Project initiator and leader Supporters Introduction

www.folklore-society.com Sub heading

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T: 020 7485 2206 @TheEFDSS E: [email protected] #TheFullEnglish

Produced by the English Folk Dance and Song Society (EFDSS), November 2014. All information correct at time of going to press. © English Folk Dance and Song Society, 2014 EFDSS is a Registered Charity in England and Wales No.3050999 48 Introduction www.efdss.org 1 Contents

3 Introduction 5 Bewick Bridge Community Primary School, Cambridge Exploring Cambridgeshire life through dance, music and storytelling 7 Impington Village College, Cambridgeshire Challenging dance and theatre inspired by a local folk ballad 9 Marton Primary School, Lincolnshire ‘Made in Marton’ – immersion in and with a local community 11 Branston Community Academy, Lincoln Creating a contemporary song cycle from local folklore, music and song 13 Primrose Hill Primary School, Camden, London Inspiring cross-curricular learning across the whole school with folk songs and music 15 Acland Burghley School, Camden, London Introducing folk music to inner city teenagers and making it relevant 17 Federation of St. Godric’s and St. Mary’s Primary Schools, County Durham Bringing schools together through the reintroduction of folk traditions 19 Durham Johnston Comprehensive School, Durham Weaving folk music and traditions through and beyond the Music curriculum 21 St. John with St. Mark C of E Primary School, Bury, Lancashire Exploring Bury in bygone times through games, dances, songs and storytelling 23 Resource Bank Free online teaching and learning materials 25 Archive Material Used in School Projects From The Full English digital archive and elsewhere 27 Holy Family RC and CE College, Heywood, Lancashire Accordions, clogs and introducing folk into GCSE Music 29 Loughton School, Milton Keynes Celebrating the customs and traditions of May 31 Stantonbury Campus, Milton Keynes Cotswold morris dance and music as stimuli for GCSE creative work 33 Pathfield School, Barnstaple, Devon Inclusive celebration through local folk song, music and dance 35 Hanham Woods Academy, South Gloucestershire Inclusive and challenging folk music for all 37 Allens Croft Primary School, Birmingham Exploring English traditions: Street cries, The Green Man and morris dancing 39 Queensbridge High School, Birmingham Performing a ballad: creating local links, building stories and developing folk music, dance and song 41 Shawlands Primary School, Barnsley, Yorkshire Exploring tales of colliery life 43 Horizon Community College, Barnsley, Yorkshire Traditional dance and music with a contemporary feel 45 Credits

2 Introduction

This booklet shares case studies and learning programme, and was delivered in to the new digital archive, along with the The learning programme culminated in resources from 18 school projects that were partnership with a number of archives and Being involved in the Sabine Baring-Gould material catalogued for [The showcase From Archives to Action! Making folk project has opened conference] was delivered by the English Folk Dance and cultural organisations from across England the Devon Tradition project and donated by arts relevant in schools and beyond, a so many doors an absolutely Song Society (EFDSS) as part of The Full and beyond. (These are credited on page 46 it is impossible Wren Music, making 19 collections, and over wonderful day…. It celebratory national showcase conference English project learning programme. and the back cover of this booklet.) to quantify, not 80,000 items, in total. must surely have that took place on 25 June 2014 at Town just in music, but left no one in any Hall, Birmingham. Background information on the English Folk The Full English was the biggest project Learning programme for community doubt about the Dance and Song Society (EFDSS) EFDSS has undertaken since the building engagement. It The Full English learning programme relevance of folk The morning of the day featured guest The English Folk Dance and Song Society of Cecil Sharp House, in 1930. It was has opened our comprised a range of study days, family, and traditional speakers, award-winning artists, poet (EFDSS), based at Cecil Sharp House in supported by a grant of £585,400 from eyes to so many community and professional development music, song and John Agard and musician Eliza Carthy Camden, North London, is the national the Heritage Lottery Fund (HLF), £11,000 possibilities. events, and school projects. dance to young MBE, placing the project in its wider peoples’ lives and development organisation for English from the National Folk Music Fund, with Ben Stephenson, cultural context, followed by a panel and In 2013 and 2014 nineteen schools (primary, education today, traditional folk music, dance and related support from The Folklore Society and Headteacher, presentations from teachers, artists and Marton Primary School secondary, SEN) from across England took and the inspiration arts. Cecil Sharp House is also home to some individual donations cultural professionals involved in the part in creative learning projects inspired it can provide EFDSS’ Vaughan Williams Memorial Library for thoughtful, learning programme. The overall aims of The Full English were: and informed by materials from The Full (VWML), England’s national folk music and The wonderful thing informed, about folk music English digital archive. The school projects The afternoon featured gloriously diverse dance library and archive. To greatly increase access to important moving, skilled • is that it comes reached over 2000 young people, and and inspiring performances from hundreds folk archives and immensely EFDSS creates and deliver folk arts from somewhere, their teachers, from Early Years Foundation enjoyable artistic of young people from 17 of the participating and it gives people education projects for children, young • To reach new audiences and participants Stage through all five Key Stages (including expression. schools performing to each other, with for folk arts who come from people, adults and families at Cecil Sharp that place a sense projects at GCSE and A Level). Sandra Kerr, a further school (Pathfield) represented Folk artist and House, across London and around the To demonstrate the value of folk arts of belonging. This by a short film. Delegates and audience • This work was led by a team of 30 Lecturer in Folk and country, often in partnership with other within education project is a lovely members included a range of professionals professional folk artists (musicians, Traditional Music, organisations. Learning programmes draw reminder of that, Newcastle University and funders from the arts, heritage and An additional element to The Full English dancers and storytellers) and 11 trainee folk on the diverse and vibrant traditional and it has been a education sectors. project was the creation of The Full English privilege to see educators, who worked in partnership with folk arts of England, the British Isles and Band, led by artist Fay Hield through a a light come in school staff to devise and deliver bespoke More information and short films about beyond, and focus on song, music, dance, commission from EFDSS with funding from the eyes of these projects, exploring traditional material from The Full English can be found at and related art forms such as storytelling, the PRS for Music Foundation. students as you their local area. drama, and arts and crafts. EFDSS runs the help them discover www.efdss.org/thefullenglish Folk Educators Group, a national network for Digital archive the riches that lie The projects in schools were supported by The Full English digital archive can practitioners involved in folk arts education. Over 58,400 items from 12 major manuscript hidden in the “lost INSET/training sessions for participating world” of folk music be accessed via www.vwml.org/ collections (including notation, notes, letters schools and staff. In addition, eight professional www.efdss.org | www.cecilsharphouse.org | around them. thefullenglishproject and photos) were conserved, catalogued and development training days for teachers, www.vwml.org digitised, and are now freely accessible via John Kirkpatrick, musicians, dancers and other educators - Using Learning resources developed through Folk artist and The Overview of The Full English the most comprehensive searchable digital Full English learning folk music/dance/drama to enhance learning in The Full English, and a PDF of this case The Full English was a national programme archive of English folk songs, tunes, dances programme artist schools - took place at venues across England, study booklet, are now freely accessible of work carried out by EFDSS between and customs in the world. Earlier digitised (February – June 2014), sharing examples, online via the new EFDSS Resource 2012 and 2014. It comprised the creation collections from a previous EFDSS project learning and resources from The Full English Bank www.efdss.org/resourcebank of a new digital archive and a national Take 6 (also funded by the HLF), were added school projects. (see pages 23 - 24)

3 Introduction www.efdss.org 4 EAST of england

Bewick Bridge Community Primary School, Teachers: Corrine Fisher and Christine Kimberley Cambridge Artists: Mary Humphreys and Debs Newbold Key Stage 2: Year 5 Trainee: Paul Scourfield

Exploring Cambridgeshire life through dance, music and storytelling

Background to school Porter collection. The story was explored Key outcomes Many of the Bewick Bridge Primary School prides itself through drama, traditional dance, songs Students children in this on its community feel. It is described by and music. Pupils learnt molly dancing class, particularly • Were very enthusiastic to participate staff as ‘a nurturing place with dedicated and and were encouraged to choreograph the boys, have in and learn through a wide range of happy staff who are willing to get stuck in…the their own dances. They had a range of grown with it and inclusive activities. adapted to become school has a great ethos where everything is opportunities to develop instrumental part • Performed The Tale of Elizabeth Woodcock shared – parents, staff and children share their playing and singing, performing as a band ‘performers’. There was a look on the stage in Birmingham without skills, cultures and heritages; it is a warm and with the artists. Pupils also explored local of ‘Wow’ on their the artists or teachers being present inviting place’. East Anglian food of the past, traditions faces when they on the stage. and customs, including ghost stories of Specific project aims saw the size of the School Staff the Cambridge Colleges and researched stage – performing To enable pupils to engage and explore The teachers recognised that pupils • into the naming of a local area – Giant’s in Birmingham Town • traditional English folk arts (storytelling, were motivated by the local links and Grave. The project included a trip to the Hall was a massive song, drama) through exploring the local thing that many of the opportunities to feel like they Museum of Cambridge, where the pupils folk traditions of their area. them will not have really got to ‘know’ and understand played many local games collected by Cecil the opportunity To use folk arts across the curriculum and the characters and stories. • Sharp, and explored the life of their central to do again and it work this into a performance piece. character. All the elements combined in will live with them • Are more familiar with history, traditions the final performance piece for the school for the rest of and stories of their locality and are Unexpected outcomes Synopsis of the project The father of one and showcase conference, combining their lives. motivated to use these in the future. Children knitted mittens (the school logo) This project took place over a term • of the pupils is and was inspired by a local story about local dances and tunes to tell The Tale of Corrine Fisher, • Learnt a lot about coaching children to for the school banner, which was on stage a famous local Teacher Elizabeth Woodcock, found in the Enid Elizabeth Woodcock. become ‘performers’. as part of the performance. chef who came Recognised the importance of working on Future considerations into school at the • invitation of the and developing the learning between the Thoroughly exploring all of the The pupils’ • class teacher and involvement in the timetabled sessions. additional ‘enrichment’ opportunities cooked the dinner dance taught them and associated costs which will further they were singing Artists that they have enhance the learning experience. about – sheep’s • Gained more familiarity with the to be precise in Exploring the conditions for creativity to liver and cabbage. their counting and requirements of the new National • It made the song thrive and the balance between freedom rhythm. They have Curriculum, particularly those for English, much more real to to co-operate with Music, PE and History. and prescription. have eaten it during one another and the project. Developed a pack of learning resources • Promoting universal recognition of the watch their lines so • value of arts such as storytelling and how Debs Newbold, Artist that they keep the including the games collected by Cecil these can complement the curriculum set neat and their Sharp in Littleport. without losing their fundamental essence. rows level. They Increased own local knowledge of became much more • We feel as though cultures, traditions and history through vigilant and spatially we have been living aware as a result of co-operative working with heritage with Elizabeth dancing professionals from the Museum of Woodcock!

Mary Humphreys, Cambridge and exchanging knowledge Parent Artist. with each other.

5 Case study www.efdss.org 6 EAST of england

Impington Village College, Cambridgeshire Teachers: Natalie Halliday, Amy Holly and Suzie Marston Key Stage 5: Year 13 International Baccalaureate (IB) Artists: Kerry Fletcher and Katie Howson dance, drama and music students Trainee: Paul Scourfield

Challenging dance and theatre inspired by a local folk ballad

Background to the school including ceilidh, molly and step dancing, Key outcomes • Previously negative perceptions of the I think it would be It’s exceeded my Impington Village College (IVC) is an 11-18 choreographing a piece to live music around Students term ‘folk’ were challenged and changed kind of interesting expectations. to have a kind of comprehensive school that strives to be the theme of Love Me or Kill Me. Folk music is not • Valued opportunities to explore new for more positive ones. ‘inclusive, international and inspirational’. ideas, styles, influences and material and ‘cloak of folk’ if you IVC staff described The Full English as “a necessarily what • Described the impact of working with like, to look at issues It has a strong national reputation for the I listen to on my were keen to explore more. new venture”, building upon a student-run live musicians as “something new and which otherwise quality of its performing arts provision. iPod so I was a bit folk band, and a Year 8 drama unit focussing • Developed new work - combining very effective”. might be seen As the Head of Performing Arts stated, worried, for me it as obscene. on storytelling. Although the term ‘folk’ is was an old person’s the folk dance/song with elements of School Staff “The students and the staff who really embrace more associated by students and staff with music... but I love other genres and exploring the impact; Were challenged and motivated by Suzy Marston, the arts here do so with a view to mirror • Head of “the guys with bells around their knees and it so much now... fusing familiarity with unfamiliar and working with different genres, influences professional practice” Performing Arts the more traditional types of patterns that are worried... about the interesting movement. and artists. accordions... but I Specific project aims placed in village hall contexts”, staff recognise Broadened their experiences and love it now! • • Are keen to use folk material in the future. • To work as a dance company, ‘reflect(ing) that folk traditions are “the foundation for knowledge of folk arts, realising greater Student Artists upon dance forms and styles from a range an awful lot of literature”. The performing relevance of folk arts to their own lives Recognised student development and of cultures and traditions, both familiar and arts team at IVC were keen to use The Full and communities. • were impressed at their ability to be unfamiliar’ (as required by the International English experiences to “reshape that identity” • Recognised and valued the democratic adaptable, working as a Company even Baccalaureate syllabus), influenced by of folk. process to create, select and refine ideas. when under pressure. English folk traditions. Working with the artists through a Recognised the passion of the school To work with professionals to explore the • • series of intensive workshops, students staff, describing them as “enthusiastic relationship between live music/song and developed work using folk influences and…clearly committed to their work, traditional dance styles and disciplines. as “choreographical imagery”, taking folk with a strong belief in what they and the • To develop a performance piece with dance into abstract new contexts; it was students can achieve.” a challenging theme and local links deliberately controversial – “not to just shock Dealt with various kinds of challenges through students’ own compositions for its own value, but because we believe that • to get this multi-faceted work to a point and choreography. controversial work stirs audiences and makes where it was ‘ready’. Synopsis of the project them more alive”. Live music was provided Unexpected outcomes IVC were keen to tackle a challenging social by artists and student musicians – dancers Student musicians were motivated issue - achieved through the use of the and musicians worked together throughout • to warm up without being asked and ballad of Lucy Wan, collected in Cottenham. the process, which was a new experience sometimes joined in with the dancing. The ballad deals with incest and sororicide for staff and students. A video of the (murdering your sister). Drama students performance was produced and Love Me or Future considerations studied multiple versions of the song text, Kill Me was performed twice at school and • Further work on metacognition – the alongside other texts. Over two residencies, at the showcase conference. recognition and value of the process. students developed folk dance skills • How to support student musicians to provide live music in projects where the main focus is on dance.

7 Case study www.efdss.org 8 EAST of england

Marton Primary School, Lincolnshire Teachers: Naomi Maguire, Melanie McKay and Ben Stephenson Key Stage 2: Years 3, 4, 5 and 6 Artists: Liam Robinson and Sarah Matthews Trainee: Charlotte Hubbard

‘Made in Marton’ – immersion in and with a local community

Synopsis of the project • Enjoyed the authenticity of the ‘folk night’ villagers, incorporating a wide variety The Full English… ‘Made in Marton’ was the Key Stage 2 at the school and experienced it as a of instruments and players of surpassed my learning theme across the 2013 Autumn expectations. It performer, audience member and through differing standards. Term. The project introduced traditional reached across the shared collaborative experiences. • The community band helped one parent folk music, songs, dances and folklore from the curriculum. • Even pupils at the earliest stages of to ‘connect’ with their child’s school – It improved the Lincolnshire to encourage exploration of instrumental learning felt like ‘proper having always stayed away previously, the social history and heritage of Marton. standard of imaginative writing. musicians’ in the community band, they are now confident to come in to Additionally, teachers used the material It prompted us to playing with more experienced musicians. talk to staff and even volunteer in their to support art, literacy and geography, start a community School Staff child’s classroom. using local heritage links to explore local band. And it Valued opportunities to find out new The focus on the history of the village and social history. Pupils also visited the definitely deepened • • things about the village and to work and encouraged people from beyond the Museum of Lincolnshire Life. ‘Made in the children’s love learn alongside the team of “talented, regular school community to share their Marton’ culminated in a community folk of history. energetic and inspiring artists”. stories and experiences. evening where performances were shared Ben Stephenson, and the newly-formed community folk Headteacher • Gained confidence to try out different • Unexpected outcomes art forms, as well as ideas for future Background to school band provided music for dancing. Pupils • The folk evening raised nearly curriculum enrichment. Marton Primary is a small school in rural also performed new interpretations of £400 towards the local church’s Lincolnshire. The curriculum is delivered Turpin Hero and The Jolly Miller at the • Valued the developing relationships restoration work. through termly ‘learning journeys’ based showcase conference. with parents. • The community band ran for two around a particular focus. Staff at Marton Key outcomes Once in a while • Enjoyed the collaborative terms and will be reinstated from describe it as ‘a very special place – here Students a project comes planning process. September 2014. along that allows for the whole community, not just the pupils Took great interest in the history and Artists The local history page on the school • you the creative • – it has a friendly, purposeful and engaging geography of their locality, visiting places space to reflect • Enjoyed opportunities to examine website has become an archive. atmosphere built upon mutual respect for with schools and families that they had upon what you do similarities and differences From the information gathered by all’. The headteacher and staff highly value • never previously been. and think about between the music from different the children, a heritage trail is being performing and creative arts. things in different Pupils not living in Marton became geographical regions. developed around the village in • ways. Our children Specific project aims more connected with the village got so much out of • Recognised the value of collaborative collaboration with Marton Parish Council, • To encourage greater local awareness and and talked about it with a sense of learning about their planning, iterative feedback with secured funding from the Heritage develop an archive of Marton’s heritage. collective belonging. locality – it brought and reflection. Lottery Fund. our community To develop greater links with different Enjoyed sharing their work and playing Developed more material for use with Lincolnshire Music Service are staging • • closer together, • • generational groups within the village. music within the school and as part of which is not always primary aged children. a ‘Folk with Fiddles’ celebration event in • To establish a Community Band. the wider community. easy, and it was an • Piloted new ideas eg soundscape creations. November 2014. Marton pupils will be affirming experience longsword dancing. • Researched facts about Marton and Community • To immerse children in learning through for all of us. the study and creation of songs, stories their family histories, bringing this • The ‘community band’ brought into their learning. Naomi Maguire, and dances from and about Marton as Teacher together past pupils, current starting points. pupils, parents, teachers and other

9 Case study 10 EAST of england

Branston Community Academy, Lincoln Teacher: Rob Amey Key Stages 3 and 5: Years 9, 12 and 13 Artists: Jo Freya and Liam Robinson (BTEC Level 3 Music students) Trainee: Charlotte Hubbard

Creating a contemporary song cycle from local folklore, music and song

Background to the school Key outcomes Artists For Year 9 students Branston Community Academy is a Students Found it interesting to observe how it provided a level of • converter academy near the cathedral city • Enjoyed making music together. tuition and guidance each other worked and developed of Lincoln. Pupils in the school play a range • Experienced new ways of working and that is difficult to their own ideas from observations of musical instruments, many of which are explored unfamiliar genres of music. achieve in a mixed and joint practice. ability class of 30 associated with popular styles of music. The project provided artists with • Learnt a lot from being creative and students. To the • Specific project aims shared recognition of this with the artists. more able students excellent experience of placing material within the capabilities and interests of • To work with BTEC Level 3 Music • Developed ensemble skills. it allowed the students and relevant staff, developing musicians to extend the students. Started to believe more in their an approximately 20 minute performance • their musical skills, Unexpected Outcomes own abilities to produce something eg compose and of music linked to a local theme, Year 9 involvement and benefits of cross for themselves. improvise music • creating authentic performances and in a supportive year working. Worked across normal curriculum contemporary interpretations of locally • environment. For Future considerations groups to perform and create their sourced folk music. Y12 and 13 students Sharing strategies to deal with self- own arrangements. it provided an • Synopsis of the project imposed gender separation: a room full opportunity to School Staff Students worked with the artists over perform music in of male guitarists who don’t want to sing the course of a school term, developing • Noted that the subject knowledge and folk idiom which and females who only want to sing. professional experience brought to performing, composing, improvising and can be used for • Sharing the artists’ experiences and the workshops by the artists was very performance and arranging skills. The project used a local strategies for creating flexible/ingenious story about 19th Century thief Mary useful; it was particularly helpful for the composition units on their BTEC level ways of engaging mixed instrumentalists Dimoline, and a local song, Rufford Park, students to meet and share ideas with 3 courses. with different interests, expectations and accomplished professional musicians in as starting points from which students abilities and overcoming the challenges a variety of fields. Rob Amey, in the school’s Year 9 and BTEC Level Head of Music presented by physical space. 3 Music groups developed their own • Observed how artists used their skills and song and music cycle telling the story of commented on how good it was when the Mary’s life and imagined reaction to the students were allowed to work creatively Thank you for a very sentence of transportation given to her by on their own lyrics and music with fewer useful and beneficial series of workshops. the judges. The song cycle, which has a restrictions from a teaching perspective. I was very pleased contemporary feel, was performed at the • Recognised that the artists had to see the mixed Museum of Lincolnshire Life, as well as the successfully taken into account different group of students showcase conference. interests and abilities of the students engage with the and that workshop leaders dealt with ideas and material and come up with the students very sensitively, particularly a finished series of when dealing with the varied set of excellent songs and aspirations, abilities and interests. arrangements.

Rob Amey, Head of Music

11 Case study www.efdss.org 12 London

Primrose Hill Primary School, Camden, London Teacher: Katie Butler Early Years Foundation Stage, Key Stages 1 & 2: Reception to Year 6 Artists: Ed Hicks and Hazel Askew Trainee: Pete Ord

Inspiring cross-curricular learning across the whole school with folk songs and music

Background to school Key outcomes Artists It raised the status Primrose Hill is a two-form entry Pupils Learnt from other members of the artistic of music in this • multicultural primary school in the London school – the lesson • Gained a sense of achievement and team and the school music teacher. Borough of Camden. It offers a ‘varied, after the project pride in their work, particularly from the • Discovered and developed new repertoire inclusive curriculum delivered in a safe, finished the pupils performances to parents, the showcase from the digital archive which is all came into the stimulating environment’. Children are conference and the ownership of their CD adaptable to other settings. immersed in topics through cross-curricular music room with of The Full English songs. greater expectations Future considerations approaches. Each class is taught music on of themselves and • Benefitted from the music being worked The school would like to develop more a weekly basis by Katie Butler, a specialist • feeling like they on with the school music teacher high-profile work like this in the future, teacher and folk musician. The school is were musicians. between the sessions. using music as the starting point. well supported by Camden Music Service, Katie Butler, Developed an enthusiasm for music, and also works closely with resident artists • • The curriculum coverage, as well as the Music Leader confidence and collective and individual English Pocket Opera. Synopsis of project amount and quality of the music, was Each class in the school worked with the identities as musicians. significantly enhanced through school Specific project aims artists for a term, exploring folk music, • Were encouraged to share and develop staff working with the children between It really changed • To provide material for each year group traditions and games. They learnt, wrote their own ideas, accepting the views the sessions. other children’s that can satisfy the music curriculum of other pupils and taking ownership and professionally recorded songs they had perceptions of some The project built upon folk music and objectives and also link with existing • written based upon material from the digital boys in year 6 who of the songs. dance expertise from members of staff wider learning themes and cross- archive and with links to the local area. don’t always find • The playground games continued to be already in the school. curricular work. This formed the basis of other curriculum school easy. They played after the project finished. Capitalising upon the expertise offered work – for example, Year 1 went on a trip to did the rap solo • and it really gave School Staff by visiting artists. Morrison’s to buy and dissect a herring’s them the status of Recognised the potential to use music head, based upon the song they learnt. Key • • Consideration of the strengths celebrity musicians as a starting point – usually the music Stage 1 and Key Stage 2 concerts took place and potential pitfalls of working in in the school – the comes ‘from’ the topic, rather than the at Cecil Sharp House, a local folk arts centre younger children environments where there are multiple other way round. and performance venue which is home to really looked up to initiatives and inputs. the English Folk Dance and Song Society. them and it was • The Full English has helped develop • Draw upon collective expertise to find really good for their Some of the songs were also performed at event planning and curriculum diversity, appropriate keys for tunes for primary self-esteem another school. Every child in the school was offering “creative and innovative ways to voices as well as traditional instruments given a CD of the songs recorded and mixed Mary Deavin, help children access the curriculum across Teacher in the school studio. The Key Stage 2 choir the school.” performed Santiana in 3-part harmony at • Are more aware of folk activities and the showcase conference; this was the song opportunities in their local area. adapted and modernised by Year 6 pupils. • The collaborative planning process drew upon collective experiences and strengths.

13 Case study www.efdss.org 14 london

Acland Burghley School, Camden, London Teacher: Philippa Neame Key Stage 3: Year 7 Music Artists: Hazel Askew and Ed Hicks Trainee: Pete Ord

Introducing folk music to inner city teenagers and making it relevant

Background to the school an attempt to revive their failing fortunes. Artists They [pupils] have a Acland Burghley is a large secondary school A version of this was performed at the Learnt a lot from working with other each wider understanding • in Tufnell Park, in the London Borough of of Folk Music and showcase conference. The staff used the other and the teachers. Camden. It is an arts specialist school engaged with it material introduced by the artists in their • Gained further experience of working and has worked with external providers better than if I had work with the remaining four classes of with pupils from a range of different taught it from the previously. The music department was Year 7 students. backgrounds and with different musical keen to develop their Folk Music scheme OPUS 1 book. Key outcomes experiences and preferences. of work for Year 7 and use the project to Philippa Neame, Students Deeply considered the links between enhance practical music making and work Head of • Performing Arts Developed critical listening skills and folk arts, local history and intangible on performance skills which staff could then • learning music by ear. cultural heritage. extend in future years. • Developed songwriting and singing skills. • Widened their repertoire with Specific project aims Developed their knowledge of folk songs, new materials sourced from the To develop a 6 week unit of work for Year • • as well as the social and cultural historical digital archive. 7 pupils exploring English folk music skills The reaction of the children after the contexts of the music studied. Future considerations and knowledge with specialist input from final performance Developed ensemble skills and specific • How can more formal staff training time external artist(s), and training for staff in in Birmingham was • instrumental skills (including banjos). be embedded to more readily equip their future delivery of the unit. excellent. They were teachers working with the other classes • To develop individual and group work all thrilled with what • Became more confident to perform in they did, and young with material/approaches? focused on learning tunes aurally through front of an audience. people who’d shown Importance of the final performance to singing, playing and listening, and Were motivated by studying local • no enthusiasm • cement the enthusiasm and commitment. analysing folk tunes with different time were beaming materials and are more aware of the signatures and types of scales and keys. and exclaiming links between folk arts, local history and • Helping artists to share and develop how much they strategies to deal with behaviour To provide a varied and inspiring intangible cultural heritage. • had enjoyed the management in secondary schools. introduction to folk music to students, performance. School Staff including links to its local relevance. Adapted and taught the unit of Pete Ord, Trainee • Synopsis of the project work created as a basis with other Three classes of Year 7 students worked Year 7 classes. with the artists and were introduced to • Worked alongside artists in a traditional music and song, including a workshop environment. shanty collected in North London. They …the project gave studied rhythmic and stylistic elements the students an key to traditional work songs. They then opportunity to learn adapted traditional songs with a local music in a different theme, writing a contemporary version of way using more of a The Wild and Wicked Youth, which tells the workshop setting. tale of someone turning to a life of crime in Ed Hicks, Artist

15 Case study www.efdss.org 16 North East

Federation of St. Godric’s and St. Mary’s Primary Schools, County Durham Teachers: Claire Horner, Jane Lewin and Joanne Walton Early Years Foundation Stage, Key Stages 1 and 2: Reception to Year 6 Artists: Laura Connolly and Kathryn Davidson (Sage Gateshead) Trainee: Tom Redman

Bringing schools together through the reintroduction of folk traditions

Background to schools Synopsis of project Key outcomes Artists This kind of project St. Godric’s and St. Mary’s Primary Schools The 2013-14 school year at these two Pupils Learnt a lot from working together and is absolutely • are two small rural schools in neighbouring schools started with a joint staff meeting, brilliant for bringing • Showed obvious enjoyment of the singing observing each other. County Durham villages and federated in singing and dancing facilitated by artists the staff from and dancing introduced to them through • Appreciated working with passionate and 2013. They share the vision that pupils of all from The Full English. This set the mood our two schools this project. enthusiastic staff. abilities should be nurtured and encouraged for the rest of the school year; pupils in together to learn, • Really worked at the dance steps, Unexpected outcomes to become happy and successful learners. both schools were introduced to local folk explore, try out things and have despite some of the dances being very St. Mary’s School set up a folk project There are a range of creative and songs such as Bobby Shaftoe and Bonny at • fun. I’m really challenging. Spontaneously incorporated after school club for extra performance performing arts opportunities for pupils Morn, alongside clogging, ceilidh, rapper pleased that we elements of street dance. practice between the sessions. across the schools, although prior to the and morris dancing. EFDSS and Shrewsbury have this wonderful Showed their admiration for the artists commencement of this project the folk arts Folk Festival loaned both schools clogs opportunity to work • • The schools were keen to develop more and were inspired to learn. were not well represented. for the project. The North East version of with folk in ways folk dance and worked with the trainee children’s game Bingo was used, songs in which we’ve never • Were able to see the relevance of the Tom Redman on a series of morris and Specific project aims done before, and Geordie dialect were shared, and children learning in relation to local social and rapper sessions. To enable all pupils at St. Godric’s and do this with experts • explored local history, customs and cultural history. The schools are now seeking ways they St. Mary’s to engage and explore with who can bring the • mining traditions through a wide range School Staff can join in further folk activity organised traditional English folk arts (music, song, learning to life. of curriculum areas. The schools mostly Joined in and gained confidence from the by Sage Gateshead, including the dance, ceilidh, drama) through exploring Jane Lewin, • worked separately with the artists but came Headteacher practical whole staff CDP session. Folkworks Hexham Gathering. the local folk traditions of their area and together in later sessions to create a joint using them across the curriculum. • Have ideas and motivation to use these Future considerations performance. As well as a joint performance A group of boys who approaches and the folk arts through the • Sourcing of specific folk dance To support key objectives of the Key were thoroughly • in school, a selection of songs and dances school’s curriculum and extra-curricular ‘equipment’ such as clogs, rapper swords Stage 1 and 2 National Curriculum (including rapper and North West morris) enjoying clogging together made me offer in the future. and sticks. through folk dance, music and song. was presented at the showcase conference, smile. They go to Have greater awareness of the richness Where multiple locations are involved, To enhance the arts offer – especially with children wearing sashes they had • • • break dance classes of local materials and their potential need to ensure they clearly understand dance – of both schools by providing staff made and the children’s miners’ banners and are keen to try in school. how resources will be shared and that training to develop their skills, knowledge were displayed. and add an element expectations are commonly understood and repertoire, from relevant external of the “robot” to • Have more awareness of local and communicated. artists in folk dance, music and song. their clogging! opportunities for them and their pupils to Laura Connolly, Artist get involved in the folk arts.

17 Case study www.efdss.org 18 north east

Durham Johnston Comprehensive School, Durham Teachers: Edwin Holmes and Jessica Holmes Key Stages 3, 4 and 5: Year 7 singing work, mixed year groups Artists: Kathryn Davidson (Sage Gateshead) and Ian Stephenson in school choirs and ensembles, and GCSE Music composing work Trainee: Tom Redman

Weaving folk music and traditions in, through and beyond the music curriculum

Specific project aims Key outcomes Artists The Junior To use traditional song material with Year Students Valued the planning time as a team • Orchestra, Wind • 7 pupils to improve listening and aural Band, Senior • High levels of differentiation and and with the school. learning skills, develop confidence and Orchestra and support provided all GCSE students • Now using the digital archive for own ability to make music and sing, and to Senior Choir have with appropriate and achievable musical work beyond education. develop communal singing. new repertoire challenges, sowing the seeds for Developed skills in arranging for the which is inclusive, successful and creative compositions. • • To provide an introduction to folk/ challenging and wide range of musicians, singers and traditional music for Year 10, linked to interesting. It’s • Junior Orchestra, Wind Band, Senior instruments in the school ensembles. Edexcel GCSE Music Area of Study 4 almost impossible Orchestra and Senior Choir have new Unexpected outcomes and broaden the range of repertoire to say how fantastic repertoire which is inclusive, challenging The school is independently using used to develop into compositions this has been. If and interesting. • this was the only the digital archive to source folk and arrangements as part of pupils’ part of the project, • Quality of singing and ensemble materials to make arrangements for its composing portfolio. it would have been playing improved. Christmas concert. To provide an introduction to folk songs worth it. High- • • Enjoyed working with the artists. The school held a folk evening at which and music drawn from the digital archive quality, bespoke • Some students who have only just parents, pupils and staff engaged in for the school’s ensembles: wind band, arrangements • tailored to the joined the Wind Band were involved and folk dancing. Background to school junior orchestra, senior orchestra, junior performance performed at the showcase conference. Students were very interested in Durham Johnston is a ‘happy, successful choir and senior choir; also to provide folk standard of each • and dynamic’ comprehensive school with song ‘master-classes’. individual part • Were keen to bring their enthusiasm for Pathfield School’s film at the showcase folk into the mainstream. conference and some are now seriously a thriving music department. There is a Synopsis of project would have cost a fortune! considering careers in music therapy and strong uptake at Key Stages 4 and 5 with Artists worked with teachers and pupils • Some students now informally play folk as musicians in care-related professions an emphasis on gaining knowledge and to infuse music through the curriculum Edwin Holmes, Head music together out of school. understanding through practical music of Music and special needs settings. in numerous ways. Through timetabled School Staff making. The department organises a full curricular and extra-curricular sessions, • School staff and peripatetic teachers Future considerations extra-curricular programme including bands, There were some • Performing the pieces during the school pupils developed their practical experiences students in the enjoyed working on the project, choirs and orchestras, and offers a wide day to spread enthusiasm to other pupils. of folk music, gaining skills, knowledge school who were particularly valuing the opportunities range of instrumental lessons in conjunction and understanding. They worked towards secretly fans of to observe other professionals leading with Durham Music Service. Pupils have instrumental and vocal performances in folk music, but for school ensembles. opportunities to perform in regular events whom that wasn’t school, as well as performing regionally Have learnt new repertoire to use within within and beyond school, including the previously part • and at the showcase conference. This the curriculum and with extra-curricular annual concert in Durham Cathedral. Prior of their in-school culminated in a folk-themed school concert musical activities. groups. The Year 7 Folk Music scheme of to the commencement of this project, featuring the newly commissioned pieces Several students work will be overhauled to include new folk music was taught as a unit in the Key from the digital archives, as well as a found a common repertoire from the digital archive and Stage 3 Music curriculum, and the staff enthusiasm for the more informal ‘Evening of folk music’ with ideas from the project. were keen to refresh the unit and broaden performances from pupils, staff and artists music through the project activities Are enthused to source and arrange new their understanding of the genre with local and ceilidh for all. • material and links. and are now playing repertoire from the digital archive. together informally outside of school as well.

Ian Stephenson, Artist

19 Case study www.efdss.org 20 North west

St. John with St. Mark C of E Primary School, Bury, Lancashire Teachers: Laura Entwistle, Katie Geelan, Jessica Johnson, Janet Moore, George Taylor and Shirley Whittle Key Stage 2: Years 3, 4, 5 and 6 Artists: Sue Bousfield and Sian Phillips Trainee: Rachel Drazek

Exploring Bury in bygone times through games, dances, songs and storytelling

Children explored local history and customs, School Staff The children are still Most of the families using inputs from the artists as stimuli for Recognised how excited pupils were to playing the games in • in this school the playground and their own writing and songs. The artists find out about the history, cultures and don’t historically talking about it all worked with each class individually and customs in their local area. come from this these months later. the work produced was presented to the • The training session led by the artists area – we’re a really They never usually culturally diverse rest of the school in a sharing assembly. All helped staff to recognise the value and remember from one material used was added to the school’s school…it was week to the next importance of the project and gather brilliant to see the history timeline, so children could see when what they’ve done ideas for embedding folk traditions in children so engaged so this has really it was collected and understand its heritage future work. and interested in in the context of their other learning. A new had a profound Some staff gained confidence from the local area and impact on them. school song was composed, based upon • to see the looks on working alongside artists and expressed We are the Romans. The super learning their faces when Laura Entwistle, that they are likely to include some Teacher fortnight coincided with the school’s 10-year they realised that aspects of the work in their future Bury didn’t always anniversary celebrations. The school choir classroom delivery. look like this. performed a selection of songs and danced at the showcase conference. • Remembered and shared some of their Janet Moore, Headteacher own childhood experiences in the local Key outcomes area and enjoyed bringing the songs and Pupils Background to school Specific project aims games of their childhood into the school. Became interested in their local St. John with St. Mark is a one-form entry To use traditional English folk arts and • Artists • community, local history, and what it primary school in Bury, Lancashire. It is local material to support one week of a Artists were recognised as being “skilled was like for their parents when they • described by staff as ‘a special place in history ‘super learning fortnight’ across and passionate”. were children. the community – a creative and nurturing the whole school, and contribute to other It was affirming for them to remember Developed specific artform skills, • environment where everyone is treated with school curriculum areas, including music • that folk arts have great relevance in particularly singing and dancing, respect’. The proportion of girls in the and literacy. schools today. and transferable skills related to the school is much lower than is usually found. To give the children, staff and artists • Personal, Social and Health Education • Made connections with the local Bury The proportion of pupils from minority the experience of participating and (PSHE) curriculum. Pace Eggers group. ethnic heritages is above average, as is developing their skills to create and share Future considerations the proportion of pupils who do not speak a performance piece using the traditional • Experienced and enjoyed immersion in Continue to use accessible and relevant English at home (Ofsted, 2012). Performing English folk arts. folk music, dances and customs that • arts are highly valued by pupils and staff. most pupils did not know existed. local material in order to help the children Synopsis of the project Staff lead termly ‘super learning fortnights’ explore North West heritage and their ‘History Super Learning Fortnight’ at St. • Are keen to share their skills with other which encourage immersion in a particular own family histories and to feel more John with St. Mark took on a local flavour pupils, particularly teaching dances and topic across a wide range of subjects connected to the local area. through a wide variety of sessions including new games. and disciplines. Following up staff training and how to North West morris, clog and ceilidh dancing, Enjoyed opportunities to ‘make things up • • promote embedding of work. singing and songwriting, children’s games, for themselves’. storytelling and the Bury Pace Egging Play.

21 Case study www.efdss.org 22 Resource Bank www.efdss.org/resourcebank

Inspiring learning with folk

Free online materials for using English • Beginners’ Guides The resources include Fun with Folk, a • Creative Folk Dance for Key Stages 1 and 2 traditional folk song, music, dance, drama These are aimed at people who have The wealth of colourful set of audio visual materials - provides ideas and examples of great material available and other arts in teaching and leading. no or little prior knowledge about folk designed to be directly appealing to ways to use folk dance in primary school through EFDSS’ material and offer introductions to: primary-school aged children as an online settings. Written by Barry Goodman, Resources are suitable for use in formal Resource Bank is English folk song most welcome as ‘folk song book’. the downloadable resource includes education and informal learning in a -- both teachers and instructions and music notation, with -- English folk music Further resources will be developed by wide range of settings including: primary, pupils discover and English folk dance additional audio recordings of the tunes. secondary and SEN schools, colleges, -- are inspired by the EFDSS in the future and added to this site. youth ensembles, community choirs, -- English folk drama range and variety of • Using Folk Music to Enhance Inclusive Examples of learning resources adult learning and more. -- English folk costume folk traditions from Learning - explores the pedagogy and The best way to find out more about the -- English folk collectors these shores. practice used by Paul Wilson and David The Full English learning programme was Resource Bank is to visit it! To whet your -- Cataloguing The Full English Karen Brock, Faulkner of Wren Music, in the Pathfield extensive in its reach across England and digital archive Head of THAMES appetite here are a few taster descriptions School project with teacher Jenni Coats. generated lots of new resource material (Tower Hamlets Arts of what you can expect to find: It demonstrates approaches to working Resources and Teaching Tools and Music that artists and trainees chose from the • Education Service) Two Folk Dance Tune Sets - a pack with students with special educational digital archive to use in their work with This searchable database currently • featuring a set of jigs and a set of reels needs. Lyrics and music notation are schools, communities and families. Many houses over 40 packs of various songs, chosen and arranged from folk dance provided in the pack and additional audio of the songs, tunes, dances, teaching notes tunes, dances and teaching notes suitable tunes found in The Full English digital recordings of the tunes. and ideas that were developed through for use in schools and with communities, archive. This resource was created by The Full English are now freely available for as well as for general information. Rob Harbron using material that he and anyone to access and download at the new Over 100 audio recordings accompany Miranda Rutter used in their secondary Resource Bank. these packs featuring some of the artists school project at Hanham Woods The Resource Bank has two major elements, who worked on the project. These include Academy. It may also be of interest a suite of Beginners’ Guides and a searchable separate melody and harmony lines for for adult and youth groups as well as database of Resources and Teaching Tools some of the material, and slow versions schools. You can download the pack, (more information about these below). of tunes to help aural learners. which contains the notation for the tunes, as well as audio files of each tune played It also includes a Jargon Buster, which There are also over 60 short films that slowly, and then an up-to-speed version is a comprehensive glossary providing accompany some of the dance resources. of each dance set. information on folk-specific terms that All the resources are tagged with Sea Songs and Shanties - all budding appear across all the resources. information so it is possible to search • sailors and would-be-pirates will find them by geographic region, topic, Carolyn Robson’s pack useful. Created educational key stage or audience in partnership with Bristol Sings Music, (age/type of learner). They can also this pack is geared for primary school age be searched by typing in a key word or pupils and teachers. It includes notation, phrase, for example ‘sea shanty’, ‘morris’ teaching notes and audio tracks for all or ‘harvest’. song parts.

23 Resource bank www.efdss.org 24 Archive material used in school projects

Archive material used in The Full Branston Community Academy, Lincoln Hanham Woods Academy, Loughton School, Milton Keynes • Who’s the fool now?:www.vwml.org/ • The story of Patient Joseph English school projects from the • Rufford Park: www.vwml.org/record/ South Gloucestershire • Images associated with May record/CJS2/10/2983 • I Can Hew, Boys, written by David PG/5/21 Poor Old Man/The Dead customs, eg Padstow and Minehead Shenandoah: www.vwml.org/record/ Dodds digital archive and elsewhere • • • Horkstow Grange: www.vwml.org/ Horse: www.vwml.org/record/ Obby-Oss; Jack-in-the-Green, May CC/1/396 • The Trapper Girl CJS2/10/2884 and www.vwml.org/ garlands, well-dressing, maypoles: Note: materials from the digital record/PG/5/195 • Santa Anna: www.vwml.org/record/ record/CJS2/10/3015 available at www.efdss.org/ St. John with St. Mark C of E Primary • The Nutting Girl: www.vwml.org/ CJS2/10/2110 School, Bury, Lancashire archive have URLs starting: None So Pretty: www.vwml.org/ resourcebank record/PG/5/160 • • Santianna: www.vwml.org/record/ Romans and English: www.vwml.org/ www.vwml.org record/CJS2/10/2563 May Day Carol (I’ve been a rambling • Durham Johnston • CC/1/415 record/AGG/1/5/33A Softly Robin: from The Dancing all this night): www.vwml.org/ Comprehensive School, Durham • Queensbridge High School, Birmingham All Around The Village: www.vwml. Acland Burghley School, Camden, London Master, Vol. 3, Playford 1726; record/CJS2/10/2940. • The Summer’s Morning: www.vwml. The Cruel Ship’s Carpenter : www. org/record/AGG/1/2/28 • Dusty Miller: www.vwml.org/record/ • via John of the Green The Lougton Local May song collected • org/record/COL/1/37 • vwml.org/record/CJS2/10/1576 CJS2/10/4913, www.vwml.org/ Cheshire Way, John Offord, 2008 by Peter Kennedy in 1954 • The Bury Pace Egging Play: www. record/AGG/1/15/5B, www.vwml. Down the Wagon Way: www.vwml. from Tewkewsbury, also from the vwml.org/record/TFO/1/14/26D • (Green Man Music). Eaton Bray May Song (The Garland, org/record/AGG/2/139/25b org/record/COL/5/32 • book Songs of the Midlands, edited The Collier Lass: www.vwml.org/ Horizon Community College, the garland) Collected from Mrs • Santa Anna: www.vwml.org/record/ • Winlaton Calling On Song: www. by Roy Palmer and published by EP record/FK/11/107/2 • Barnsley, Yorkshire Gray in Eaton Bray 1951 and 1960 CJS2/10/2110, www.vwml.org/ vwml.org/record/CJS2/10/2809 Publishing Ltd in 1972. Down in a Coal Mine: www.vwml. Shepherd’s Hey: www.vwml.org/ from Bedfordshire • record/PG/13/1, www.vwml.org/ • Ye Mariners of England: www.vwml. • • Figures from the North Skelton sword org/record/FK/18/196/2 record/CJS2/10/2260 Marton Primary School, Lincolnshire record/CC/1/415 org/record/FK/12/98/1 dance: www.vwml.org/record/ Haul A Way Speed the Plough: www.vwml.org/ Turpin Hero: www.vwml.org/record/ • In Newry Town (Wild and Wicked Broken Token: www.vwml.org/ • • CJS2/11/2/239 • • record/CJS2/10/2417 PG/5/85 • John Kanaka Youth): www.vwml.org/record/ record/SBG/1/1/227 • Lads a-bunchum: www.vwml.org/ Stantonbury Campus, Milton Keynes HAM/3/12/14, www.vwml.org/ Dance to Your Daddy: www.vwml. • Curly Headed Ploughboy: www. • The Jolly Miller: www.vwml.org/ record/JHB/17/1 • Black Joak: www.vwml.org/record/ record/FK/17/232/2 org/record/CJS2/9/1950, www. vwml.org/record/CJS2/10/2463 record/PG/5/134 • The Ironbridge Hornpipe: www.vwml. • The Galopede: www.vwml.org/ org/browse/browse-collections– JHB/17/5 Allens Croft Primary School, Birmingham vwml.org/record/CJS2/10/2087 Impington Village College, • record/CJS2/9/2188 dance-tune-books/browse– • Glorishers: www.vwml.org/record/ The Green Man: www.vwml.org/ • Bobby Shaftoe: www.vwml.org/ Cambridgeshire • Would you like to know how Bread is moore2#recordnumber=35 - a CJS2/10/2343, www.vwml.org/ record/SBG/3/16/19F record/LEB/4/219/5 • Lucy Wan: www.vwml.org/record/ • LEB/5/72, www.vwml.org/record/ made? Roud Number: 13650 selection of tunes edited by Gordon record/CJS2/10/2400 Shepherd’s Hey: www.vwml.org/ • Doli Ar • LEB/5/70/2 Ashman from the manuscripts • Bacca Pipes: www.vwml.org/record/ record/CJS2/10/2260 Federation of St. Godric’s and St. Mary’s Pathfield School, Barnstaple, Devon Keel Row: www.vwml.org/record/ of John Moore, of Wellington, FK/4/241 Street Cries: www.vwml.org/record/ Primary Schools, County Durham • • Rodney So Bold: www.vwml.org/ • FK/16/135/2, www.vwml.org/ record/leb/5/400 Shropshire. Published by Dragonfly • Upton upon Severn Stick Dance: LEB/3/28/2 • Bingo: www.vwml.org/record/ Music in 1991. www.vwml.org/record/MK/1/3/5131 record/LEB/4/239/4, www.vwml. Barnstaple Fair: www.vwml.org/ Bewick Bridge Community Primary AGG/1/18a/14B • org/record/CJS2/10/2520 record/LEB/4/233 • Narrow Bottom, from The Great • Shepherd’s Hey: www.vwml.org/ School, Cambridge • Bobby Shaftoe: www.vwml.org/ Northern Tunebook, edited by record/CJS2/10/2260 • Cock o’the North: www.vwml.org/ Lines On Frost: from a 19th century Cock Robin: www.vwml.org/record/ record/LEB/4/219/5 • Matt Seattle from the manuscript • record/CJS2/10/2441B broadside printed in Barnstaple • Speed the Plough: www.vwml.org/ CJS2/10/2635 Keel Row: www.vwml.org/record/ • • College Hornpipe collection of William Vickers, c 1770. record/CJS2/10/2417 Draw A Pail Of Water: www.vwml. FK/16/135/2, www.vwml.org/ Primrose Hill Primary School, • Crosshand Polka – Broom Dance • Heave and Go shanty • Curly Headed Ploughboy: www. org/record/CJS2/10/2643 record/LEB/4/239/4, www.vwml. • Camden, London Four Hand Reel • The Lass o’ Dallogill collected by vwml.org/record/CJS2/10/2463 Mother Buy Me A Milking Pail: www. org/record/CJS2/10/2520 • • Skip to my Loo: www.vwml.org/ Douglas Kennedy at North Skelton • Harry Cox’s Schottische • Valentine: tune collected by E. Spring vwml.org/record/CJS2/10/2642 • Ca’ Hawkie: www.vwml.org/record/ • record/MK/1/1/4494 in 1927. – Seven Step Polka and published by The Morris Ring • Rain Rain Zein: www.vwml.org/ LEB/4/219/4 • Herring’s Head: various versions in • The Bold Navigators from Canal Songs in 1974. Five in the Morning: www.vwml.org/ • Pigeon on the Gate TFE archive. record/CJS2/10/2641 • compiled by Jon Raven and published • The Dark Girl Dressed in Blue record/FK/12/90/2 • Ponytrot Polka How many miles to London town?: • What had you for dinner?: www. • by Broadside Records in 1974. Off to California Bonny North Tyne by David Smash the Windows www.vwml.org/record/CJS2/9/1593 • vwml.org/record/CJS2/10/2639 • • Shawlands Primary School, Old Tom of Oxford McCrackern Starry Night for a Ramble We are the Romans: tune: www. • Elizabeth Woodcock story from Enid • • Barnsley, Yorkshire • vwml.org/record/AGG/1/18a/32A, • Uncle Bernard’s Polka Porter Collection • Bonny at Morn • The Recovery – Waves of Tory The Bonny Pit Laddie: www.vwml. words: www.vwml.org/record/ • • Rochdale Coconut Dance Crosshand Polka • Johnny’s lost his pinker • Albert Hewitt’s Hornpipe org/record/CJS2/10/2081 • AGG/2/11G • A Basket Full of Coal Dust: www. vwml.org/record/LEB/2/39

25 Archive material www.efdss.org 26 North west

Holy Family RC and CE College, Heywood, Lancashire Teachers: David Jones and Kimberley Holden Key Stages 3 and 4: Years 7 and 8; Years 9 and 10 (GCSE Music) Artists: Hannah James and Jim Molyneux Trainee: Rowan Rheingans

Accordions, clogs and introducing folk into GCSE Music

Background to school Synopsis of project …they [students] Holy Family College is an 11-16 Christian This project had two distinct parts. During truly experienced learning community which ‘seeks to develop separate ‘Learn to Learn’ days, Year 7 something that they each child’s natural ability to the full’. Music and 8 students took part in a carousel of would never have is compulsory in Years 7 and 8; in Year 9 folk activities including singing, playing done otherwise. students can opt to study for a GCSE in instruments and Lancashire clog dance, They gained an Music, which is taken at the end of Year 10. coming together at the end of each day to appreciation of what it is to try to Year 7 and 8 students have occasional days perform. The accordions were loaned to the perform together off-timetable as ‘Learn to Learn’ days, each school by EFDSS and clogs from EFDSS and as a group and time with a different curriculum focus. The Shrewsbury Folk Festival. Separately from to perform in music curriculum in Years 7 and 8 does not this, Year 9 and 10 students participated in front of others. It include any significant elements of folk. six composing and performing workshops gave members of linked to Area of Study 4 of the Edexcel staff from other Specific project aims disciplines an GCSE Music syllabus. • To introduce Year 7 and 8 students to insight into the joys traditional folk music through two ‘Learn Key outcomes and challenges of to Learn’ days of workshops (one for each Students teaching the arts. Through work with year group) including learning by ear, The GCSE students were able to • all of the groups percussion, singing, clogging and playing, further develop their performing and it elevated the culminating in a performance of work at composing skills. status of music and School Staff • Future considerations the end of each day. • Played instruments they had never performing arts in Without doing the school. • Awareness of the digital archive and the Working within the structures of large To develop Year 9 and 10 GCSE students’ seen previously. • this project then it • opportunity to experience it first-hand. David Jones secondary schools can inhibit the might have taken composing and arranging skills, drawing Experienced new things, for example the • Head of Music • Able to learn a lot from new songs for flexibility required to get the full potential me a while to get on materials from the digital archive. clog dancing. their repertoire, ham-boning (a type of from enrichment opportunities. around to looking at and using • Year 7 and 8 pupils developed their traditional body percussion from the The Full English • The perceptions of ways in which the[digital archive]. experience of harmony singing, and developed pupils’ USA), basics of playing the accordion and examination criteria can translate into It improved my aurally learnt and memorised repertoire. awareness of new ways of approaching composing. classroom practice should be opened up understanding of harmonies and • Experienced a genre of music of which Artists for sharing of good practice. how the materials singing in parts many of them were previously unaware. Learnt a lot about how to direct projects were collected • • Opportunities to show that ‘acting and gave me an Kimberley Holden, and the roles and responsibilities of • Were encouraged to analyse and recognise Curriculum Manager musically’ can promote critical appreciation of how folk material used in contemporary music teachers and artists when collaborations engagement with music, including the music and lyrics by rock, pop and folk bands and singers such as this take place. development of musical knowledge were paired up and through classroom-based practical work • Growth and development of own and understanding. travelled around and targeted listening. David Jones knowledge, skills and understanding Helping artists to share and develop • Head of Music as an educator. strategies to promote positive behaviour in secondary schools.

27 Case study www.efdss.org 28 South east

Loughton School, Milton Keynes Teacher: Rebecca Serginson Key Stage 2: Year 3 Artists: Barry Goodman and Graeme Meek Trainee: Patrick Dean

Celebrating the customs and traditions of May

Background to the school own broadsides in literacy. The Full English School Staff Future considerations The Full English Loughton School is a 4-form entry primary week culminated in a sharing assembly, This project Gained confidence in giving children Embed more creative opportunities was brilliant for has given us an • • school serving its local community. It values attended by a representative from the more scope for creativity. in staff meetings in order for staff to helping children understanding of begin to understand the performing and creative arts highly local cultural partner, The Stables. Pupils how one single • Shadowed the artists and learnt new experience new ideas first-hand. and connect with and has been awarded the Artsmark Gold. presented their May songs, crafts and item (a locally techniques, gathering ideas about how to • One reason The Full English was often their local area Learning is thematically organised and dancing at the showcase conference and at collected song) can give pupils a greater degree of autonomy considered so successful was because and ticked all the act as a catalyst for taught through a creative cross-curricular the school fair. to make up their own dances, rather than it was co-planned and objectives were boxes for the SMSC approach. Pupils experience country exploring customs, (Spiritual, Moral, Key outcomes local history, wider learning set dances only. negotiated –for this school it was noted dancing as part of the PE curriculum; in Social and Cultural) Students folk customs, Appreciated the wealth of experience as a new way of working and was a the past this has been confined to pre- • curriculum. It • Were fascinated by the sound and look of other linked folk that the artists, as former teachers, collaborative which they really valued. links fantastically set routines and recorded music. The songs, associated the musical instruments. brought in terms of subject and The Full English was integral to the with the new school has a strong relationship with cultural activities curriculum and the links were explicitly Year 3 history Were inspired by the local link to the May (eg country dance), pedagogic knowledge and skills. Milton Keynes Music Service. • made, rather than being a bolt-on. This requirements to carol collected in Loughton. oral history, • Found it very useful to be provided with study the local area. Specific project aims reminiscence and a is a solid foundation on which to base • Developed new skills in dance and were copies of songs, audio and resources. I’m confident that • To work with staff and all four classes host of other related future work. we can build on this able to perform without instruction. activities. • Recognised the value of creative and of Year 3, to explore English traditional • Gaining common understanding about in-house next year. performing arts. dance through the country/ceilidh and • Developed their singing skills Barry Goodman, what is covered as part of the core Andy George, performance traditions and support the and confidence. Artist Artists package, for example who will pay for craft Head Teacher key objectives of the Key Stage 2 PE and • Were particularly proud of the hobby • Learnt from each other and school staff, materials, costumes, instrument hire. dance curriculum. horse and May garlands they made. were flexible in their approaches and relished new artistic challenges. • To support and augment the delivery of Key Stage 2 literacy, local history and Unexpected outcomes geography through using folk songs • Parents were interested in the work and and broadsides. got involved in researching the local area with their children. • To stimulate thematic art based projects based on folk traditions and customs. • A wide range of teaching and support staff, as well as school management, Like any other • To introduce folk song material into the school, we’re under joined in with the CPD. choir repertoire at Loughton School. pressure to deliver School staff introduced additional the results on the Synopsis of the project • enrichment opportunities including core subjects, but Using a local May carol as the initial exploring the Open University’s ‘Clutch the creative arts are stimulus, Year 3 pupils explored local the key to unlocking Club’ Millennium archive and meeting geography and history, learnt and created the love of learning local people from the older generation to songs and dances, as well as delving into and we take that hear about their childhood experiences. very seriously. arts, crafts, stories and research. The work • The artists are going back to the school in Sue Bundy, also extended through other areas of the Deputy Head curriculum, for example, creating pupils’ the Autumn Term to play for a ceilidh.

29 Case study www.efdss.org 30 south east

Stantonbury Campus, Milton Keynes Teachers: Dan Allen, Gemma Cowling, William Leahy and Sally Tyrrell Key Stage 4: Year 10, GCSE Music and Dance students Artists: Kerry Fletcher and Oli Matthews Trainees: Patrick Dean, Ben Moss and Tom Redman

Cotswold morris dance and music as stimuli for GCSE creative work

Background to school GCSE coursework and they performed as The work allowed Stantonbury Campus is a large comprehensive a live band for the dancers, developing their the pupils to school at the heart of Milton Keynes, with a ensemble skills and experiencing a genre experience folk strong reputation for academic excellence of music in which most had little or no dance and music through first class teaching, sports and arts prior experience. and consider it facilities for 11-18 year olds and their local from an informed Key outcomes community. Whilst pupils gain exposure viewpoint – giving Students them a significant to a large variety of influences through the This is the first time many of the advantage because curricular and extra-curricular programmes, • students have worked with live music it allowed them to this has previously focussed around classical and dance combined. more creatively and contemporary styles. explore and • Musicians and dancers developed fuse it with the Specific project aims key ensemble skills, performing skills, contemporary styles • Developed working use of specific folk dance introduced through this project. What I think was • To explore the relationship between composing/choreography skills and with which they are dance and music vocabulary. • Benefitted professionally from being incredibly useful the depiction of morris dance through experienced a wide range of new more accustomed. • Recognised the scale of The Full English involved in the contemporary dance led for them was to GCSE dance set pieces (in particular ‘Still Sally Tyrrell, musical influences. see the breadth of Head of Dance at the showcase conference and were by the teacher from Stantonbury. Life’ at the Penguin Café) and practical work across the • Pupils gained recognition of the sense of proud of their contribution to this. Valued Found it useful to study the GCSE Dance experience of dancing Cotswold morris • schools and see place, culture, community and history. watching others perform. dance, and for students to apply the skills and Music syllabi in order to understand themselves as part and techniques gained to meet the GCSE • Positive changes in attitude to folk School Staff the relevance of the work undertaken. of the wider learning curriculum learning objectives. were evidenced. • Developed their own artform skills and Developed skills to express to others the programme. They • have taken part in Adapted well to the concept of a ‘ghost own confidence in relation to using some fundamental importance of folk arts and • To work with pupils and staff to enable • the first nationwide aspects of the folk arts in the curriculum. them to compose and arrange traditional dancer’ if someone was temporarily absent. intangible cultural heritage. project of its kind music drawn from the digital archive to • It allowed the school staff to “step back Future considerations and certainly the accompany and respond to the dance work. and view their students’ learning from a • Encouraging GCSE students to do some older students understood this and different perspective”. independent research before the project Synopsis of the project felt a great pride Through a series of workshops, Year 10 • Have a greater knowledge of the heritage started worked well and helped quick and excitement GCSE Dance students were introduced materials available and ideas about where engagement. about this to source these. to traditional morris and ceilidh dancing. • How to make work and learning Kerry Fletcher, They explored and developed ideas Artists sustainable when there are unforeseen Artist into a performance combining folk with • Were considered by the students and staff changes. contemporary choreography, linking this to teachers to be excellent role models and • Find ways to help artists and teachers explore the GCSE set work ‘Still Life’ at the Penguin engaging practitioners. and recognise the links between a GCSE Café. Year 10 GCSE Music students were • Were able to bridge the gap between syllabus and folk traditions in more detail. introduced to different types of folk tunes, the styles of music and dance to which including those related to morris dance. This the teachers and students were more material was developed and arranged by the accustomed and the folk music and young musicians as part of their AQA Music

31 Case study www.efdss.org 32 South west

Pathfield School, Barnstaple, Devon Teacher: Jenni Coats All Key Stages: Pupils aged 3 to 19 years Artists: Paul Wilson (Wren Music) and David Faulkner (Wren Music) Trainee: Jon Dyer

Inclusive celebration through local folk song, music and dance

Background to school an afternoon all together, singing, dancing • A high degree of differentiation was To get pupils from Pathfield is a school for pupils aged 3-19 and playing music. A film was produced to I’m trying to give evident, providing suitable levels of right across the as many of them years with special educational needs, share the process of the work with a wider challenge and stretching more musically school together as I possibly can, providing ‘high quality learning opportunities audience at the showcase conference and is unique and a role…so they’re experienced pupils. for children and young adults with severe, beyond. Additionally, extensive learning it’s marvellous! all having their • There were individual examples of And that usually profound and complex needs, including autism’. resources have been produced. moment to shine.…. exceptional triumph – eg willingly taking Music is well supported by Pathfield’s wouldn’t happen There’s moments Key outcomes - even on sports part for the first time, being filmed for the senior leadership and taught on a regular for all of them, Students day they would giving them a voice first time. basis by Jenni Coats, a music specialist who • Different year groups from across the all be taking part really. • More able pupils were given roles to support describes it as “the best job in the world”. but they would be school enjoyed making music together Jenni Coats, other pupils – this is unique because “their There are three choirs, two samba bands taking part within through multi-sensory engagement. Music Coordinator paths do not normally cross” due to the way and a rock band with a focus on inclusion their own year Multiple opportunities to play together groups and classes, the school timetables are organised. and celebration. Pupils play a wide variety of • The 5-minute film was the top highlight they wouldn’t be • musical instruments. with others and professional musicians Over 30 pages of School Staff mixing like this, so for some young people at the showcase “in a band that sounds amazing”. teachers pack are it’s a really brilliant • It has raised the profile of music in the school conference, drawing their attention to Specific project aims now in existence • Have a sense of ownership over the opportunity.” and made others notice the music making. professions such as Music Therapy. To explore music and local themes with all P levels, • dance and music. “Their suggestions were through the medium of song-based Jenni Coats, Music curriculum • Other staff are interested in what music Future considerations what carried – that’s a bit of empowerment Coordinator material from Barnstaple, Devon and the and topic links, can offer. • Using the film to advocate and going on”. suggested lesson wider South Western region. High levels of engagement across the staff further this type of work and resource sequences… There • at the CPD session delivered by the artists. development to other teachers and artists • To develop accessible learning resources are now 3 pieces at regional music education conferences suitable for use with pupils with special devised and refined Artists by students for use and other occasions. educational needs through the project • Improved knowledge and experience of Total that can be widely shared. in SEN and other • Teachers in other SEN schools have inclusive settings Communication policies and developed use already expressed interest in the work Synopsis of the project around the country. of Makaton signing for folk songs. and learning how it can be translated into This project brought together music and Paul Wilson, Artist Relished the opportunity to engage with • other contexts. dancing for pupils and staff across the (Wren Music) and adapt new materials and resources school. The materials used were adaptions from the digital archive. • Ideas, plans, schemes and assessment opportunities have all been mapped and bespoke arrangements of songs and Developed an awareness of how the • against the P-levels and curriculum poems - many from the Barnstaple area, musical activities directly linked to requirements – what mechanisms are which staff were particularly delighted P-levels (‘performance scales’ used when there to draw others’ attention to them about. Pupils danced and played musical reporting attainment for children with on the resource bank? instruments as part of a band; assistive special educational needs). music technology was used to make the • What training is required to assist more music universally accessible. The whole Unexpected outcomes folk educators to work confidently with school was taken off-timetable when the • An article on The Full English at Pathfield pupils with a wide range of special workshops were delivered. It culminated in was published by Devon County Council. educational needs and disabilities?

33 Case study www.efdss.org 34 south west

Hanham Woods Academy, South Gloucestershire Teacher: Ingrid Maclean and Louisa Carter Key Stages 3, 4 and 5: Years 7 to 13 Artists: Rob Habron and Miranda Rutter Trainee: Jon Dyer

Inclusive and challenging folk music for all

Background to school Key outcomes Artists Hanham Woods Academy is an 11-18 Students • Recognised the importance of knowing school with a performing arts specialism on • Some students have a greater confidence about the school and students in advance the outskirts of Bristol. Around 70 pupils that they can ‘do’ music. of the project and valued opportunities in the school learn musical instruments. • Enjoyed the experience of learning to play for this to happen. Extracurricular activities cater for a range of on traditional folk instruments. Unexpected outcomes different musicians and musical preferences. • Provided ‘leadership’ opportunities. • The school is now seeking creative Music staff try to include something new solutions in order to have regular access Gave students different perspectives each year and organise a residential music • to folk instruments, recently putting on learning and challenged them to trip every other year. a call out on local radio for a ‘folk learn aurally. Specific project aims instruments amnesty’. The range and profile of the performances To develop a Key Stage 3 unit of music • The school is now in touch with Halsway • gave students the motivation to ‘stick • work, developing skills, knowledge and Manor, a centre for traditional folk arts in with it’. understanding through exploration of the South West, about progression routes English folk music, focussing on learning • Some students really formed an affinity for students. with folk music, with one stating about a tunes aurally, through singing, playing, Future considerations melodeon “Miss, I NEED one!” listening, and analysing folk tunes with • Develop ideas about sustaining work in different time signatures and types of One of the most A number of • Students who showed aptitude for music situations where instruments and other scales and keys, playing and composing fantastic things students we have but had never had opportunities to learn equipment are only on short-term loan. new tunes. about this project worked with have instruments got involved in this project was that it catered found an avenue of • Working within the constraints To encourage associated songwriting and and are keen to continue. • for students with making music for of a 2-week school timetable can composing activities based on archive a wide range of the first time in their • Some students were able to engage with be challenging. materials, and possibly establish a school experiences and lives. For some that the music and feel successful because Progression routes for young people folk band. interests, both in was the chance to they could ‘do it’ playing by ear, whereas • terms of playing play an instrument interested in doing more folk music, song Synopsis of project they find notation a barrier. music and general that appealed to and dance are patchy nationally – how The Music Department was very keen to Additionally, the artists ran a one-day exposure to music. them and others it School Staff can this be addressed? extend the range of musical opportunities folk music workshop during the school’s There’s a Grade 8 was the experience • Have greater knowledge and and influences offered to incorporate folk. ‘activities week’, from which a regular folk cellist in the sixth of learning by ear understanding of folk music. form who’s going to - something they The artists and the school’s two music band was formed, borrowing traditional • Have the basis of a Year 8 unit of work teachers worked on a fortnightly basis with instruments (melodeons, accordions and university to study found they could music. It gave him do (in contrast to which can be adapted and developed in two Key Stage 3 classes, developing a unit of banjos) from EFDSS. The folk band included opportunities to struggling to learn future years. work based around composing, performing pupils from all year groups. It performed lead some of the from manuscript). Learnt new instruments alongside and critical listening, using local folk music a range of tunes from the South West at • playing but it also They have definitely their students. as inspiration. The artists also worked a school concert, the Year 6 transition challenged him benefited from the with the A Level music class, developing evening, the school Summer Fayre and the musically”. project. • Developed confidence to lead the composing, arranging and ensemble skills. showcase conference. Ingrid Maclean, Miranda Rutter, new folk band. Head of Music Artist

35 Case study www.efdss.org 36 west midlands

Allens Croft Primary School, Birmingham Teacher: Melissa Holloway Key Stage 1: Year 2 Artists: Bev Langton and Ray Langton Trainee: Beth Gifford

Exploring English traditions: Street cries, The Green Man and morris dancing

Background to school Synopsis of the project School Staff Unexpected outcomes I’ve found that The project is Allens Croft is a small, suburban school in This cross-curricular project brought Have developed their knowledge of One of the artists has now taken up it engaged • • fantastic because Birmingham attended by pupils with a range the children together exploration of English traditions, how to use folk arts to link through the learning the melodeon. it ranges across of different nationalities and backgrounds. immediately and based on Year 2’s theme of ‘England’. The curriculum and explored the relevance of • School has linked the songs to times music, dance and They have some tuition of music in the they’ve just really, children participated in singing a range of folk arts in primary education. of day as pupils are keen to continue the arts. So in really, thrived on future when we’re school but it is quite limited and the school English folk songs, as well as playing tunes • Recognised the value of using the folk arts to sing them. was keen to broaden musical opportunities that and they’ve on mini-melodeons. They listened, danced looking at planning, picked it up so to inspire learning across all year groups. Future considerations especially with the available to the pupils. and responded to traditional tunes from quickly… the other Artists Ideas for how to give projects more new curriculum. the digital archive, including the mysterious • Specific project aims staff in the room One of the artists learnt the melodeon visibility in schools beyond the class/year …we will look at and haunting The Green Man, leading to • To enable Year 2 pupils and staff at Allens have all remarked from scratch with the students. group directly involved. the things that • about how quickly an exploration of folk traditions and craft have worked Croft to engage and explore traditional they’ve done it activities, inspiring their own wall plaques • Artists gained new experiences, influences • Striking a balance between really well and… English folk arts (music, song, dance, and how brilliantly and the production of a market place. Pupils and ideas from working with each other. performance and process. share it around drama) and contribute to cross-curricular they’ve picked up the school as well composed their own lyrics and street cries. Artists considered the complexity of How to secure staff training and learning objectives. on it. • • so to implement For the performances in school and at the working with folk arts in multi-cultural embed skills in the school so staff feel it in different year • To explore song writing ideas using Melissa Holloway, showcase conference, the children wore rag Teacher and multi-faith settings and the comfortable with delivering things groups… All the material from the digital archive as jackets which they made themselves. They challenges this may present. outside of their comfort zone. things that have initial inspiration. been done with shared a wide range of the activities they • Artists picked up new ideas from class • The project brought in a lot of traditional had undertaken, including singing, dancing the artists are easy teachers for working with large groups instruments and materials, eg melodeons, to differentiate so and playing the mini melodeon. The children had and keeping them motivated and on-task. clay etc. How can these instruments, we can introduce a great time and Key outcomes • Valued the three-way planning process materials etc. be sourced and be it across the board definitely learnt a right from Reception Students between the school, artists and EFDSS. made available for artists, schools and host of new things all the way through Aurally learnt and performed tunes on organisations to use? and experiences. • • Appreciated working collaboratively with to Year 6. It was interesting the mini melodeon. the school staff during the delivery. Melissa Holloway, working in such • Developed singing, morris dancing and Teacher a diverse multi- ensemble skills. cultural setting. Developed composing skills, developing Bev Langton, • Artist and performing their own street cries. • Became more aware of English traditions through first-hand experience. • Explored curriculum links to art, history, geography and literacy through the range of materials presented.

37 Case study www.efdss.org 38 west midlands

Queensbridge High School, Birmingham Teachers: Fateha Begum, Sophie Cartlidge, Emma Fawkes, Key Stage 3: Year 7 Osier Fletchman, Jo King, Sunny Kumar, Matthew Readman and Sarah Wigley Artists: Amy Douglas and John Kirkpatrick Performing a ballad: Trainee: Beth Gifford creating local links, building stories and developing folk music, dance and song

Background to the school Synopsis of the project Key outcomes Artists It hadn’t really This work enriched Queensbridge High School is an outstanding iWeek was based around local history. Students Particularly valued the focused time registered at the • the department (Ofsted, 2013) 11-16 specialist visual and Inspired by the ballad The Cruel Ship’s beginning of the • Developed their cultural awareness they had working with smaller groups of through broadening performing arts school. iWeek is an annual Carpenter and folklore links to Birmingham’s project what a of English heritage. students, made possible by the model of experiences and event led by the school’s creative and canals, students worked together as big deal it was • Collaborated well as part of an collaborative working. emphasising for a Birmingham collaboration. It performing arts team. The whole school storytellers, singers and dancers to create interdisciplinary team. • Critically evaluated the value and impact are off-timetable for two separate weeks a large-scale and complex show illustrating ethnically diverse also supported and secondary school to Experienced different ways in which folk of iWeeks. developed the ELLI in order to create a new creative and visual the ballad. All of the components of the • work on an English music and arts can shape performances. • Tried out new ways of working with folk programme and the performance piece. As part of the work, Year work, including numerous aspects of folk project. As Arts Award. Supported the work of peers and materials and using ballads for inspiration 7 pupils usually work with pupils in feeder creative and performing arts, from set someone who’s • recognised the process of this. to encourage storytelling. Sarah Wigley, primary schools to teach them new skills. and costume design to traditional songs, grown up with Teacher longsword and country dance, were folk music and Learnt through game playing. • Developed greater awareness of the Specific project aims • explored during a carousel of workshops. dancing, I forget breadth of the work and role of EFDSS. To use traditional folk music, song, dance how it’s sometimes • Many successfully passed the • Year 7 pupils also cascaded their learning Future considerations and storytelling to explore histories, viewed from the Bronze Arts Award. to pupils in feeder primary schools. The full • Explore ways to promote transition legends, ballads and stories related to the outside. The whole • Had an enriching all-round learning production was performed in school and year – about 150 practices through cascading learning Birmingham canals. experience which used the arts to an excerpt of The Cruel Ship’s Carpenter was students – and all and the benefits for both primary and enhance Effective Life-long Learning • To develop Year 7 students as ‘arts performed at the showcase conference. the staff, thoroughly secondary pupils. apprentices’ who can cascade their learning embraced the Inventory (ELLI) outcomes. A number of pupils successfully worked Share experiences of specific challenges to pupils in feeder primary schools. theme and loved Explored links between landscape, • towards the bronze level Arts Award. • of working in multi-cultural environments. it! From the cultural heritage, local history and stories • To create an original performance piece storytellers telling through first-hand experience of a wide • Awareness of some of the changes to be performed in school and at the stories from of practice and adaptions which may showcase conference. ballads collected range of creative and performing arts in Birmingham, the linked to folk heritage. be required when working in multi- cultural and multi-faith settings, for audience went into School Staff a big production, example in relation to cultural norms Valued the collaborative planning process a fabulous mix of • which may prevent physical contact in with the artists and school. longsword, country traditional dance. dance, folk music, Worked together and learnt through • Challenges of negotiating the use and folk song, mythic the process. • white ladies, and censoring of traditional material to make water spirits all • Developed understanding of skills and it ‘fit’ for school use. held together by cultural experiences in and through The importance of staff training to fantastic dark ghost the folk arts. • story taken from a become familiar with materials before Developed storytelling; have new ideas Birmingham ballad. • their use with young people. for dance, music and drama teaching. Amy Douglas, Artist • Recognise the value of the digital archive as a rich resource. • Reviewed their initial hesitant expectations of Year 7 singing abilities.

39 Case study 40 yorkshire & the humber

Shawlands Primary School, Barnsley, Yorkshire Teacher: Fiona Taylor Key Stage 2: Year 4 Artists: Bryony Griffith and Simon Heywood Trainee: Josie Wexler

Exploring tales of colliery life

Background to the school and roles associated with mining. Pupils • Fiona Taylor, the class teacher, (who We went Shawlands Primary School is a one form collected family stories of mining in written is also a professional folk dancer) underground and entry school with approximately 210 and verbal form from older family members. had a guided tour performed clog dance with The children on its role. It “provides a learning The class also worked with their class so everything they’d Full English artists’ ensemble at the environment, which is friendly and purposeful”. teacher to learn rapper dancing, often heard in these showcase conference. stories of the pit The school holds a Gold Artsmark, and associated with coal mining communities, • A scaled-down performance of regularly takes children to perform at a and wrote and performed their own songs disaster they’d see for themselves. Courageous Colliers was presented local folk festival. The school is located in based on traditional material from the at the Miners’ Gala. Barnsley, a former coal mining area notable digital archive. It culminated in a production, Fiona Taylor, Teacher Future considerations for its rich industrial heritage. Courageous Colliers, presented in the style of Consider the provision and cost of a Mummers play (folk drama)- a 30-minute • Specific project aims costumes early in projects. potted history of the coalfields from early To explore the mining heritage including • industrial days to the present, using several • Open discussion needed surrounding its social context (for geography and archive items as sources of inspiration. the intellectual property rights history curriculum objectives) using a Pupils performed an excerpt of their School Staff connected with living aural traditions combination of folk song, music, dance production at the showcase conference, Teaching staff and support staff such as storytelling. (rapper and clog) and storytelling, • incorporating elements of clog and continued work in between artists’ visits. Capturing more of the process; consider drawing on material from the digital • rapper dance, drama, singing and playing how to incorporate material that archive, culminating in a performance in • Featured the project across the musical instruments. children generate themselves in a final school and at the showcase conference. curriculum, especially in writing and listening, including preparation for the performance piece. To develop literacy and oracy work from Key outcomes • debate on coalmining. Recognition of the educational value the project, including skills to help the Pupils • of enrichment experiences. pupils know how to, and experience, • Specific learning about the coalfield • Taught the pupils rapper dancing to telling stories (both verbally and history, local social and cultural history, complement the project. in writing). family histories, debate about the issues Artists underlying events such as the 1984 To develop an exhibition of pupils’ work • Had new experiences leading ‘general’ It’s been a fantastic • Miners’ Strike, evidenced through a wide to be displayed at the National Coal sessions with children around the social thing for the kids range of media such as debate, writing, Mining Museum in Wakefield. and cultural history of coal mining. to be involved with art and songs. and the parents Synopsis of the project • Brought a range of different strengths • Two exhibitions of students’ artwork, have loved the fact The ‘stunning start’ to this 14-week project to the delivery and were able to develop they’ve learnt about writing and presenting two sides of a was a day of song and stories at the their own knowledge and understanding their own families as debate were displayed in the National National Coal Mining Museum, complete from this model of collaborative working. well as part of how Coal Mining Museum on 22 June for the with a trip underground and a visit to Unexpected outcomes the history of their Miners’ Gala. town has changed, their pit ponies. Using cross-curricular • The Mayor of Barnsley presided over Each pupil had a part in the play and took which is a far more approaches, the project explored traditional • a debate on mining presented by the interesting way of pride in getting it right. folk songs, stories and riddles about coal children in the debating chambers of learning.

mining, and presented different characters Barnsley Town Hall. Fiona Taylor, Teacher

41 Case study www.efdss.org 42 yorkshire & the humber

Horizon Community College, Barnsley, Yorkshire Teachers: Jade Hunt, Mel Story and Dave Wilkinson Key Stage 3: Years 7, 8 and 9 Artists: Bobak Walker and Oli Matthews Trainee: Josie Wexler

Traditional dance and music with a contemporary feel

Background to the school tunes and modern popular music, around rapper dancing who introduces the dance Unexpected outcomes “We now teach Horizon Community College places high the theme of Plough Monday. The school’s with a song and provides a humorous Some of the Year 11 dance students joined morris and rapper • importance on the local community as female rapper sword dance group from Year to more groups running commentary on the dance and in with the staff training day. well as performing arts and has its own 8 have been performing together since they of students and the dancers. • A ‘lunchtime flash-mob’ took place in the professional theatre for regular amateur were originally enthused by Fiona Taylor at are performing Staff at Horizon school – this was enjoyed and valued by our pieces that and professional events. Music, dance Shawlands Primary School and have been • Music and dance teachers developed musicians, dancers and audience. and drama are well represented within National Rapper Sword champions. The we developed at the Swanage Folk their own knowledge and skills, along A group of students performed at the the curriculum and the school’s extensive group collaborated with the boys’ street • Festival, which will with new ideas about how to bring folk Swanage Folk Festival in September extra-curricular programme, and there is a dance group ‘The Streetkingz’ and musicians hopefully become influences into the Key Stages 3 and 4 2014. The school is looking for other high uptake at Key Stage 4. Staff describe from Years 8 and 9 provided live music an annual event.” curriculum and have already begun to do opportunities for their students to Horizon as a ‘bubbly, creative environment – a playing as a ‘band’. The group performed Jade Hunt, this beyond the scope of The Full English. perform at other folk festivals. school who are open minded and receptive to Plough Monday together at the showcase Head of Dance Recognised the benefits to learning innovative ideas’. conference. Some of the group also • • The dance students taught dance to from cross-age collaboration and have performed at the school’s 2014 ‘Acoustic younger pupils in a feeder primary school. Specific project aims developed this ‘peer teaching’ aspect of Roots Day’ as well as in a school concert and Future considerations To enable pupils to explore ways of the work for the school show. • all took part in ’flash mob’ performances at Explore ways to give even more musical defining and expressing an identity • lunchtime to hundreds of their fellow pupils. Artists and creative choices to pupils. for Barnsley, through taking part, Developed new ways of underpinning • When a project is focused on dance – experiencing and researching the local Key outcomes work through consciously introducing the • then what is the opportunity for music to traditional English folk arts (music, song, Students cultural importance. dance, ceilidh and drama) of the area, Were inspired by different types of dance be more creative – does it need more time • Collaboration with other artists has and performing their own work. and respected the discipline and level of • for musicians? When both musicians and helped with professional development. dancers are creating structure it’s hard to To provide the staff, and pupils from technical skill that each other brought to • facilitate the compromise between both a range of different music and dance the work, describing themselves as ‘The creative practices. backgrounds, with experiences and Dance Family’. foundations in local folk arts to enable • Some pupils were noted to have become them to develop and inform their more motivated and self-confident in I am now much better able to wider project of re-interpretation, and school generally. explain/explore the developing creative expressions of a • Developed their ability to be flexible as cultural importance contemporary Barnsley identity. musicians – playing in ensembles with a of my work. I can Synopsis of the project range of different musicians, playing live as work with young people to research The artists worked with groups of young a ‘dance band’, different styles of playing and understand people to create a performance piece, and of learning (particularly aural). dance within their bringing together a musical and dance • Younger students really enjoyed working own communities, fusion of hip-hop choreography, rapper with the Year 11 students and particularly which is an incredible and morris dance, new interpretations and the Tommy - a traditional character in tool as an educator. arrangements of traditional English folk Bobak Walker, Artist

43 Case study www.efdss.org 44 Credits

The Full English For The Full English partner organisations Katy Spicer, EFDSS Chief Executive

Archive partners: Archive programme: The British Library | Clare College, Malcolm Taylor OBE, EFDSS Library Director Cambridge | The Mitchell Library, Glasgow Steve Roud, Data Manager |The Folklore Society Library and Archive, Richard Butterworth, Website design University College London | Wiltshire and Louise Bruton, Cataloguer Swindon History Centre | Grainger Museum, Rowan Musser, Cataloguer University of Melbourne Learning programme: Learning programme partners: Rachel Elliott, EFDSS Education Director Cambridge City Council | Cambridgeshire Frances Watt, Learning Manager Music | Clare College, Cambridge | Cecil - The Full English Sharp House | Colston Hall | Lincoln Drill Gavin Davenport, Learning Officer Hall | mac birmingham | Opera North | - The Full English Sound Connections | soundLINCS | The Dr Alison Daubney, External Evaluator British Library | The Met | Sage Gateshead | The Stables The Full English Advisory Board: Alistair Anderson, James Garnett, Learning programme additional partners: Mike Heaney and Lucy Neal. Blaize | Bristol Plays Music | The Museum of Cambridge | National Coal Mining Special thanks to: Patrick Kingwell, for Museum | The University of Sheffield research, development and project advice.

For this case study booklet Written by: Dr Alison Daubney, with Rachel Elliott and Frances Watt

Photographs by: Roswitha Chesher, with additional photos by Gavin Davenport, Rachel Elliott, Frances Watt, Jake Mc Pherson (Foto+)

Designed by: nonconform.co.uk

45 Credits www.efdss.org