Ok, so this is cheating just slightly: it’s not our blog, but one written by Katherine (our ReAuthoring comrade in arms) about the fantastic devising weekend we had in advance of the new work created for the Herne Bay Festival. The link is here.

Just so that we’re contributing something (and it doesn’t appear as though we’re being summer-lazy and letting Katherine do all the blog-work…) I shall add that real estate placards, eggs, and battery amps will never again have quite the same meaning for any of us. Intrigued? Good, then come along to Herne Bay on Saturday 27 August. You won’t be disappointed.

 

Across Britain today, most schools finish for the year. Children will say farewell and scatter to the winds with family, whether abroad or on staycations. Teachers will breathe a sigh, tidy up their admin, gather their things and take a well-deserved break. Summer officially begins. 

But with the end of this particular school year comes the end of one of the most ambitious education reform programmes ever attempted in Britain, or anywhere for that matter. Creative Partnerships began in 2002 as an attempt to loosen up attitudes and approaches to teaching and learning. It has since made its mark on more than a million children, along with thousands of teachers and as many artists, many of whom have reinvented their entire careers as a result of the work. There is evidence that ‘CP’ has improved standards broadly. It has also, in very many cases, helped to reconnect teachers with their own inner artist: is there a career that requires greater flexibility, creativity and improvisation than teaching?

The end of Creative Partnerships was in the wind last year and the new Coalition government defunded the programme entirely as of this year. All government programmes end, of course, often with good cause; indeed, in recent years, many have grumbled about the growing bureaucratisation of the CP programme.

This blog, then, is part tribute and part lament. The tribute is for what CP has achieved, evidence of which can easily be found on the programme website. The lament is for the Coalition’s current dismissal of this kind of work, and indeed of the arts in general as a driver of Britain’s future prosperity. Ironically, just as Britain seems to be shrinking from the kind of flexible thinking and skill-building that CP has championed, other countries across the globe are now embracing it. Only a few weeks ago, I concluded some work in Lithuania in advance of the national roll-out, next autumn, of a CP-style programme. Like many former Soviet bloc countries, Lithuania is keen to develop more innovators and entrepreneurs and they’ve made a direct link between arts-led creative learning and the kind of socioeconomic future they aspire to. There are many other examples.

I don’t want to be a doom-sayer here; if anything, these days I’m slightly more sanguine that the Coalition will see the proverbial light where arts-led creative learning is concerned, if only because it soon will be difficult to ignore the fact that so many other countries are valueing and funding such work. Arts Council England, which has stewarded Creative Partnerships for most of its existence, has attempted to bridge the gap between the programme’s end and whatever comes next by creating an entirely new category of funded organisation. Some work on the CP tip will undoubtedly continue, although in what form remains unclear particularly in light of shrinking school budgets.

That said, I can’t get an unfortunate analogy out of my head, that of the famous early 15th century Chinese ‘treasure fleet’ that touched port in parts of the globe where European fleets would take another century or more to reach. Alas, on the verge of establishing world-spanning trade and influence, the emperor of the day recalled the entire fleet and burned it in toto. China turned inward, and would remain so for centuries.

Creative Partnerships isn’t perfect, but it is if nothing else about the future in terms of ways of thinking and working. If Government is serious about Britain being a world-beating society it needs to embrace such work, not reject it in favour of the cheap neo-Victorianism that so many of its policies seem to reflect. Right now the fleet is being recalled. Whether or not it is burnt remains to be seen.

 

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first published as “Obama’s arts report” in ArtsProfessional on 15 July 2011

America has a rather Marmite-ish place in UK culture these days. Do you love it because of Barack and Michelle, or hate it because of the US military’s various global entanglements?

Such musings are merely for the punters, though. Between Whitehall and the White House, it’s all about the love, as underscored recently during Obama’s state visit: witness the table tennis, the backslapping bonhomie and of course, the BBQ. If you believe the headlines, there is nothing of significance, it seems, that Dave and Barack can’t share a high-five over.

Well, almost nothing. If the subject of arts education popped up over burgers at Downing Street recently, there may have been just the slightest awkward moment between the ‘essential’ friends. Because just as the Coalition is busily conducting a kind of arts pogrom within the nation’s education system, Obama arrived on our shores only a few weeks after his office released a landmark report called Reinvesting in Arts Education – Winning America’s Future Through Creative Schools.

‘Landmark’ isn’t too strong a word, nor is bold. Here we are, still clawing our way out of the Great Recession and the air thick with phrases like ‘back to basics’ and ‘hard choices’, and along comes a presidentially-commissioned study that recommends “expanding in-school opportunities for teaching artists,” and utilising government policies “to reinforce the place of arts in education.” Some offerings will brim with irony for artists and educators here: the language supporting the recommendation, “Develop the field of arts integration,” for instance, could have been lifted from our very own, recently defunded Creative Partnerships programme.

And yet the report itself is only partly about the arts. Leave aside the fact that the Obama report is the product of a star-studded committee that includes artists, of course, but also philanthropists, corporate titans and academics. Leave aside, too, that Obama sent his popular and charismatic wife, Michelle, on the road to announce and promote its findings.

What makes the Obama report worth our notice is its studied, relentless emphasis on the arts as essential fuel for the national engine of prosperity. Yes, the arts “remind us of what we each have to offer, and what we all have in common.” But for every such conservative-baiting pronouncement, one finds harder-edged language and data that directly links strong arts education provision with achievement, innovation and behaviour.

In other words, the Obama report isn’t merely an example of the president’s crazy liberal side making a token appearance. Sprinkled generously across an ocean of statistics are quotes and stats from think-tanky economic studies invariably fretting about America’s competitive future…and linking a happy version of that future directly to arts education. The report’s foreward says it best: “To succeed today and in the future, America’s children will need to be inventive, resourceful, and imaginative,” writes US Education Secretary Arne Duncan. “The best way to foster that creativity is through arts education.”

Hard to imagine Michael Gove thinking such thoughts, let alone making them public. On the contrary, Gove and his colleagues are doing their level best to strangle arts provision for future generations of young people. Not only has government virtually eliminated support for university-level arts teaching, its new English baccalaureate—soon to be de rigueur in the nation’s secondary schools—makes absolutely no mention of the arts at all (although note, in this link, the irony of Arne Duncan being quoted in support of the E-bacc).

As with so much else between the UK and US, the Obama report does not translate perfectly to circumstances here. But we don’t need it to: there are already piles of data, evidence, reports and studies supporting the critical role the arts play in shaping a socioeconomically robust, modern Britain. Particularly powerful is the evidence linking arts provision to marked improvements in behaviour and attainment among otherwise low-achieving children, although it’s no secret to arts educators that such children usually do flower in the arts (and often after teachers of more ‘traditional’ subjects have written them off.)

Above all, the Obama report sets an example for strong national leadership in recognition of the essential role of the arts in building a successful modern nation. It also begs two very big and scary questions. Where is the political leadership here—from anyone, in any party—to fight for a new value proposition for the arts, particularly in the context of education? And if that doesn’t happen, how will it take before the UK’s economic competitiveness and social cohesion begin to deteriorate irreparably as a result? 

 


 

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Ah, not often I can pun like that and have it actually mean something.

The L in question is in the photo below. The place: Lower Marsh Street, a lovely little micro ‘hood behind Waterloo Station that was recently the scene of Secret Sleuthing. Part of the BIGLOP Festival, Secret Sleuthing challenged teams of young Londoners to find and decode a series of clues planted on Lower Marsh Street that led them to a Punchdrunk-styled hidden location nearby. Once inside, more clues were on offer…which ultimately led our sleuths back onto the high street where they had to whisper the secret password to ‘hidden agents’–better known locally as shop-owners in on the game.

Although Secret Sleuthing finished two weeks ago, we checked recently and all nine of the first letter clues were still there. If you find yourself on Lower Marsh Street, have a sleuth yourself. Here’s a hint: the nine letters spell the name of a nearby street, which in turn led to the hidden location. The location itself is closed now, but we think that looking is as much (or even more) fun than finding…

 

I spent this morning singing with teachers on a pier. As a trainer, I was paid for this; the teachers were also paid, in that the work they would normally have done at school was covered by other teachers. We were led by a wonderful vocalist through a series of exercises and activities in voice, rhythm, posture, presentation and performance. The vocalist was paid, too.

I’m chanting this mantra of remuneration for a slightly perverse reason. Creating a site-specific jazz riff on ‘Row Row Your Boat’ may or may not immediately help students hit their government-mandated targets in maths, literacy or other subjects. Discovering the wonders of diaphragmatic breathing may not correlate directly with better classroom behaviour. In fact, if I’m completely honest, it is possible that today’s session in all of its singing, vocalising, rapping, snapping, clapping glory–all in promenade, beneath the glorious summer sun, on a wooden platform stretching into the sea–might have no effect at all, other than to have been an awful lot of fun for those of us actually doing it.

It is perhaps reckless to say such things at a time when school budgets are being slashed, teacher pensions are being pared back, and indeed the entire public infrastructure is under siege. Better to keep quiet, perhaps, about such blatantly joyfully, possibly not terribly ‘practical’ work, right? Wrong. Now is precisely the time to talk about sessions like today’s. The adage says to sing when you’re winning. That’s easy. But to sing, loudly and without fear (and in public), when everything you feel is valuable in society is under threat? That is something else entirely.That is a statement of rebellion. A statement of value.

And that value is this: teachers, and everyone else who toils in the public sector, deserve their opportunities to leave the classroom behind for a morning and revisit joy, laughter, enjoyment, and emotional wonderment. Strangely, we do not begrudge these things to the private sector so worshipped by our political masters. I know plenty of folks in business who, despite being under the media microscope more than ever, still have their ‘away’ days playing paintball or their lavish end-of-quarter bashes on the continent. Such things aren’t considered perqs or frivolities. The private sector knows that loosening up, playing and celebrating are essential components to unlocking camaraderie and creativity. 

We don’t apply the same standards to public sector employees. Teachers, in particular, feel a tremendous burden to make every second of their working lives visibly and measurably ‘count’ in the service of boxes ticked and targets attained. For lower pay and longer hours, we work them harder and harder. And if they’re let out of teaching duties for professional development, well…it had better produce results.

I’m confident that today’s session will, in fact, produce results. The teachers left our session humming and smiling. They were talking about how to bring music and rhythm into their classrooms as ways of engaging children. They were talking about planning more trips to the seaside and the pier in the still-warm months of the early autumn. They felt good. They were energised, excited about life and work, and feeling creative and full of ideas. And that, of course, is pretty much the general ‘person description’ coveted by any private company worth its stock shares.

If the government really wants the public sector to be more like the private one, they need to put their money where their rhetoric is. It’s not about tests, targets, cuts, threats and half-baked restructuring. Instead, we need to loosen up and let teachers, and perhaps everyone in the public sector, sing a bit.

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first posted at http://reauthoringproject.wordpress.com

Hello out there in ReAuthoring land. Yes, it’s been awhile since there’s been a post here (nearly a year, to be precise) but silence doesn’t mean inaction. We’ve been busy tinkering away in the ReAuthoring shop…new ideas, new partners, new projects. Stay tuned.

In the mean time, enjoy the following gentle piss-take on the whole ‘medium is the message’ craze in the literary world, courtesy of Horrible Histories, which is possibly the best sketch programme on the telly at present. Great!

 

First published in ArtsProfessional 235, 11 April 2010 (some links modified from original article)

 

As a sucker for the double entendre, I’ve always had a soft spot for the phrase, ‘lie of the land’, which turns rather neatly in the wake of the recent funding decisions unveiled by Arts Council England. It’s still early days, but for the arts sector the lie of the land betrays a future of hard battling for favourite art forms and organisations, amidst a general bun-fight for limited resources and (ignoring the potential irony) cries of sector-wide solidarity.

But there is the lie of the land, and lies in the cultural landscape…and both the arts sector and Government are guilty of fomenting the latter.

Let’s start with the arts sector, which if not consciously spreading a lie is too often guilty of peddling a position that few seem to be buying. I call it the Spinach Argument, something familiar to any parent trying to broaden their child’s diet: you (offspring/society) need (spinach or broccoli/the arts or culture) because it’s good for you. The latest Taking Part survey  seems to indicate that a new approach is needed, since stagnant arts engagement won’t do much to change the general opinion that the arts are an easy cut. Ways forward might be found in the Knowledge Transfer Partnerships scheme, now being applied to the arts and which seeks to link practice, theory and perception. There is also potential here in a more robust dialogue around participatory arts

The ‘lie’ peddled by Government arises from those familiar bedfellows, ideology and ignorance. The Government’s various actions, including its dismal ACE budget, convey the message that the arts are a bauble, an adornment—and thus destined always to be first on the fiscal chopping block. But there’s a disconnect: key ministers bang on about innovation as essential to Future Britain, all the while having virtually nothing to say about the processes or context that enable a society to be innovative.

If creativity is the indisputable engine of innovation, then surely the arts provide essential creative fuel. In this context, it may be that the Spinach Argument needs to be made more convincingly to Government…even as the sector explores new ways of discovering how and why the arts fit into people’s lives more generally. As a push-back against the cuts, I know colleagues who will find these arguments too reductive; certainly, it may be more comforting to rail against the unfairness of the situation. And in many senses, it is unfair: for the price of a single Typhoon warplane most of the ACE cuts could have been avoided. But that’s not the world we live in.

For British arts and culture, more change is yet to come: anyone reading the lie of the land can see that much already. The question is whether the sector itself will be driver, bystander or victim.

 

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Just back from a few days in Lithuania, a country I’ll admit that I never anticipated visiting. In fact, one might argue that the only way to develop an appreciation for a country so far off the Western cultural radar is to be thrown into it headlong, which was my experience: Nimble Fish was asked to deliver a pilot programme seeking to link cultural entrepreneurs with schools, in a Creative Partnerships style arrangement. This sort of thing is new in Lithuania, so much so that the language doesn’t even have a word for ‘entrepreneur’.

The intention, of course, was to convey British knowledge about creativity-in-education for the benefit of Lithuania’s next generation of artists, teachers and young people. I’d like to think that some of that happened, but what struck me most was how much creativity, drive and energy are already in play there. There are artists collectives linked with government ministries, university students launching visionary cultural NGOs, and all manner of activity aimed at transformation, improvement, and enlightenment. In short, Lithuania is a country very much buzzing with creative energy and action (perhaps less surprising knowing that the capital, Vilnius, was the 2009 European Capital of Culture.) And all of it, happening on a comparative shoestring.

The Arts Council cuts announced yesterday were painful to many, and I’d be the first to say that Government is foolhardy to do so much damage for so little return: drop a Eurofighter or two, and that’s the arts sorted. And yet, despite the cuts we remain rich in ideas, experience and talent…and relatively speaking, rich also in money and infrastructure. Artists and cultural entrepreneurs are making amazing things happen in Lithuania, with far fewer resources. We can and must continue to make amazing things happen here, whatever idiocy is handed down by Government.

By the way, if you’re in the market for a great rural getaway I can highly recommend this little place outside of Trakai…

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Dateline: London

Reports of eagle-eyed young people sleuthing for clues are on the rise today following the opening of several new Culture Detective Bureaus across London. In these school-based Bureaus, young Detectives are being trained to find evidence around them leading to the discovery of what ‘culture’ means to their communities and how it connects them to the 2012 London Olympics. Altogether, nine Culture Detective Bureaus are being established.

The Detectives are using many sleuthing tools in their search for cultural evidence, including film, photo, movement, and art. Below is a snapshot of a recent exploration captured via Comic Life by Abigail Hunt (Culture Detectives Bureau Chief, Lewisham branch). Note the 3-D speech bubbles!

The Culture Detectives project is conceived and run by Nimble Fish as part of the Biggest Learning Opportunity on Earth programme, a creative learning programme taking place across more than 140 London schools. The programme is the largest such educational scheme specifically focused on the upcoming London Olympic and Paralympic Games.

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…seem of late to be coming in multiples for we Nimble Fishes, which ain’t no bad thing. Of course, it’d be nicer if they didn’t all pile into roughly the same timeframe (between now and, oh, September) but we’re pleased that all the shuckin’ and jivin’ we’ve been doing over the past six months or so is beginning to pay off so nicely.

More details soon, but we look forward to working on behalf of new funders and collaboratively with new partners (and in the case of one project, in a new country!)

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