotional and behavioural development. The group rather than an uncomfortable risk. recreated old masters from the gallery's collections in contemporary style, exploring ideas of conflict, good ...Creation Animation at Wolverhampton and evil. Maria Brotolo, an artist-in-residence, felt there had been 'real dialogue, real sharing of ideas At Wolverhampton Art Gallery the Creation and an interesting expression of ideas, all among Animation Suite project set out to see how art and peers. There was a strong sense of teamwork ICT could be used in the personal and social emerging'. This is backed up by the evaluation of the education of pupils with special educational needs, project: and to investigate barriers to learning ICT skills. Building on previous digital art residencies it examined how digital art could be used to enhance The young people developed new confidence formal education, particularly in special schools. and self-esteem. Clem Earle, 14-16 curriculum This project co-ordinator, believes the project was directly revealed a responsible for encouraging more students to take need for art and English GCSEs. He was moved to discover intensive that one student, returned to Dulwich Picture Gallery training to show some of his new friends around. This was and 'very unusual'. updating of skills in art and ICT for many teachers, and for specialised resources for pupils with special educational needs. THIRTYTHREE GE PA Cultural inclusion Several projects ensured that the The metal plated robot stood on ginormous feet. multicultural backgrounds of the He started to look around the laboratory with his students were respected and built on. Rochdale 2000 and Counting magnificent glowing eyes, wondering what he worked in areas with a high Asian was going to do. He looked down at his two population translating family polished sparkly hands and saw the colourful resources into Bengali and Urdu. At reflection of his metal face in his shiny metal Cartwright Hall, leading artworks by hands. He put his hands down and started to Asian artists were an important part of the project walk gingerly forward…. ArtIMP. Inspiration Africa! at the Horniman Museum used African collections to dispel stereotypical views (Extract from Out of this World by class eight, Leigh Central and to foster feelings of pride and heritage in the Primary School. For the full version of this story visit the multicultural communities it serves. Where possible website www.drumcroon.org.uk) African artists were chosen to work with the African artefacts and the expertise of Nigerian parents was drawn on as an important part of the project.

The head teacher was astonished and delighted Pride which is passed down from generation by the achievement of his Round the world it goes in jubilation pupils: 'You can pump and In and out of countries fair pump those basic skills Down into each person's lair into them and only get Everyone be PROUD! them to level two but just see what they can do on the computer with this project - it's astounding! ...Black History Project in Lambeth The whole thing was a shock. It's been a delight The Lambeth Archives Black History Project employed to see… children who can two researchers to delve into south London archives to be so challenging sitting identify all records relating to black and Asian people. in a self-controlled way - children who would have Findings were put on to a database for use by schools. previously destroyed their work… having total and A teaching pack is currently being produced which utter pride in their work.' The class teacher Rachel could complement English and History at Key Stages 3 Britner was impressed with the way the project also and 4, and could also be used to tackle Personal, helped the children develop personal skills in many Social and Health Education (PHSE) questions. The areas: 'The children may have poor communication intention is to dispel stereotypical views of black skills but in this project they can communicate people and to foster interest and pride among local visually, it encourages all pupils no matter what their communities. aptitude or ability. They are so on-task. We are trusting them, giving them something to do… developing their social and interpersonal skills. The Promoting self-worth standard of work has been phenomenal. This is their A great many projects described how motivation, chance of a lifetime.' confidence, concentration and feelings of self-worth and belief have emerged among participants. One of One of the pupils, Jared, an 11 year-old with extreme the places where this was most evident was the educational and behaviour difficulties, statemented at Drumcroon project. The difference to students at level five (complex needs) seemed to have found Mere Oaks School has been described in the something meaningful and absorbing in Out of this previous chapter but huge changes were also made World: 'I'll remember pretty much all of it. I feel pretty at Leigh Central Primary School. Approximately 50% confident about computers. I'm really into art.' of the year-six children are statemented and the headteacher was anxious to find a project that was Perhaps one of the most significant things to have meaningful to them and would promote feelings of emerged is the awareness that museums and galleries self-esteem and pride. They took the theme Out of are places that welcome all students: ‘Kids were this World, exploring fantasy, machines and learning that galleries are accessible and that they can recycling. The children designed robots, then using use cultural organisations in general. Security staff PhotoShop, an image manipulation programme, they are not keeping them out, they are there to look after built on their original designs and created 'collaged artworks.’ (Artist, the Whitechapel Gallery) drawings'. These were later used as a basis for THIRTYFOUR imaginative sculptures. The project extended into GE

PA literacy where the robots also inspired creative writing. Section 7 07 Professional Impact

'The partnerships seemed to be an opportunity to give people a role… we all gelled really well... it was all good for professional development.’ Sue Ball, project manager, Making Connections, Leeds

Introduction …Active partners, schools and museums The MGEP offered enormous potential for different Where projects were not so rigorously managed, much groups of professionals to come together, to discuss, depended on the personality and commitment of negotiate, plan, practice, review, evaluate and spark off project leaders, their relationship with partners, and each other! Inevitably there were difficulties along the clarity of vision. Many successful projects regarded way but huge developments were made in schools as active partners rather than 'recipients' of understanding, respect and learning from each other. the project.

Real partnerships: new relationships It's crucial to pick the right school in the first place and have a genuine partnership. Sitting down and having A strength of many of the projects was the powerful dialogue with the teacher, so they are not passive and meaningful partnerships that arose, at many recipients and have ownership. I think we have a unique different levels. Due to the often complex and multi- relationship with the teachers.' (Tim Corum, Leeds). layered nature of projects, frustration and confusion did occur, but so did mutual respect and appreciation, At Hereford Heritage Services the project manager, tolerance and support, discussion and an exchange of Siriol Collins, worked with and consulted teachers at ideas. Projects inevitably worked best when partners each stage of the project to make sure she was were equal, when they consulted each other, listened delivering what they wanted. This in turn was to each other and were prepared to be flexible. appreciated by the teachers who felt 'like consultants'. They were also pleased to see that where they had …A genuine meeting of minds in Leeds made suggestions they were listened to - the end result was a useful and useable product. Making Connections in Leeds Museums and Galleries had a diverse partnership including Leeds Learning In Devon, the project co-ordinator, 'just ran with it!'. Network; six schools (although the two secondary Ann Davey, a former teacher now working freelance, schools were forced to drop out due to timescale); was specifically recruited for the job. Her enthusiasm Creative Partners in Education (CAPE); Artemis, the and commitment meant each school received a Schools' Loan Service; and Parallel Interactive, web custom-built project. She made herself available for designers. One strong feature of the project was the support, advice and reassurance. This was particularly involvement of so many people within the museums, useful in an area where there is no trained education not just education staff, but outreach officers, curators officer and where education in the 11 rural museums and the registrar. The project was left deliberately is usually delivered by volunteers. Ann also devised open-ended and flexible. Sue Ball, a former director of training packages for them, Working with Schools, media arts but now freelance, was brought in to which increased their confidence. actively manage the project. She insisted on regular meetings and working to a tight timescale. The feeling that expertise and ideas were being Many people in the team had not been managed before exchanged resulted in a greater awareness and and for some it was initially a shock, but by the end of respect for each others professionalism, as well as the project most appreciated how useful it had been to an increase in personal confidence: 'You often come have to meet deadlines and attend regular meetings - up with a good idea and no one takes any notice. it made their contributions feel valued. Most shared This meant that we shared, we were noticed… Maggie Pedley's sentiments: 'I enjoyed being managed People listened to us - I feel I've made an important once I got over the shock of deadlines meaning contribution. It's given me more confidence…' something. I didn’t like it at first.' Due to Sue 'wielding teacher in Brighton. a big stick' all were focused and clear as to where the project was going and what was expected of them A flexibility to adapt and modify was also welcomed, individually. Each partner was valued for the expertise on both sides: 'The objectives were agreed between THIRTYFIVE and new perspective they could bring to the project. the centre and schools, it's a very dynamic project - GE PA it changes all the time.' (Drumcroon, Wigan). Ultimately, many projects allowed teachers to feel …Improving relationships, children and teachers valued and consulted, and museums had to rethink what they were offering to schools, and refocus if Teachers and their students also had the opportunity to necessary. Both partners were able to share their see each other in a different light, working outside the expertise. Both groups understood more clearly how constraints of the classroom. Teachers and students each operated and the constraints and opportunities were in the same boat: 'It's a non-competitive, more that were available: 'It’s changed the teachers’ relaxed environment. They see me making a mess of it perceptions of us - they see us as professionals and too, It's confidence building… they could see me in a expect us to be professional.’ different light and vice versa,' explained Christine Evans, a teacher from Brighton. This feeling was …Improving credibility, LEAs and museums reinforced by a teacher taking part in the Dean Heritage Centre's outreach project: 'I saw the kids in a different Many LEAs realised the potential of partnerships and light during this project. The relationship with the kids took an active role in the projects, helping select is key - supporting them in different ways improves suitable schools: 'The LEA was a partner. We were relationships.' offered two schools by the LEA, those they knew would be enthusiastic about the projects. They were selected …Shared professionalism, in museums by an adviser who had links with them.' Some LEAs ran INSET or offered assistance in using the intranet. Some projects involved many museum professionals, Advisory teachers were often crucial in making sure not just those working in the education department, that project planning was designed to meet the needs and by doing so raised the profile of museum of the schools they were serving. education generally. In Leeds the curator of archaeology became actively involved in sharing his Many museums found their standing had risen by the expertise not only with the students but with his end of the project, as in Leeds where Tim Corum, the colleagues. In doing so his eyes were opened about project manager, recognised that the museum had the benefits of learning in a museum. much more credibility. THIRTYSIX GE PA Hereford Heritage Services worked in partnership with, among others, Hereford Record Office. This was mutually beneficial, as Sue Hubbard, manager of the record office explained: 'Working on this project meant working with the heritage services - a trial experiment if you like… I learnt from their expertise how to work more closely with schools, asking them what they wanted… It taught us a lot... A nice example of sharing. It showed us how objects and written evidence inform each other.'

The Museum of Liverpool Life collaborated with other colleagues in the National Museums and Galleries on Merseyside and used combined skills involving the audio-visual team, designers and marketing in order to produce a good project. Professional web designers were also used to make Partnerships were also formed with the City Record projects come alive online, and to bring in their own Office, the project budget allowing the luxury of a technical and creative expertise. researcher. Even the attendants were fully involved and explained to visitors the children's contribution to the gallery. Explore these web sites to see very different Full-scale involvement by all staff was also approaches to web design: happening at the Brontë Parsonage Museum. The www.clothofgold.org.uk/inAfrica education officer met a museum attendant on the (Horniman and Cloth of Gold) door just as a group of Bradford schoolchildren were www.education.bl.uk leaving. The attendant said: ‘This is good isn't it. This (Words Alive! at the British Library) is what we should be doing.' In Manchester, two of www.ncl.uk/antiquities the Power Hall demonstration team found (Museum of Antiquities, University of Newcastle) themselves reincarnated as Forgetful Fireman Fred www.westallswar.org.uk and Engineer Eric. 'Incorporating the demonstration (Tyne & Wear Archive Service) team into our work has been a good link… we will www.whitechapel.org.uk use them in future. There is no them and us (SWAP) feelings.’ (Chris Chadwick, project manager, www.magic-carpet.org.uk Literacy in MSIM). (Sussex Arts Marketing)

Fiona McKay, lifelong learning officer for Devon County Council, sums up the difference the project Research Consultants were brought in to advise on North Devon on Disk made to those involved: ‘To the planning the learning needs and expectations of the museum it has demonstrated what a positive role pupils, making sure the project was directly related education has to play within the museums, It's to the National Curriculum. Reading Museum's possibly demonstrated to local authorities the Loans for the New Millennium project employed an crucial role the museums have in supporting local educational consultant to give extra professional communities. For the volunteers themselves, it has support, as did the National Transport consortium increased skills and confidence, showing they have a Learning on the Move. part to play in delivering education.'

…Using creative professionals

Many projects included creative professionals as their partners, often working with groups for the first time. Artists and story-tellers, poets and drama specialists introduced new ways of working with collections. 'For me - the project altered and affected the way I teach… it has added approaches I can use. Working with artists made me look at things in a different way and the content of my teaching has changed. KS3 teaching is now based on projects that come through the Schools Working With Artists Project (SWAP).' (Secondary teacher participating in SWAP project at the Whitechapel THIRTYSEVEN Gallery). GE PA Family and community involvement Learning new skills

Some projects deliberately set out to attract new Almost everyone involved with the MGEP seems to audiences, including families. Nottingham enlisted have learnt new skills. Some were deliberately the help of Kate Stubbings, the basic skills targeted through INSET and other training sessions. programme manager from the Berridge Centre, New Many projects included INSET - ICT, art, literacy, were College, to help deliver the family learning section of often delivered by LEA advisers and museum staff. In its project Focus on Literacy. The intention was to North Devon, training sessions and training packs help parents develop skills in literacy, in order to were prepared on Working with Objects and Working assist their children. Parents, carers and children with Schools. worked together with staff from the museums and Berridge Centre. It gave me insight how we could use The first step in Recreating Cheshire was to hold museums, generate ideas and resources.. the special skill-sharing days where all participants, parents all went away with the feeling that the castle teachers, artists and museum educators, were invited was somewhere they could go back to,' to discuss and pool expertise and recognise each (Kate Stubbings). others talents: 'Teachers found the skill- sharing days really useful - they met the gallery staff and saw the Few families had worked with the museum before, potential and met the artists - it was really precious,' and the education and outreach team had to (Pauline Harrison, senior art adviser, Recreating frequently reconsider its position - what were they Cheshire). trying to do and why? 'It taught us about starting points, we asked them to tell us, we weren't limited Creative Connections, the project developed by the by funds.' (Sharon Thomas, outreach officer). V&A and the Institute of Education provided seven teachers with an accredited course module, that aimed to give them the confidence and skills needed to achieve good practice through the use of museums and galleries as a learning resource. 'The learning is coming through in my teaching, I'm more aware of museums than I was, before it was just galleries. I'm more aware of curating issues.' (Sally Clifton,

THIRTYEIGHT Fortismere Secondary School). GE PA For others just the opportunity to get out of the At Nottingham, a team of 15 freelancers were classroom, or museum, allowed familiar areas to be employed to deliver sessions in schools. The viewed with new eyes: 'I learnt a lot about Haworth museum staff recognised that many of the sessions and the Brontës and their novels… it was really would be challenging and offered their full support: important to take a step out of the classroom and 'We talked to teachers and freelancers together, we look from a new viewpoint.' (Alex Fellowes, talked to teachers after the visit, we also went in to Scotchman Middle School). schools to discuss things, it was a two way process.' (Helen Crowfoot, literacy consultant). Most importantly, many projects were highly enjoyable. When asked what had been most valuable Being sensitive to each other's situations was also to her, Maggie Pedley, registrar at Leeds Museums crucial: '…bringing the project into schools which and Galleries replied: 'The opportunity to play! Play are very stretched, having to bring in something that around with the job I've been doing for 17 years, to supports rather than distracts from what they are come at it from a different angle.' doing. In mainstream secondary schools it was an enormous challenge, without giving teachers extra grief. The way to do it properly would be to release Working through difficulties teachers, more cross-departmental work, give the teachers a chance to incorporate it into their Although the projects had a huge impact on planning… You have to tame your own ego.' professional development there were difficulties, (Tony Minnion, project co-ordinator from the Cloth most of which seemed to have been worked through, of Gold, Inspiration Africa!). possibly bonding partnerships more securely. This is just a brief look at some of the most common problems that occurred. ...Inadequate budgets, not enough time

For many museums this was the first time they had ...Defining roles to work with large budgets. Inexperience with bidding sometimes meant that budgets were The workload involved in most projects was often inadequate. Materials, consultants and 'time' in greater than initial planning suggested. Problems general was often more expensive than anticipated: occurred when it was not completely clear who was 'We needed to cover teacher’s time in our bid - responsible for what. maybe adding £5-6000. I thought I would be giving my time free but I didn't realise it would be the same Learning on the Move involved five national for the other two [partners].' (Tyne & Wear). museums spread across the country with a considerable number of professionals at each venue Management time required to run the projects was trying to work together. ‘There are five big also frequently under-estimated. In Walsall, the museums, it was a broad remit… unrealistic freelance co-ordinator, working with over 18 schools expectations were a big problem,' (Robin found that project management time had been Clutterbuck, consultant). Initially there was some under-estimated by 100%, resulting in personal confusion as to who should be doing what - should stress. Many managers, co-ordinators and members the educational consultant be devising and of the project team worked much longer hours than delivering activities in schools, or was that the job of they had originally thought would be necessary. This the museum educator? Should schools be uploading was not helped by considerable staff turnover. The materials on to the web, or was that the extraordinary and unpredictable loss of staff at the responsibility of the web designers? As Chris Warren New Art Gallery Walsall (all going on to better jobs from Actis, the web designers, acknowledged: 'The following its success) and teachers stressed by original scheme didn’t match reality, we had to moving, workload, school failure, staffing changes adapt, make sensible use of time. It needed to be and illness all took their toll at Walsall. applied slightly differently.’ Tight management, regular meetings and flexibility did something to Some projects did not enter MGEP until the second smooth out difficulties. phase of funding, which resulted in shortened timescale and the extra effort that entailed. This need for clear organisation and understanding of roles was also an issue between schools and Shelagh Hirst from Eureka's project Let's Discover! museums, particularly over 'policing': 'We did have was in a slightly different situation: 'I came in as a some really difficult pupils. The situation at one seconded teacher much later. We didn’t hear about the school was diabolical. They said we'd have 20 money… until Easter – [it was meant to start in children, we got 30; they said we'd have a teacher, January], so straight away the project was behind we got no teacher. We got all the “bad boys”... schedule. The schools were enthusiastic but there they just assumed they'd benefit. If things are more wasn’t enough time - it meant when I needed the THIRTYNINE organised in school it makes things easier.' schools it was school holidays and I was unable to get GE

(Horniman Museum). the necessary feedback. We set up a virtual community PA to help the relationship but that didn’t really work. The timing would have been better if it had started in September. We could have been more supportive. PAGE FOURTY impact oftheMakingConnectionsproject: Over inLeeds,Tim Corum,isenthusiastic aboutthe Devon admits: differently. AlisonMills,project managerinNorth view theeducational potential of museumsvery and otherprofessional areas, describehowthey now c MGEP onprofessional development hasbeen In spite ofdifficulties,theoverall impactofthe …Changing thewaysofthinking rural areas. mouth epidemicalsoaffected fieldworkinsome when theLEAitselfwasinupheaval. Thefoot and c Other difficultiesrelating to timingincludedprojects think about museum education. I was scared of it. of scared was I education. museum about think changed the way we work with education… It’s education… with work we way the changed onsiderable. Manypeople, inmuseums,schools oinciding withSATs orGCSEs,coming atatime The National Curriculum arrives. I had no staff. I staff. no had I arrives. Curriculum National The spent the money buying in expertise. Once schools Once expertise. in buying money the spent were here they were not doing work related to our to related work doing not were they here were collections or North Devon… it could have been have could it Devon… North or collections anywhere …I'm still a bit scared, but rather rather but scared, bit a still …I'm anywhere of administration and organisation rather than rather organisation and administration of content… [education] is now a core part of of part core a now is [education] content… museum work.' museum exact position we need to be seen in if we are to are we if in seen be to need we position exact continue to exist.' to continue 'It's completely changed the way I way the changed completely 'It's taught us a lot about lot a us taught development and project and development partnership… there's partnership… been an impact on so on impact an been many levels, we can now can we levels, many sit round the table and table the round sit say its been a success a been its say from top management to management top from micro levels, a huge a levels, micro learning experience… It's experience… learning been an enormous an been success - promoting the promoting - success service in a in service contemporary, cutting contemporary, edge, relevant way… the way… relevant edge, 'it’s ● ● ● ● ● many ● projects, the with involvement their Through Summary ● ● ● professionals: partnership working Gained improved relationships, developed through many levels Gained knowledge aboutpartnerinstitutions on professionals Gained respect for theexpertise ofother Learnt aboutworkingwithcreative professionals money Learnt to tackle constraints suchastimeand management Gained newskills,particularly inproject educational projects Gained agreater appreciation ofthepotential of re Gained more confidence andself-esteem from t Gained newandfresh approaches to familiar eaching ormuseumtopics c ognised achievements suggests: also hadotherbenefits.Onemuseummanager objective, the freedom to achieve it, to evaluate it and it evaluate to it, achieve to freedom the objective, have the momentum to carry on carry to momentum the have everyone's keen to come and have a look.' a have and come to keen everyone's Bradford exclaimed: Stevens, class teacher atWoodlands PrimarySchool, l A greater awareness ofpossibilities hasinformed all future projects. achieved byworkinginpartnership andto inspire and project manager,to demonstrate whatcan be children's work,isbeingusedbytheliteracy adviser The MuseumofLiverpool Life’s BigBook,containing projects are beingusedto disseminate goodpractice. r way people inmanydifferent areas ofeducation now Through theMGEPchangeshave beenmadeinthe Disseminating goodpractice enthusiasms nowinplace to allow projects to evolve? r schools feel they have achieved allthey can orare projects one-offexperiences? Willmuseumsand partners feel anylong-term impactorwere the the museumsandgalleries, theschools andother When allprojects have finishedinMarch 2002,will funding wascrucialinallowing him:' project managerofFocus onLiteracy atNottingham, r w place. Funding wasgenerous andfor manythiswasa The MGEPallowed manyambitiousprojects to take Introduction c up teacher advisorygroups to ensure continuing Epping Forest District Museum,for example, have set Museum ofScience andIndustry inManchester and museums andschoolsare alsobeingbuilt on.The other professionals. Closer relationships between Many are keen to maintain partnerships withLEAsand 'There has been a reassessment of museum education; museums are portrayed as not just places you can visit, but visit, can you places just not as portrayed are museums education; museum of Tim Corum,LeedsMuseumsandGalleries reassessment a been has 'There Long-term Impact Section 8 almost overnight changed people's perception of perception people's changed overnight almost centres of expertise that can be used creatively.' used be can that expertise of centres ev museums and galleries… coming from central from coming galleries… and museums egard thepotential ofmuseumeducation. Many esources, expertise, partnerships, commitment and each outto newaudiences. For JimGrevatte, the ontact andexchange of ideas. government it had the stamp of approval.’ of stamp the had it government onderful opportunityto explore, experiment and els from LEAsto museumattendants. AsDebbie 'The money from the DfEE [now the DfES] the [now DfEE the from money 'The 'It’s cascaded down into school, into down cascaded 'It’s '. Substantial funding to have an have to has includeditinfuture planning: Africa! project to enhance herwork ontheBeninand School, LondonusedtheHorniman'sInspiration future. KimSlade,class teacher atChrist Church 1,000 years ofNorwichCastle, past, present and the resources generated byNorwichCastle Museum's of Work for year seven inorder to take advantage of In Norfolk, onesecondary schoolrewrote itsScheme cover art, ICT and English. It absolutely delivered the delivered absolutely It English. and ICT art, cover fit in with existing practice.' practice.' existing with in fit of work. of National Curriculum. I intend to adapt the QCA the adapt to intend I Curriculum. National in Brighton: make themost ofit.AtMiddle Street PrimarySchool understand thevalue ofamuseumvisitandhowto Other schoolshave madesure that allcolleagues schemes in future and use them as a framework so I so framework a as them use and future in schemes to help teachers plan ahead and plan together. Visits together. plan and ahead plan teachers help to can include this project.' this include can for the right time for the syllabus, well planned, well syllabus, the for time right the for work best.' best.' work to assistant post; andthefreelance educators employed project alsosawtheappointmentofaneducation visitors. TheEppingForest Archaeological Access l educational activities.Thisproject, focusing onlifelong r allowed thegallery to refurbish andequipavacant education officer post became fulltime.Funding also creation ofnewposts. AtNewlyn ArtGallery the Some projects have ensured sustainability through the …New posts inmuseumsandgalleries education we ensuring long-term sustainability. Thesecomments their value inenhancingmanycurriculum areas and plans andteachers' SchemesofWork, recognising Many projects are nowincludedinschools'yearly Written intoplanning Heritage Services are nowpermanent. earning, aimedto reach the'broadest spectrum'of oom inthenearbyprimaryschool,to beusedfor

deliver teaching sessions inschoolsfor Hereford re

' v ery common: t eacher from Hereford; (Vanessa Dyer, class teacher). '… we now have a visits folder in school, in folder visits a have now we '… 'I've already put it into my scheme my into it put already 'I've (Teacher, Manchester). and 'it’s designed to designed 'it’s and 'I knew it would it knew 'I 08

PAGE FOURTYONE PAGE FOTYTWO lo boxes anddeveloped newonesonthemesrequested by Museum's SchoolLoansProject redesigned itsexisting l gallery's collections, andwithrelated documentssuchas c prepared resource boxes onthethemeofPortraits, st they willcontinue to beusedinfuture. Arecommended ensuring they are whatteachers andpupilswantthat The evaluation wasusedto develop newloans, thereby ● ● ● ● manager). to greater numberofstudents benefited from usingobjects Several museumsdeveloped loan boxes, ensuringthata turned itselfinto aregional centre ofexcellence. precise knowledge ofcurrent classroom practice andhas f heritage andexperience, ReadingMuseumhaslaidthe f etters withsuggestions onhowto usethem.Ditchling oundations for sustainable development basedon or usebyothermuseums.Bybuildingontheirlong ontaining copies ofdrawings andpaintingsfrom the r wanted through extensive andintensive evaluation and l Loans for theNewMillennium project aimedto bringthe Reading Museumhashadaloan service for 90years. Its Reading Museum …Loan Service for theMillennium Project at of the21st century. ways thatcould bedeveloped to meettherequirements Some projects investigated professional practice and Professional development Obviously it was great to have 90 years of boxes behind boxes of years 90 have to great was it Obviously c ra oans into the21st century byfindingwhattheirusers

us, but it has been new to have someone to do it for two for it do to someone have to new been has it but us, esearch. ‘ enhance learning. TheNewArtGallery Walsall years and write it up formally.' up it write and years al teachers. t egy for thedesignofloans hasalsobeendeveloped gauge progress andsuccess. Self-completion questionnaires were alsosentoutto impressions andmemoriesremained. they hadinitially usedtheloans to seewhat Children were interviewed seven to ten monthsafter needs. t the data wascollected Focus Dayswere heldwhere Children were alsoobserved usingtheloans. Once objects. and thedifferent kindsoflearning taking place using which skillswere developed through usingthem; handling); howloans could supportthecurriculum; included inquiriesaboutaccess to loans (displayand schools were interviewed. Thequestionnaire Tw eachers were given theopportunityto discuss their enty-four teachers from primaryandsecondary Evaluation and customers are the core. the are customers and Evaluation (Joy McAlpine,project (A fulllist ofallwebsites isavailable inAppendix 2). to seven partnermuseumscombined inthesoutheast In theSussex ArtsMarketing project MagicCarpet to of theNationalCurriculumandQCA schemesandhow e c on ninemuseums,(openingtimes,collections, whoto visit to a museum orgallery andcontains information This site is fullofinformation for teachers planninga and specialschools,furthereducation colleges. (www.magic-carpet.org.uk). pull alltheinformation together. enhancing professional development. Casestudies ontact); andlinksto otherusefulwebsites. Italso xamines thewiderimpactbylooking atrequirements re f (www.salt.cheshire.org.uk/links) isspecifically designed The Recreating Cheshire website audiences inthefuture. them onlineresources withthepotential ofreaching new projects, others have ensured sustainability bymaking w As hasbeenalready seen,manyprojects included ...Online learning c to addition itwasdiscovered thatmuseumeducators need in order to usemuseumsandgalleries effectively. In opportunities to develop appropriate skillsandknowledge ensure thatteachers, includingtrainees, receive regular f groups. Findingssuggest thatthemost effective way and thesoutheast, involving questionnaires andfocus c which areas ofcurrent professional development and galleries asalearning resource; andinvestigated art anddesignteachers make effective useofmuseums to The V&AandInstitute ofEducation worked inpartnership sculpture, photography, looking andthinking. s based educational activitiesfor usebyteachers and engaging waywithinnovative onlineworkshopsandarts- the best ofartseducation practice inanactive and and literacy through worksofart.Accessart disseminates Museum andKettles Yard, facilitates teaching oflanguage developed inpartnership betweentheFitzwilliam projects can beaccessed. ISeeWhatYou Mean, Accessart (www.accessart.org.uk) from whichtwoMGEP A furtherexciting example ofanonlineresource is c industrial heritage themesonsalt,cotton, crafts and artists workinginahugevariety ofmedia,to explore local f art anddesigncurriculum.Recreating Cheshire involved downloadable documentsandbooklists relating to the artefacts from museums'collections. There are also t l earning resource packs-unitsofworkwritten by

or artanddesignstudents andteachers. Althoughit orward isthrough astrategic framework whichwill our museums,ten secondary schools andten visual eachers, information aboutmuseumsandimagesof ontent meetsteachers’ needs. ontributed to this.Research wascarried outinLondon anals. tudents ofallages.Workshops includeddrawing, produce ausefulresource for primary,secondary, meet them,aswellwaysof developing skillsand ebsites. Someusedthewebto record orcelebrate

co re f ormally research thekey factors thatdetermined how r c ds howtheproject developed, italsoincludesonline onsider theirprovision ofINSETandensure good practice. suitable for usebyotherschools,againdisseminating Some schoolshave produced resources thatare …Resources byschoolsfor schools English atKey Stage 3. Wuthering Heightsoffers activitiesdesignedto enhance Brontë Parsonage Museum'spackTheDoorto usually closely linked to theNationalCurriculum.The offered suggestions for follow-up workbackinschool, Po provided free to allschoolsintheLEA,suchasWord used inconjunction withamuseumvisit.Somewere Many projects produced resource packs,often to be ...Written resources Resources museums/school partnerships. parent helpers and isintended to be ausefultool for opportunities for learning supportassistants and National Curriculum.Itincludes training which wouldcorrespond to thedemandsof museum learning anddeveloped museumsessions eight schoolsto raise awareness ofthevalue of f Brighton &Hove Museums‘A Whole SchoolStrategy neglected areas suchasgeology andarchaeology. problem-solving, andincludessometimes and mediastudies. Thefocus is oncreativity and used withotherschools,workinginscience prepare apackageofmaterials thatcould be worked withBuxton MuseumandArtGallery to Nick Braunch from Buxton CommunitySchool or MuseumLearning’worked inpartnership with w er inthePower HallandWestall's War. Others c enabled thepurchase ofthemuseum’s first andonly ex allowing theinitial project to bedeveloped and Many museumsbenefited from newequipment …Investing inequipment presenters andinterpreters inthegallery. permanent feature. Wo who wishto useit.Theanimationsuite in be placed inthegalleries, available onsite to those permanent resource. ArtIMP,amultimediapod,will Hall inBradford wasalsoanxiousto develop a around to different schoolsasrequested. Cartwright project could beusedover andover again, moving it moveable technology thecentre ensured thatthe to The Drumcroon Wigan Website project wasdesigned to described insectionfour, aimedto encourage students Whitechapel Gallery's SchoolsWithArtists Project, The videosproduced bystudents taking partinthe omputer.

t view artmore favourably byusingstudents as be sustainable from theoutset.Bybuying ended into thefuture. Buxton Museum’s smallgrant lv erhampton ArtGallery is alsoavaluable and

PAGE FOURTYTHREE PAGE FOURTYFOUR f f Janita Bagshaw,headofeducation andvisitor services in? l c funding alsoposesconcerns -someprojects paidor projects simply fizzlingout.Theabsence oflong-term c momentum keep going?Inevitably there hasalsobeen someone inplace to take over from them?Willthe ordiantors. Theircontracts have nowfinished-isthere Many projects were managedbyfreelance co- some projects whenthefundingandsupportceases. There are seriousconcerns aboutthesustainability of Issues five to ten years’ time we'll be back in square one. Why one. square in back be we'll time years’ ten to five onger able to dothiswillschoolsstill beable to come ears: or Brighton MuseumandArtGallery expresses her aren't the training courses for teachers - PGCE - using - PGCE - teachers for courses training the aren't ontributed towards transport costs- ifthey are no onsiderable staff turnover, withthedangerofsome us? Museum learning needs to be a statutory part of part statutory a be to needs learning Museum us? training… We need enthusiastic museums enthusiastic need We training… champion/co-ordinators in every school… we need we school… every in champion/co-ordinators advisers for museums and galleries, like LEA subject LEA like galleries, and museums for advisers advisers.' 'Something needs to happen structurally, or in or structurally, happen to needs 'Something every year. The education officer is now taking over taking now is officer education The year. every f c flexibility andclarityofvisionare destined to planning, excellent partnerships, goodmanagement, Leeds, have grown strong through clear structure and However, manyprojects, suchasMaking Connectionsin from Sue [the freelance co-ordinator] ...we will develop will ...we co-ordinator] freelance [the Sue from orward to thefuture: other areas - chat rooms, discussion rooms. The key is key The rooms. discussion rooms, chat - areas other ontinue. TimCorumreflects ontheMGEPandlooks to retain Sue's ability, maintain the partnerships, work partnerships, the maintain ability, Sue's retain to in a discursive way based around [but not exclusively], not [but around based way discursive a in museums and galleries. We'll continue to develop to continue We'll galleries. and museums online activities delivered by people such as artists and artists as such people by delivered activities online teachers. We'll learn lessons, develop partnerships, develop lessons, learn We'll teachers. ferment a bit.' a ferment 'We shall have similar projects similar have shall 'We throughout theproject. important, butevaluation can playavital role the endofaproject to measure success –thisis Evaluation isoften seenassomethingthatisdone at y Evaluating planned. Completing r Adjusting k Delivering how muchcan you spendonfuel? Planning what timedoyou needto arrive? Agreeing your aims travel with? Identifying your partners journey? Developing your idea these to thestages ofacar journey: that needto bemanaged–itishelpfulto compare All projects can bedividedinto asequence ofsteps as anongoingproject. have abeginningandanend–there isnosuchthing by aspecifictime,andoften withinabudget.Projects that are managedinorder to achieve adefinedchange it actually means?Aproject isasequence ofactivities ‘project’, buthowmanyofusstop to thinkaboutwhat The MGEPinvolved 65projects. We allusetheword What isaproject? effective projects Developing Section 9 oute because ofroad closures orto avoid traffic jams. ou can planfuture journeys more effectively. eep upyour required speed. – whatroute willyou take, whowilldrive and – you mayneedto make changesto your – you willneedto keep to theroute and – you take stock ofyour decisionssothat – you arrive at your destination atthetime – whatisyour destination and – whatisthepurposeofyour – whowouldyou like to Te y e potential partners andotherstakeholders. Lookfor sessions andconsultation meetingswithcolleagues, ideas. Develop theideasbyholdingbrainstorming All projects start withaninitialideaornumberof Developing andtesting ideas in thefuture. how you might workwithproject partners innewways project –thinkabouthowyou mightbuildonitand further funding.Thisismore thanjust repeating the integrated into future workandcan helpyou to access successful projects often have elements thatcan be projects can nothave long-term benefits–indeed, projects have adefinedend,thisdoesnotmeanthat Sustainability isakey issue –althoughbydefinition ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● it suchas: ou learn from their experience? xamples ofsimilarinitiatives elsewhere –whatcan st

how sustainable isit? what are themaininternal andexternal threats? what are themainrisks–whatmightgo wrong? necessary skillsandexperience? do you andyour potential partners have the how attractive willitbeto potential funders? space andequipment)available? are therequired resources (people, time,money, who are your potential partners? how muchwillitcost? what are thehealthandsafety issues involved? how innovative istheidea? to how relevant, accessible andappealingwillitbe how relevant isitto theNationalCurriculum? other participants? how willitmeetthelearning needsofpupilsand w how doesitfitinto your long-term programme of potential partners? how mightitrelate to theaimsandobjectives of y how doesitfitinwiththeaimsandobjectives of achieve? why doyou wantto doitandwhatyou wantto the qualityofideabyaskingquestions about our school/museum? ork?

pupils andotherparticipants? 09

PAGE FOURTYFIVE PAGE FOURTYSIX ● ● ● ● ● Successful partnerships c partners feel active andvalued, andare notsimply P by amore powerfulpartnerintheproject. down ifanorganisation feels exploited oroverwhelmed but itisworthbearinginmind–partnerships can break not thecase. Thismaynotbeaproblem inmanycases, equal influence (egindecision-making),whichisoften l on aproject. However, usingthe term partnership can where twoormore organisations are workingtogether used lightly. Itisoften usedto describeanarrangement The term partnership iswidely used,butitshouldnotbe and effort thisaspectoftheproject islikely to demand. establish anditisimportant to recognise howmuchtime successful partnerships are notquickoreasyto P than workingalone. short, workingtogether enables you to achieve more c a networkofusefulcontacts for thefuture andmake and can openupopportunitiesfor funding.Itcan provide provide access to newideas,expertise andexperience, W W ead to anexpectation thatallpartners shouldhave onsulted orare passively inreceipt ofaservice. onnections withnewsectionsofthecommunity. In artnerships are muchmore likely to succeed ifall artnerships are often stimulating andrewarding, but orking inpartnership can have hugebenefits–itcan orking inpartnership positively to change. important thatpartners are able to respond projects, especially long-term projects, soitis Are flexible –circumstances can changein r establish asenseofshared ownership and making from anearly stage –itisimportant to Involve allpartners inplanninganddecision- with fellow partners. project, whatisexpected ofitandhowwillwork objectives, andunderstands itsownrole inthe that eachpartnerisaware oftheproject aimsand motives are intaking partintheproject. Itisvital each organisation, howthey workand whattheir make sure thatpartners understand thenature of Are basedonshared understanding andtrust – r project hasalong enoughlead-in timeto allow try to rushapartnership andmake sure your Have enoughtimeto become established –donot r outweigh thetimeandfinancialcommitments c benefits. Partners shouldnotfeel coerced into want to beinvolved andbeprepared to spelloutthe a potential partneraskyourself whythey should Are ofbenefitto allpartners –before approaching esponsibility. elationships to develop. equired. ollaborating, andtheperceived benefitsmust monitoring andevaluation oftheproject. allocating resources, anddirecting thedelivery, defining objectives, puttingtogether theproject plan, of theproject manager,for agreeing project aims, project andwillberesponsible, undertheleadership The team willneedto meetregularly throughout the ● ● ● ● clearly definedandaproject manageridentified. t r t Once you have your partners onboard you can put The project team ● oo large (sayupto eightpeople). Roles shouldbe ogether your project team –thisshouldbe epresentative ofthepartners involved butshouldnotbe Tr quickly lead to alackoftrust andresentment. organisation isinvolved. Poor communication can especially important whenmore thanone of communication are vital to allprojects butare Depend oneffective communication –goodsystems pressures onpartners. r y Are involved inrealistic projects –make sure that c r c decision-making isadopted andthatthere isa vital thatademocratic approach to important ifanumberofpartners are involved. Itis Require strong leadership –thisisespecially st partners to deliver ontimeandto therequired organisations needto have trust intheabilityof Are basedonmutualrespect –participating initiatives. that openuppossibilities for furtherjoint is likely to beshared interests andwaysofworking Have thepotential for future collaboration –there esourced, anddoes not putunexpected orundue esolving themthrough consultation and our project isachievable andadequately onsensus. ommitment to acknowledging problems and andards. ansparency andhonesty are essential. Project delivery Project team details Project Develop Development Project Preliminary Context of project Basic concept Establish Project Team Activity Final Project report andevaluation summary Session delivery –phase3 Session delivery -phase2 Reassessment against project aims Evaluation -phase1/phase2/phase3 Session delivery –phase1 T Liaison withschools Marketing programmes eacher inset invariably leads to problems later intheproject. perhaps to emphasisetheirvalue for money, butthis r co Once objectives have beenagreed, theproject can be availability ofotherresources. training needshighlighted bytheproject, andthe on theavailability ofstaff andtheirskills,any account andconsult colleagues andproject partners – can thenbeproduced. You willneedto take into Objectives –whatyou intend to doto achieve your aims this stage. sufficient timeandresources shouldbeallowed for delivers). Effective planningiscritical to success, and make) anditsoutputs(whattheproject produces or outcomes (thedifference andbenefitstheproject will direction. You willneedto thinkabouttheproject’s involved to achieve ashared visionandsenseof These shouldbeclearly communicated to everyone aims –whatyou wishto achieve through theproject. The first step inplanningaproject isto identifyits Planning theproject esearch. Newprojects are often under-costed, st ed. Thisisacrucialstage thatrequires thorough Fr ● Piloting resources &sessions session programmes Detailed development of Review budgetandschedule ● ● Preliminary project outline of partners &stakeholders Discussion withandestablishment Development of evaluation criteria r Implementing changesfrom Development of learning resources Statement ofproject purpose Review collections required Review resources Review andrevise budget Review staff capacity Review project aims Develop concept esults ofpilots ont endevaluation Identification ofresources Ta Activities r get audiences 123456789012123456789012 Y ear 1 and progress can betracked quickly. interdependencies betweentasks can easily beseen, so thatmilestones, concurrent activities and v project onabarchartacross atimescale. They are presenting aproject plan–thesesetouttasks inthe and finish.Ganttchartsare often usedasawayof who willdothem,andwhenthey willneedto start document specifyingthetasks thatneedto bedone, The next step isto produce aproject plan–a c increase. Your schemeofevaluation shouldbe deadlines, orto compromise onqualityifcosts r e effective decision-makingduringtheproject. For and measurable, andideally prioritisedto enable progress duringtheproject. They shouldberealistic t indicators thatspecifywhatyou wantto achieve in Y erms oftime,cost andqualitysothatyou can monitor equire you to increase spendinginorder to meet ou willalsoneedto develop asetofperformance ery usefulasthey showthewhole plangraphically onsidered andsufficientresources allocated. xample, changesincircumstances intheproject may Y ear 2

PAGE FOURTYSEVEN The Gantt chart fulfils a number of purposes. It can be It is important to mark the completion of the project – used to: to review what has been achieved and to thank everyone involved for their contribution. This is often ● schedule activities neglected due to the pressures of other work. ● communicate the project plan to others ● mark milestones in the project sequence Evaluation ● determine the minimum project duration, given that some resources may be limited Evaluation can, and ideally should, be carried out ● record resources and staff responsibilities throughout the life of a project and time for it needs to ● enable decisions for action to be taken at the right be built in to the project plan. time and in the right order ● monitor progress against planned performance of Before you begin to evaluate you will need to decide activities. what you want to find out – this will determine when and how you carry out the evaluation. You should think Delivering the project about why you want to find out the information – there is no point in spending time and money on evaluation if Delivering the project is about putting your plan into you are not prepared to act on it. You will also need to action and keeping it on track. You will need to monitor consider how the results of the evaluation will be used progress on an ongoing basis and make adjustments to and who will see them – this will influence how you the project plan accordingly. This will require thorough present your findings. Remember that evaluation is a and systematic record keeping and collection of means to an end, not an end in itself. information about what has been achieved by when (using your project plan as a check) and how much Evaluation can be carried out before, during and after money has been spent. Make sure that progress is the project. effectively communicated to all partners and that the achievements of staff, for example in meeting project Evaluation before the project – front-end evaluation milestones, are acknowledged. or preliminary research – can tell you whether your proposed project is likely to appeal to potential If changes to the project plan are needed, weigh up all participants and whether you are on the right track. It the options and think about their likely effect on your OURTYEIGHT can tell you what they already know or feel about the F project objectives before you make a decision. Make subjects you plan to cover and what they think about GE sure that any changes to the project plan are quickly

PA your general aims and ideas. Evaluation at this stage communicated to the whole project team and those is probably more important than at any other point in involved in delivering the relevant aspects of the a project – as it takes place at such an early stage, it project. Evaluation atthecompletion or changes willwork. should berepeated untilyou are certain thatthe ev them. Itisvital to allow adequate timefor formative te c an tell you whetheractivities,publications, exhibits, c v changes. Thefindingsofsummative evaluation can be ta ev efficiently managed.Thisisthe most common form of outputs), andto whatextent ithas beeneffectively and project hasachieved itaims(itsoutcomes and Evaluation what theirattitudesandskillsare before theactivity. the attitudesorskillsofpupils,you willneedto know wish to assess howparticipatinginanactivitychanges that thechangecan bemeasured. For example, ifyou important to establish whatthecurrent positionisso baseline r If you wouldlike to measure impactorchangeasa sums ofmoney init. scope andcontent oftheproject before investing large ensures thatyou have timeto make adjustments to the be analysed statistically). quantitative (iethey provide numerical data that can attitudes, feelings, perceptions orbehaviour) or c There are anumberofevaluation methods–these summative xt, imagesetc willworkandhowyou needto improve aluation asitinvolves trialanderror andideally ery usefulsecuringinternal and external support,and an inform future projects. esult oftheproject, you willneedto carry outsome an bequalitative (iethey provide data intheform of k aluation, butisnotnecessarily themost usefulasit es place whenitisusually too late to make any ev during aluation before theproject begins.Itis ev aluation –can tell you whetherthe the project – after formative the project – ev aluation – ● ● ● ● ev methods themost difficultthinkisto focus the in whichyou select, designanduseevaluation what you have collected. You can becreative intheway data, butismore difficultto analyse andinterpret Limit whatyou wantto do,asitisnotdifficultto gather and eachwillbetailor-made to suityour ownsituation. it out.Acombination ofmethodsisgenerally useful, want to findoutabout,thenyou can decidehowto find of theevaluation. Once you have decidedwhatyou The choice ofmethodsisdependentontheobjectives Choosing whichevaluation methodtouse ● Methods ofevaluation: aluation objectives. make sure thatitisclear andeasyto use. k enjoy completing questionnaires. Itisimportant to may holdparticularly strong viewsormaysimply self-selecting –thepeople whochooseto reply than 10%.There isalsoariskofthesample being have avery poorresponse rate, often nomore co based evaluation. Themaindisadvantage ofself- c seenasless time- used because they are are prepared to say. influence howquestions are asked orwhatpeople anyone involved withtheproject asthiscould minutes. Thediscussion shouldnotbeled by people andshouldnotlast longer than60–90 should ideally bemadeupofaround eightto ten c qualitative data, althoughitisonly possible to e they learnt. way, whatthey were thinkingorfeeling, orwhat does nottell you whypeople behaved inacertain provide usefulinformation aboutbehaviour,butit and recording whatthey doorsay. Thiscan influence responses. e enable thequestioner to askfor clarification or c analysed statistically) andopenquestions (which mixture ofclosed questions (andsocan be c on asetofpredetermined questions) to enable s skills, orattitudes. or role play-can provide evidence ofknowledge, projects suchasartwork,creative writing,drama onsuming andless expensive thaninterview- eep thequestionnaire asshortpossible and Focus groups Focus Interviews Observation Products questionnaires Self-completion onsult asmallnumberofpeople. Focus groups xplore issues indepthandcan provide valuable omparison andanalysis. Questions can bea an reveal opinionsandfeelings etc). Interviews tructured (ieinaquestionnaire format orbased xpansion, althoughcare must betaken notto mpletion questionnaires isthatthey usually - reviewing theworkproduced during – ideally interviews shouldbe – thisinvolves watching participants hs offer theopportunityto – these – theseare often

PAGE FOURTYNINE PAGE FIFTY Michael, NandBurton, C, Amacom, 1997 Lewis, J, 1996 Planning Lawrie, A, F ● ● ● ● ● ● ● museums orgalleries orschoolsandLEAsyou could: If you are interested inworking inpartnership with Where togonext Managing New Projects New Managing urther reading (engage) newsletters info@engage. and theNationalAssociation ofGallery Education (GEM) newsletter andJournalwww.gem.org.uk Look attheGroup for Education inMuseums Zones. and community initiatives like Education Action Contact local authoritiesfor details ofeducation partners. of schools,andwillbeable to suggest relevant who willexplain theeducational context andneeds Contact theappropriate LEAadvisers orinspectors f Visit Museumnetatwww.museums.co.uk to search museums andheritage attractions intheUK. aimed atteachers andisthegateway to over 2,500 www.24hourmuseum.org.uk –thishasasection Visit the24hourmuseumat may beable to helpyou develop your ideas. with museumsandmayhave usefulcontacts, or inspectors –they mayhave experience ofworking Speak to theappropriate LEAadvisers or have information onmuseumsinyour area. Contact your local museum–your local library will or museumsbynameregion. , KoganPage, 1994 Fundamentals of Project Management Project of Fundamentals The Complete Guide to Creating and Creating to Guide Complete The , Directory ofSocialChange, Practical Guide to Project to Guide Practical , Y Wo Wingfields Arts Wiltshire Archaeological andNatural History Society(Devizies Museum) Whitechapel ArtGallery –SchoolswithArtist Project W V&A/Institute ofEducation T T Tiverton andMidDevon Museum–VirtualVictorians Sussex ArtsMarketing –ARTpackeED-online Study Gallery, Poole Southampton CC–Medieval RealmsProject Science Museum/Hackney Museum-Supporting Science andNumeracy inHackney Museums Sandwell MuseumsService –HomeFront inSandwell Rotherham Museum-Developing MuseumLoans Rochdale ArtGallery- Rochdale 2000andCounting Reading –LoanService for theMillennium P Oldham MuseumandArtGallery The OldOperating Theatre MuseumandHerbGarret Norwich Castle –1000Years ofNorwichCastle, ItsHistory, Present andFuture Nottingham CityMuseums-Focus onLiteracy North Tyneside Museums –Education LiaisonandDevelopment Newlyn ArtGallery –Developing anEducation Programme National Tramway Museum(andpartners) -LearningontheMove Museums inLancashire -BigBooksLiteracy SchemeandMuseumObjects Museum ofScience andIndustry inManchester -Literacy Project Museum ofNorthDevon –NorthDevon onDisk Museum ofLondon-RomanBoxes for Schools Museum ofLiverpool Life -Bevington Street Museum ofAntiquities,University ofNewcastle uponTyne andBlyth Neon.Net -ReticulumProject Leeds CC–MakingConnections LB Bromley –KeepingReading Lambeth Archives -BlackHistory Project Killhope LeadMiningMuseum-Outreach programme The KidsClubNetwork Kettle’s Yard andFitzwilliamMuseum–ISeeWhatYou Mean The HornimanMuseumandtheCloth ofGold–Inspiration Africa! Hertfordshire CC–Hertfordshire Archives andLocal Studies Herefordshire –MuseumEducation Resources inRural SchoolsinHerefordshire Harris MuseumandArtGallery –Digital History for Preston Schools The Football Museum(Preston) Fleet AirArmMuseum-Access to Rural Schools Exeter CC–ArtAccess Project Eureka! Museumfor Children –LetsDiscover! ETS Birmingham–Squared Epping Forest District Museum-Archaeological Access Project Dulwich Picture Gallery -DoesArtMake aDifference? Drumcroon, WiganWebsite Project Dorset CountyMuseum,TheDorset SchoolsandMuseums Ditchling Museum–LoanBoxes Dean Heritage Centre -Education Project Courtauld Institute ofArt Chiltern OpenAirMuseum-Challenge Projects Cheshire CC–Recreating Cheshire Cartwright HallArtGallery, Bradford MBC–ArtInteractive MultimediaProject Buxton MuseumandArtGallery Bronte Parsonage Museum-TheDoorto WutheringHeights British Library -Words Alive! Brighton andHove Museums–Developing Whole SchoolStrategy for MuseumLearning Bolton MuseumsandArtGallery, ArtsandtheUnderFives –Unlocking theCreative Potential ofYoung Children The Beacon (Whitehaven) Arts Exchange Education (Cambridge) 24 HourMuseum orkshire Craft Centre yne &Wear Museums–Journey Project yne &Wear Archives -RobertWestall’s War ark HighSchool–VirtualDoorwayto aRealityofOpportunity alsall -Entitlement Project lv erhampton ArtGallery –Creation AnimationSuite Project Appendix 1 List ofDfESMGEPProjects

PAGE FIFTYONE Appendix 2 Project information, contacts and resources

Access Art, Cambridge (includes the Kettles Yard, Fitzwilliam Museum project I See What You Mean) www.accessart.org.uk/index.html

Birmingham Squared www.birmingham2.com

Brighton & Hove Museums: Developing Whole School Strategy for Museum Learning Schools and Museum Learning Pack, available from: Education Officer, Brighton and Hove Museums Education Service, 4-5 Pavilion Buildings, Brighton BN1 1EE

Bronte Parsonage Museum: The Door to Wuthering Heights Key Stage 3/4 Resource Pack for Students Visiting the Bronte Parsonage Museum available from: [email protected] tel: 01535 642323

Bolton Museum & Art Gallery: Arts and the Under Fives - Unlocking the Creative Potential of Young Children www.bolton.gov.uk/artsinregeneration/index.htm

British Library: Words Alive! www.education.bl.uk

Campaign for Museums http://www.24hourmuseum.org.uk/ (resources - curriculum navigator)

Cartwright Hall, Bradford: ArtIMP ArtIMP Teacher’s pack Key Stage 2 from: Education Team, Cartwright Hall Gallery, Lister Park, Bradford BD9 4NS. Costs: £4, postage and package 50p per copy www.bradford.gov.uk/artimp/

Cheshire County Council: Recreating Cheshire www.salt.cheshire.org.uk/links/recreate-cheshire/

CLMG: Campaign for Learning through Museums and Galleries www.clmg.org.uk (information on many of the projects)

Dean Heritage Centre Education Project www.dean-heritage.demon.co.uk

Devizes Museum: Local Studies www.wiltshireheritage.org.uk

Dorset County Council www.dorset-cc.gov.uk/

Drumcroon: Wigan Website project www.drumcroon.org.uk/homr.htm

Dulwich Picture Gallery: Does Art Make a Difference? www.dulwichpicturegal.org.uk

Epping Forest District Museum: Archaeological Access Project www.eppingforestdistrictmuseum.org.uk

Eureka! Museum for Children: Lets Discover! http://www.letsdiscover.org.uk

Exeter Museum and Art Gallery: Art's Access Project - Realise www.telematics.ex.ac.uk/molli/realise

Fleet Air Arm Museum: Rural Schools Access www.fleetairarm.com

Harris Museum and Art Gallery: Digital History for Preston Schools FIFTYTWO www.followtheyarn.org.uk GE

PA Hertfordshire Archives and Local Studies: The Victorians Online Investigation into Life Hertfordshire www.thegrid.org.uk/learning/hals/victorians.htm Hereford Heritage Services: Loan boxes and handling sessions Further information contact: Molly Blake, Herefordshire Heritage Services, Hereford Museum and Art Gallery, Broad Street, Hereford HR4 9AU

Horniman Museum and Cloth of Gold: Inspiration Africa! www.clothofgold.org.uk/inafrica/

Kettle's Yard & Fitzwilliam Museum: I see What You Mean www.accessart.co.uk

Killhope Lead Mining museum, Durham: Outreach Project www.durham.gov.uk/killhope

Leeds City Council: Making Connections www.leedslearning.net/makingconnections

Museum of Antiquities, University of Newcastle upon Tyne and Blyth Neon.net: The Reticulum Project http://museums.ncl.ac.uk/reticulum/

Museum of North Devon: North Devon on Disk - Learning Links www.ex.ac.uk/northdevonondisk

Museum of Science and Industry in Manchester: Literacy Project Word Power in the Power Hall: KS 2Literacy packs available from: The Administrator, The Learning Centre, the Museum of Science and Industry in Manchester, Liverpool Road, Castlefield, Manchester M3 4FP www.msim.org.uk

National Tramway Museum: Learning on the Move www.learningonthemove.co.uk

Newlyn Art Gallery: Development of Education Services www.newlynartgallery.co.uk

Norfolk Museum Service: 1,000 years of Norwich Castle - its History, Present and Future www.norfolk.gov.uk/defaultframe1.htm

Nottingham City Museums: Focus on Literacy Education Packs Medieval Realms, Environmental Science - a day of exploration and discovery at Wollaton Hall, and Ways of Seeing available from Education and Access Team, Castle Museum, Nottingham NG1 6EL

Reading Museums Service: Loan services for the Millennium www.readingmuseum.org.uk

Rochdale 2000 and Counting, resources on numeracy [email protected]

Science Museum: Supporting Science and Numeracy in Hackney Schools www.sciencemuseum.org.uk

Southampton City Council: Medieval Realms Project www.southampton.gov.uk/education/

Sussex Arts Marketing: Magic Carpet www.magic-carpet.org.uk

The Old Operating Theatre Museum and Herb Garret www.medicalmuseums.org/museums/oot.htm

Tiverton Museum of Mid Devon Life: Virtual Victorians http://telematics.ex.ac.uk/virvic/welcome.html

Tyne and Wear Archives Service: Westall's War Westall's War: 01.05.1941: A Resource Pack for Teachers of History and English Free, P&P £5 www.westallswar.org.uk

Whitechapel Art Gallery: Schools with Artists Project (SWAP) FIFTYTHREE www.whitechapel.org.uk GE PA

Wolverhampton Arts & Museum Service: Creation Animation Suite Project Resources and information www.scit.wlv.ac.uk/university/sles/gallery/web_page/creation_what.htm correct at time of going to print Appendix 3 Glossary

BECTa British Educational Communications and Technology agency http://www.becta.org.uk

CLMG Campaign for Learning through Museums and Galleries, a consortium of museum and gallery organisations, that has championed the cause of learning in and through museums, CLMG provided support officers for MGEP projects.

Citizenship Introduced in 2002 as a statutory requirement of the National Curriculum, covering a framework to help pupils become informed, thoughtful and responsible citizens

Cloze The exercise of supplying a word that has been omitted from a passage as a test of readability or comprehension

Core curriculum Maths, English and Science make up the core curriculum

DfES Department for Education & Skills, formerly Department for Education & Employment

Differentiate To be aware of different educational needs of group/class and provide methods and activities that are appropriate

DT Design and Technology, a foundation subject in the National Curriculum

EAZ Education Action Zone; currently around 99 in designated areas, designed to support groups of schools ranging from,15-25 and their partners in deprived urban and rural areas to ensure that children have a chance to succeed

Enhancement Beyond what is a statutory requirement in the National Curriculum

Evaluation The assessment of a project in relation to its objectives; a judgement about the value of the achievements of a project. Evaluation can take place at the end if a project (summative evaluation), but can also take place during the project (formative evaluation) to test whether the developing ideas or plans for activities, exhibits, texts, etc will work.

The preliminary research prior to the beginning of a project is also sometimes called evaluation (front-end evaluation).

engage National Association of Gallery Education which promotes understanding and enjoyment of the visual arts through gallery education 1 Herball Hill, London EC1R 5EF [email protected]

Foundation subjects Non-core subjects in the National Curriculum

GCSE General Certificate of Secondary Education

GEM Group for Education in Museums, promotes The importance of learning through museums and galleries www.gem.org.uk

GNVQ General National Vocational Qualification

ICT Information Communication Technology

Inclusion Providing effective learning opportunities for all pupils, including meeting the needs of specific groups and individuals

INSET In service education and training with reference to teachers

Key Stage National Curriculum is organised into four key stages, based on year groups: KS1 5-7 year-olds KS2 7-11 Year-olds KS3 11-14 year-olds KS4 14 -16 year-olds FFITYFOUR

GE MA Museums Association; the professional organisation representing Museums and PA Galleries in Great Britain www.museumsassociation.org Educational needs Statement ofSpecial Resource pack Re:source QCA PSHE P New Technologies NNS Summer School NLS National Curriculum MGEP Sustainability artner ev Individual orgroup whichhadequalsharinginthedevelopment, runningand st individual needs,andwillrange from level oneto five (most complex) alegal A statement ofachild’s specialeducation needs,thesewillbebasedonspecific or asanintegral source ofinformation for aproject Collection ofinformation/activities designedto enhance workdoneinmuseum/gallery on behalfofmuseums,archives andlibraries www.resource.gov.uk The Councilfor Museums,Archives andLibraries, astrategic agencyworkingwithand curriculum subjectwww.qca.org.uk Qualifications &CurriculumAuthority. Provides exemplar SchemesofWork ineach Non-statutory guidelinesfor teaching thisarea isprovided intheNationalCurriculum Pe email, worldwideweb,digitisationandvideo Broadly refers to information andcommunication technologies andincludesinternet, Reception to year sixwhichallprimaryschoolsmust follow National Numeracy Strategy; provides ayearly framework for teaching mathsfrom seven for KS3 le Literacy workshopsdesignedfor children inyears six/seven whohave notyet reached to National Literacy Strategy; provides aframework for teaching literacy from Reception and attainment targets for eachkey stage. Applies to pupilsofcompulsory schoolage(five-16) Itsetsoutprogrammes ofstudy museums andgalleries to explore learning innewandexciting ways Museums andGalleries Education Programme; phaseonelaunchedin1999-2002for themes andissues into themainstream provision oftheorganisation prolong, supportormaintain aproject, butto integrate theproject Not simply to v atement thatisreviewed annually

aluation ofaproject y r el four inEnglish.Operate duringthesummerholiday sonal, socialandhealtheducation. ear sixwhichallPrimaryschoolsmust follow; recently implemented into year

PAGE FIFTYFIVE PAGE FIFTYSIX P P P P P P P P P P P P P P P Left:Christ Church PrimarySchool,Perry Vale, London Cover P P P g 3Elephant, Museumof NorthDevon, NorthDevon onDiskProject age 23 age 22Work from Laycock PrimarySchool,inspired by‘Mughal’, Silktextile Sculptures from natural materials, partoftheExpressive Arts age 20/21 Learningfrom Objects,HolmeLacySchool,Herefordshire –Museum age 19 age 17Science workshopswithBerger School,partoftheScience Resources for numeracy from theRochdale 2000andCountingProject age 16 g 5There wasascary scene withabranch bangingonthewindow... age 15 age 14Resources from theWestall's War Project, Pond dippingatNottinghamCityMuseums’ Focus onLiteracy Project age 13 Word Power atTheMuseumofScience andIndustry inManchester age 12 Left:TheHornimanMuseumInspiration Africa! Project age 9 Top: Fortismere SchoolattheV&A,partofCreative age 8 NottinghamCityMuseums:SummerSchool,partoftheFocus on Fortismereage 7 SchoolattheV&A,partofCreative ConnectionsProject age 5 Supportingliteracy through theWords Alive! Project attheBritish age 4 g 8VirtualbannerImagescreated byparticipantsfor theInspiration Africa age 28 Selfportrait byJoe,Mere OaksSchools,for theDrumcroon, age 26 g 4EllieMaewrites aboutBevington Street inthepast, MuseumofLiverpool age 24 te St Peter’s Church ofEnglandSchool,Exeter buildingradar towers and Bradford Photograph byTimSmith dyes andhandpainted silkbySarbitNatt,ArtIMPatCartwrightHall, School, DeanHeritage Centre, Education Project Environment andSustainability project withWhitecross Secondary Education Resources inRural SchoolsinHerefordshire Project Hackney SchoolsProject Museum andHackney MuseumSupportingScience andNumeracy in Pa W T Children’s drawing, StAnne’s RomanCatholicSchool,StHelens Digital imagesbyUsherPrimarySchool,Bradford The BellMetal Lamp Right: TheBradford ArtIMPProject atCartrightHall Drawings oftheShonaheadrest byBrent KnollSchool Brent KnollSchool,Forest Hill,London Shona headrest, HornimanMuseum t Bottom: ReadingMuseum’s LoanService for theMillennium wheel challenge atDeanHeritage Centre Bottom middle: Whitecross Secondary Schooltaking partinthewater T Connections Project Literacy Project Library, Photograph byChrisLee Photograph byTimSmith Right: Allerton PrimarySchool,ArtIMPProject atCartwrightHall P Creative responses to theInspiration Africa! Project, HornimanMuseum Project attheHornimanMuseum Virtual bannercreated byschoolsparticipating intheInspiration Africa! t Figure created byChrist Church PrimarySchool,thecharacter sitson Project! attheHornimanMuseum Wigan Website Project Life, Bevington Street Project Project Liverpool Libraries) theMuseumofLiverpool Life Bevington Street Bevington Street 1912,Liverpool (Courtesy ofLiverpool Record Office, op to bottom: op ofthehuge‘Pride’mask op middle: HolmeLacey School,Herefordshire yne andWear Archives Service art oftheInspiration Africa! Project attheHornimanMuseum oodcut illustrating ascene from WutheringHeights,theBronte s r ting themto destruction, Fleet AirArmMuseum sonage Museum,TheDoorto WutheringHeightsProject Appendix 4 Illustrations P P P P P P P P P P P P P P g 0Family learning atTheBerridgeCentre, partoftheFocus on age 50 MuseumofNorthDevon, NorthDevon onDiskProject age 49 ArtIMPProject atCartwrightHall age 48 Family learning atTheBerridgeCentre, partoftheFocus on age 46 Allerton PrimarySchool,ArtIMPProject atCartwrightHall age 44 Allerton PrimarySchool,ArtIMPProject at CartwrightHall age 43 Left:Family learning atTheBerridgeCentre, partoftheFocus on age 40 age 38VisitingtheImaxcinemaatScience Museumto encourage parents’ Top left andright:Children andParents participatinginscience age 36 Left:Igele thelargest maskinAfrica, madevery occasionally to age 34 Top left: Courtauld Institute ofArt age 33 Reachingoutto smallrural schools,awhole schoolphotograph, Holme age 32 Left:Christ Church PrimarySchool,Perry Vale, London age 31 Imagesfrom theReticulumwebsite age 29 Literacy Project, NottinghamCityMuseums Literacy Project, NottinghamCityMuseums Education Programme Lifelong learning attheNewlyn ArtGallery, partofthe Photograph byTimSmith Photograph byTimSmith Archives Service Right: Resources Pack from theWestall's War project, Tyne andWear Literacy Project, NottinghamCityMuseums Museum SupportingScience andNumeracy inHackney SchoolsProject involvement inlearning, partoftheScience MuseumandHackney Education Programme Right: AdultprintworkshopatNewlyn ArtGallery, partofthe Science andNumeracy inHackney SchoolsProject workshops attheScience MuseumandHackney Museum,Supporting W Right: RobotsmadebyLeighCentral PrimarySchoolfor OutofThis at theHornimanMuseum c Difference? Project .Theevaluation from oneofthestudents. of conflict atDulwich Picture Gallery, partoftheDoesArtMake a Right: Astudent from Orchard LodgeResource Centre exploring ideas Models byPenn FieldsSchool Wo Bottom left: Usingdigital artto enhance formal education at Sign interpreted session inthegallery Schools inHerefordshire Project Lacy School,Herefordshire –MuseumEducation Resources inRural the LearningonMove Project School, DerbyworkingwiththeNationalTramway Museumaspartof Right: Designsfrom the‘Dream Tram’ project byNightingale Junior Bottom right:JuliusCaesar Right: Claudiushimselfleading anarmyoffour Legions Left: QueenBoudicca ommemorate specialevents, from theInspiration Africa! Project orld, Drumcroon, WiganWebsite Project lv erhampton ArtGallery. Creation AnimationSuite

RCMG Research Centre for Museums and Galleries

LEARNING THROUGH CULTURE The DfES Museums and Galleries Education Programme: a guide to good practice