Category Archives: Themes

Feis Rois, Traditional Music and Gaelic Arts (a Co-Create demonstration project)

ABOUT

Fèis Rois brought together P5-6 pupils from two Aberdeenshire primary schools and two Highland special education units for pupils with complex additional support needs. The project supported schools to work with artists to learn the art of traditional storytelling, music and song writing.  The young people used the stories they were told as inspiration and stimulus for composing their own songs and stories, which they shared with each other through Glow.

Click here to watch 5 minute video

In most of the schools, activities were delivered through regular short workshops, with each session building on the last so that pupils were introduced to traditional storytelling, then traditional music and instruments. Over the weeks, their learning contributed to writing, composing and performing their own songs. At the end of the project each school spent a day with sound engineers to record their material and a CD of this was given to each school.

P5/6 Pupils in Aberdeenshire worked with a traditional storyteller, Ruth Kirkpatrick, to learn about the art of telling stories and the history behind traditional tales.  The classes worked on the stories Ruth taught them outwith the scheduled time to make story plates and sticks.

Musicians Findlay Napier and Angus Lyon worked with the classes to create their own compositions and songs around the stories pupils had been working on.

In the secondary school in Aberdeenshire, pupils spent three consecutive days, off timetable, taking part in dance, music and storytelling workshops and creating their own songs and artistic interpretations of their culture.  These were recorded onto CD and also performed live as part of a performance evening with the two feeder primaries.

The pupils in Highland worked with Fèis Rois to learn about traditional music and the art of song writing. Applegrove school used their class topics as stimulus for creating songs and the pupils were introduced to and taught about a different instrument each week.  Both schools worked with song writer, Jim Hunter, musician Colin Mclean and Rachael Duff from Fèis Rois.

The two groups, including pupils, teachers and support staff, kept video diaries and interacted with each other using Glow tools. As the project developed, videos of pupils’ work, together with images and creative writing compositions were put up onto the project Glow group.

Throughout the project, pupils were immersed in traditional Scottish culture, and had the opportunity to enjoy performances by professional artists and performers. They developed new skills and created and performed their own work for others.

The approaches taken to activities and project delivery were tailored to account for the individual needs of pupils, as well as the timetabling restrictions in schools.


The project involved:

  • Fèis Rois Ltd
  • 2 musicians from Highland Alternative Music
  • 1 freelance storyteller
  • 1 freelance traditional dancer
    • 3 mainstream schools in Aberdeenshire (1 secondary, 2 primary);
    • 2 schools supporting disengaged learners and learners with additional support needs

Partners:

  • Aberdeenshire and Highland local authorities
  • Highland Alternative Music

PURPOSE

The project aimed to:

  • give young people the opportunity to learn about their cultural heritage through traditional music and the Gaelic language
  • all of this enables young people to engage in music-making and experience the inspiration and power of the arts

CURRICULUM AREAS

  • Expressive Arts
  • Health and Wellbeing
  • Literacy

LEVELS AND STAGES

P5 – P6 (stage 2); Secondary

TYPES OF LEARNING

Pupils gained from a flexible approach to learning and worked in groups to write and perform songs. They developed interpersonal skills through working directly with professional artists and performers and gained confidence from performing their own songs in a recording studio and infront of their peers.

IMPACTS

An independent evaluation was carried out by Blake Stevenson. Their research shows that the project had the following impacts:

New skills, knowledge and approaches for teachers:

The project supported an active approach to learning. It shared creative approaches such as a ‘mystery box’ of sensory objects and instruments to stimulate interest and provide prompts for composing and writing songs.

The Highland school saw how engaged pupils were with music and will try to incorporate different aspects of music and use of instruments into their teaching in future.

The project gave schools access to artists with specialist knowledge and skills, allowing both pupils and teachers to learn from external expertise in music and storytelling.

New skills and knowledge acquisition for pupils:

  • knowledge of Scotland’s cultural heritage, including traditional music, dance and storytelling;
  • storytelling and song writing skills
  • increased confidence in playing instruments and performing
  • applying interdisciplinary learning across English and Music
  • technological skills relating to aspects of filming and recording
  • working with arts specialists and developing interpersonal skills

The project supported pupils to achieve progress in the following ways:

Responsible Citizens – through exploring Scottish traditions, pupils developed a greater knowledge and understanding of Scotland and its history and culture as well as increased respect for others

Effective Contributors – the project supported pupils to work in teams to produce and perform material

Successful Learners – pupils demonstrated enthusiasm for the use of musical instruments and engaged well with Feis Rois staff to produce their own individual creative material

New skills and knowledge for Fèis Rois:

Fèis Rois project staff and artists gained a greater understanding of how to deliver effective workshops to disengaged learners and learners with additional support needs.

They gained a greater understanding of working with schools, in particular that working with ASN schools requires a flexible approach to structure and timetabling.

The project allowed Fèis Rois to develop new relationships with a number of artists and performers and to strengthen their relationships with schools and specialists they had previously worked with.

CHALLENGES

Some of the schools did not actively involved themselves in project planning and delivery which resulted in a number of challenges including difficulties accessing rooms, working space and resources. Where some teachers had a more hands off approach, Feis Rois found there was reduced capacity for collaborative working between the schools and the artists.

Young people from the school for disengaged learners had the opportunity to opt into the project, making attendance unpredictable and reducing continuity of participation

Project timescales slipped slightly due to the adverse weather conditions in Scotland in December 2010. Sessions were rearranged.

The project experienced delays getting Glow logins for pupils and staff. As a result Fèis Rois staff uploaded project work for the schools until they got their login details and have been involved in providing some basic Glow training on how to upload materials to Glow.

KEY LEARNING

The special needs school in Highland, whose pupils are also enrolled in mainstream schools, had not used Glow before, and felt that Glow offered great potential for their pupils in terms of being able to post pupils’ work on Glow, demonstrating to their mainstream peers their activities and accomplishments outside of school.

The partnership model developed between Fèis Rois and the Highland schools was found to be effective by all partners, resulting in tailored provision of activities to suit individual school and pupil needs. One teacher commended the project for their patience and flexibility and ability to learn from the school to provide suitable support to their pupils.

In future Fèis Rois will have a better understanding of the challenges facing schools, including access to equipment, training and accounts for using Glow. They will build additional time into project planning to alleviate the challenges created by these issues.

FUNDING

Co-Create was funded through a partnership between Learning and Teaching Scotland and Creative Scotland’s National Lottery Fund. 

For more information contact:

Rachael Duff, Fèis Rois, rachael.duff@feisrois.org

Project Glow Group

Fèis Rois Website


Authors Live (Scottish Book Trust)

ABOUT

The Authors Live programme exploits cutting-edge technology to bring the best children’s authors to children, young people and their parents across the UK. The project broadcasts children’s author events live over the internet, in conjunction with the BBC. The events are also recorded and available to watch and download from the Scottish Book Trust website.

The project successfully engages parents in sharing the same high-quality arts activity their children take part in at school. Video recordings of the events are available to watch and download from the Scottish Book Trust website.

The Scottish Book Trust provides teachers resources for each event suitable for the age group and stage of that particular event before-hand. The resource features activities for preparation for the event, links to the actual event and suggestions for activities to follow the event up. Each resource also clearly signposts links with Curriculum for Excellence and covers experiences and outcomes across all appropriate levels and in a wide range of curriculum areas. You can visit the Scottish Book Trust Events Glow group to watch our events through Glow Meet.

There are links to the live events and more at the foot of this page.

Michael Rosen Michael Rosen Michael Rosen

PURPOSE

Scottish Book Trust’s main objectives for the Meet Our Authors programme are:

  • – to meet soaring demand for the best children’s author events
  • – to allow as many children as possible to participate, no matter where they live or what their economic circumstances are
  • – allow teachers to access transformational events from the comfort of their UK classroom, at no cost to the child or school

Julia Donaldson Julia Donaldson Julia Donaldson

The aim is to introduce pupils to the great quality literature that is available and for them to understand the connection between the books they enjoy and the person who wrote them. A further aim is to support pupils to understand the benefits and pleasures of discussing books with their peers, parents and teachers, and build up a relationship with their favourite authors.

To date the programme has featured a wide range of top authors, including Julia Donaldson, Michael Rosen, David Walliams, David Almond and many more. Two further events are planned with Polly Dunbar and Tony Robinson: schools who register to watch will be entered into a prize draw to win one of five class sets of the author’s books for each event.

Accessing the author events were:

  • – 32 local authorities
  • – c. 105,000 children and young people (Michael Rosen)
  • – c. 82,000 children (Julia Donaldson)

Craingentinny - Julia Donaldson Event Michael Rosen Julia Donaldson

IMPACTS

Feedback from events:

  • “Great to involve children directly. My children felt very special to be spoken to by Julia herself!” (Teacher, Niddrie Mill Primary School)
  • “We really enjoyed the event and all the children loved the song and the visit from the Gruffalo. We had used the ideas from the teacher resources and had been focussing on Julia’s books for a few weeks before the event so it made a great climax to our work.” (Teacher, Burravoe Primary School)
  • – “It was wonderful to be able to provide an event for World Book Day without breaking the budget.” (Teacher, Coleraine High School)

The events have provided a stimulus for some fabulous teaching practice. Whether you just want to dip in and do one activity, or you want to do an extended project, Scottish Book Trust have resources and case studies to help you. Visit the ‘Get the Most Out of Our Programmes’ section of Scottish Book Trust’s site for more information.

OTHER

Partners:

  • – Scottish Book Trust
  • – BBC
  • – Schools, nurseries and parents across the UK

Levels and stages:

  • – First, second, third and fourth levels (Michael Rosen)
  • – Early and first levels (Julia Donaldson)
  • – P1 – S3

Funding:

  • – National Lottery Inspiring Communities Fund
  • – Scottish Friendly Assurance

For more information contact:

Jasmine Fassl, Children’s Programme Manager (Scottish Book Trust) on 0131 524 0160 or email jasmine.fassl@scottishbooktrust.com

Links:

Authors Live page on Scottish Book Trust website: http://www.scottishbooktrust.com/meet-our-authors/childrens-authors-live

Below are three previous events which should give you a flavour of the programme:

Authors Live Poetry Slam (S1 to S6)

Full-length event: http://www.scottishbooktrust.com/podcasts/video/authors-live-poetry-slam

Highlights from the BBC website: http://www.bbc.co.uk/programmes/p011pfsx

Resources: http://www.scottishbooktrust.com/poetry-slam-resources

A great blog by Peter Kelly from Holy Cross High School about his use of the event: http://www.scottishbooktrust.com/blog/2013/01/authors-live-preparing-for-a-word-war

A teaching resource designed by Helen McKenzie from Lanark Grammar School: www.scottishbooktrust.com/discursive-writing-activities-to-prepare-for-a-rap-battle

Authors Live with Oliver Jeffers (Nursery to P3)

Full length event: www.scottishbooktrust.com/podcasts/video/authors-live-oliver-jeffers-full-broadcast

Highlights from the BBC website: http://www.bbc.co.uk/programmes/p00tjp0r

Resources: www.scottishbooktrust.com/learning/teaching-resources/author-resources/oliver-jeffers

Authors Live with David Walliams (P4 to S2)

Full length event: www.scottishbooktrust.com/podcasts/video/authors-live-david-walliams-full-broadcast

Highlights from the BBC website: http://www.bbc.co.uk/programmes/p00t1pj2

Resources: www.scottishbooktrust.com/learning/teaching-resources/upper-primary/author-resources/david-walliams

A blog from Mairi Livingstone at Easdale Primary about using the event to inspire her pupils in writing: http://www.scottishbooktrust.com/blog/learning/2012/08/dear-mr-walliams

Meet Our Authors Online Hub links:

http://www.facebook.com/meetourauthors

http://twitter.com/meetourauthors

http://www.youtube.com/meetourauthors

The Book I will Never Forget (Scottish Book Trust)

ABOUT

The Scottish Book Trust worked with Bishopbriggs Academy to adapt the ‘Book That Changed my Life’ campaign for use in a schools context.  The pupils at Bishopbriggs adapted the project to The Book I Will Never Forget and spent a week collecting stories, interviews and writing their own personal response to the project.  Collectively, they developed a series of podcasts sharing a range of stories around the topic.

The project developed support materials for the project, following planning meetings with the Principle teacher of English, which clearly linked the project with Curriculum for Excellence – particularly the Literacy and English outcomes and Experiences.  Because the project was implemented in Bishopbriggs as part of Determind to Succeed, the approach also focussed on skills for life, and included interviewing techniques, collaborative planning and working, team work and problem solving.

PURPOSE

The project was developed as part of the school’s enterprise approach with the aim of building a sustainable relationship with an organisation (Scottish Book Trust.)  SBT was interested in developing methodologies for schools to engage with The Book That Changed My Life. Supporting pupils at Bishopbriggs to develop their own version of the project offered an excellent opportunity to understand the impact of this campaign within the context of Curriculum for Excellence.

Scottish Book Trust wanted pupils to understand the impact and meaning that books can have upon individuals’ lives and to apply that understanding to their own reading.  It was the intention that pupils would develop knowledge of how to design and conduct an interview to gather desired information, and use that information to make podcasts to share the findings of the project.  By the end of the project pupils were able to share the story of the book they would never forget, make podcasts of interviews they had collected from the school population and its community.

IMPACTS

Evaluation with the participating pupils at the end of the project demonstrated that a majority of pupils agreed that this project had helped them to develop their talking and listening skills, and that the activity had made a positive impact on their attitude to reading.  Further to this, a large majority of pupils agreed that they had enjoyed this approach to learning and would like to do more activities like this in English.

Some feedback from pupils:

  • – the main aims of the project were made clear at the start of the project and they were set clear achievable targets
  • – felt they had successfully overcame a particular problem
  • – agreed that they were set a challenging task
  • – agreed the project helped them develop their talking and listening skills and that they enjoyed this approach to learning
  • – felt that the project had made a positive impact on their approach to reading

Bishopbriggs has been shortlisted for a Determind to Succeed award and this project formed a key part of their presentation to the prize committee.

OTHER

Partners:

  • – Scottish Book trust
  • – Bishopbriggs Academy
  • – Members of the community

Levels and stages:

  • – Third and fourth levels
  • – All S1 pupils

Funding:

  • – Scottish Book Trust staff time

For more information contact:

Philippa Cochrane, Learning Manager (Scottish Book Trust) on 0131 524 0160 or email philippa.cochrane@scottishbooktrust.com

Or visit:

http://www.scottishbooktrust.com/learning

TRANSFORM, National Theatre of Scotland

ABOUT

Photo by Eamonn McGoldrick

Transform was designed with backing from and through collaboration with Determined to Succeed, Scottish Power Learning, local authorities and schools, as a creative and immersive means of connecting with the new curriculum.

Bringing together schools and communities with theatre professionals, the partnerships produced high impact theatre events that used the local environment as a backdrop to tell compelling stories. The development process as well as the final theatre events, made links across the curriculum and developed skills in all participants.

The National Theatre of Scotland placed a creative team into each of the schools and their communities, and together they created the vision and programme for their own Transform project. Working through a collaborative process with a wide range of partners and stakeholders, high quality theatre events were developed and performed. Each Transform had a dedicated budget with support from the National Theatre in the form of production, marketing and management resources. Each project was managed by a Steering Group comprising representatives from the school (usually the Head Teacher), the local authority and voluntary arts organisations in the local area.

On average, each Transform delivered approximately 230 two-hour workshop sessions (there were 2,292 workshops in total). The total audience at Transform performances was 5,999. There were 39 performances across the ten local authority areas.

Transform Aberdeen
Photo by Rhuary Grant

Over the course of 2 years, TRANSFORM performances involved:

  • – 935 individual pupils
  • – 201 community members

 

Photo by Eamonn McGoldrick

This underestimates the extent of pupil, teacher and community involvement as many more were involved in the processes that lead to the performances.

Transform projects took place in Aberdeen, Caithness, Dumfries, East Ayrshire, East Renfrewshire, Fife, Glasgow, Inverclyde, Moray and Orkney.

 

PURPOSE

Transform had four main objectives:

  • – artistic: to create the best possible theatre experience for audience and participants
  • – learning: to introduce theatre and creative industry practice as enterprise learning tool in schools and communities
  • – partnership: to create effective partnerships across the public and private sectors
  • – legacy: to ensure longer term benefits for partners and participants

 

Transform Caithness
Photo by Fin Macrae
Transform Dumfries
Photo by Zvonko Kracun

Transform was developed to contribute to and inform the future implementation of Curriculum for Excellence, and to assist in developing a sense of community pride. The fact that the Transform projects were about theatre and not simply drama was significant. Performing on stage was not the only way in which pupils could get involved. The projects addressed every stage in the process of producing a work of theatre from writing, staging and production, costume and production design, marketing and promotion. Through these activities, Transform projects aimed to develop a range of skills in participants.

The process, (working with professional creative teams) sought to achieve the following for young people:

  • – the development of a range of skills for learning, life and work
  • – an awareness of and participation in a creative and artistic process
  • – improved relationships – with peers, school, community
  • – increased confidence in planning and presenting their thoughts, opinions and the results of their efforts

 

IMPACTS

Transform was evaluated by Ekos Ltd. and in seeking to provide an account of the impacts, Ekos focussed their research on the four main participant groups:

  • – pupils
  • – teachers
  • – schools
  • – communities

 

Impacts on Pupils:

The projects were universally reported to have had a positive impact on the pupils:

Photo by Fin Macrae
  • – self confidence
  • – belief in their own abilities
  • – self esteem
  • – learning in that they developed new skills
  • – interest in the arts and creative activity
  • – attitudes towards learning

 

The range of choices offered engaged pupils who might not otherwise take part in drama activities and broadened their understanding of theatre and the professional opportunities within the industry.

“By the time the performance came I was confident enough to operate a pretty scary sound desk. I’ve now thought about a whole new range of careers because of Transform.” (pupil)

All teachers questioned reported that the year groups that had participated had become more cohesive, many citing specific instances in which barriers between groups of pupils had been broken down by the shared experience of working together on the production. This translated into more productive work in the classroom thereafter.

“Before the project we all had little groups which we were always in but by the end we had become close friends. I worked with people I wouldn’t have before.” (pupil)

The attitudinal impacts are perhaps the most significant. Teachers reported that following the Transform experience pupils were more settled and more positive about school, and that they appeared more motivated to learn. Many teachers also reported that pupils had developed a greater sense of responsibility for their own learning and in many case the pupils were required to take on extra work to catch up on lost classroom time which they did willingly.

These impacts were often most visible evident amongst pupils typically regarded as either having behavioural issues of lacking in confidence. Many teachers described the impacts on these pupils in transformational terms, such as:

  • – pupils working on the project in their own time
  • – unexpectedly choosing to stay on at school
  • – making new or unexpected subject choices as a result of Transform

 

Transform Dumfries
Photo by Zvonko Kracun

In terms of impact on attainment, at the time of the Ekos evaluation, it was considered by most schools to be too early to say. However, expectations were broadly positive.

In one school, the year group that participated in Transform had achieved the highest aggregate Year 4 results for some years, and none of the Transform participants had performed worse than expected, with many exceeding expectations. This was attributed to Transform.

Some teachers were concerned that the loss of class time may affect exam results. In one case a teacher reported a drop in attainment in prelim exams attributing this to time lost to Transform. Interestingly, the teachers expressing this concern talked very positively about personal, behavioural and learning benefits of the Transform process, suggesting the link between these and attainment in exams is not well established.

Impacts on teachers

Transform was met with a full spectrum of different attitudes ranging from complete commitment and enthusiasm to outright scepticism and even hostility. There was however consistent feedback that many of those that  were initially sceptical about the value of Transform, were at least partly converted by the end of the process, particularly when they observed the quality of the end performances and the impacts on pupils.

Impacts on teachers can be summarised as follows:

  • – raised awareness of the ways that learning can take place in differenent contexts
  • – raised profile and status of arts activities as a valuable learning context
  • – some individual learning benefits and skills development through involvement
  • – more encouraged to take risks
  • – developed trust in other professionals, even when there were initial doubts
  • – level of input from staff exceeded initial expectations
  • – some teachers would like to have been more involved in the projects
  • – 2 head teachers reported that the school as a whole might have benefited with wider staff involvement
  •  – significant demand on teaching staff with some head teachers having to devote time and energy keeping teaching staff on board

 

Transform Orkney
Photo by Alistair Peebles

“The experience was also transforming for the school staff. Watching the pupils develop throughout the rehearsal period was, personally and professionally, inspirational.” (Deputy Head Teacher)

 

CHALLENGES and LEARNING

Challenges:

Working within curriculum time:

  • – managing school timetables and space requirements
  • – accommodating a flexible, creative process within highly structured school environments
  • – ensuring effective communications between creative teams, school staff and other partners

 

The creative process at the heart of the Transform model is inherently risky – the creative teams do not arrive with an idea in place. While many schools recognised the need to take risks to advance teaching practice, risk is not always as readily accommodated in educational contexts as it is in the arts. Again, it is important that all sides recognise the risks and understand how they can be managed. The successful track record of Transform should help in this respect.

Transform was a well resourced programme, both in financial terms and in relation to the more hidden costs of staff time, school resources and the support provided by the National Theatre of Scotland. This was a significant factor in its success and in its ability to deliver large scale projects that engaged entire school years (a unique benefit of the model). It does, however, limit the potential for replication without significant input of resources.  

 Transform East Renfrewshire

Learning

The evaluation identified a number of characteristics or features of the Transform model that appear to have been particularly important in its success. These are:

  • – the importance of artistic ambition and leadership, placing artistic quality centre stage in the process
  • – the crucial role of head teachers in committing schools and teachers to the projects
  • – the role of local authority partners in facilitating access to the wider community
  • – the scale and ambition of the projects
  • – the fact that the projects were about theatre production and not just drama
  • – working with pupils in curriculum time, reinforcing the link with school and mainstream learning
  •  – the participant centred process helped build participant engagement and sense of achievement
  • – schools applied to the National Theatre of Scotland ensuring schools’ commitment
  • – nature and quality of interpersonal relationships between the creative teams and participants
  • – the prestige associated with being involved in a National Theatre of Scotland production  

 

Transform Caithness
Photo by Fin Macrae

 OTHER

Partners:

  • – National Theatre of Scotland
  • – 10 local authorities and 16 schools
  • – Determined to Succeed
  • – Scottish Power Learning

 

Levels and Stages:

  • – Third and fourth levels
  • – Senior phase
  • – S1 – S6

 

Funding:

  • – Determined to Succeed
  • – Scottish Power Learning
  • – National Theatre of Scotland
  • – Local authority contribution

 

For more information contact:

Simon Sharkey, Associate Director (Education) on 0141 227 9006 or email simon.sharkey@nationaltheatrescotland.com

Or visit:

www.nationaltheatrescotland.com

Transform Caithness: 

http://www.highland.gov.uk/yourcouncil/news/newsreleases/2009/July/2009-07-09-01.htm

Transform Aberdeen:

http://www.aberdeencity.gov.uk/CouncilNews/ci_cns/pr_theatreeducationproject_200110.asp

Transform Moray:

http://arts.caithness.org/article.php?id=573

http://www.hi-arts.co.uk/may09-feature-nts-transform-moray.htm

Digital Literacies

ABOUT

in secondary schools

From 2008 – 2010, the Digital Literacy programme in East Dunbartonshire schools enabled the formation of young digital creator clubs in primary schools, secondary schools and the wider community. Pupils, teachers and parents participated in practical digital media training and film making workshops using equipment and specialised training packages, and under the guidance of industry professionals employed through the programme.

The package which included the purchase of specialist equipment was offered at a subsidised rate of £180 per school (actual cost £750), and 24 schools in the authority took up this opportunity.

Through the programme, teachers, parents and arts professionals became the bearers of an inter-disciplinary approach to learning and skills development, using media technology combined with creative practices. The out of school workshops were designed in a way that enabled teachers could transfer the skills into the school and curriculum time. The project design also facilitated a process whereby parents and young people could learn together at home exchanging skills and knowledge.

Schools and the wider community were offered a platform to showcase their skills in the form of the Children and Young Person’s Film Festival. This took place in 2009 and 2010 with 50 film submissions from groups and individuals. The Film festival also provided an opportunity to recognise and celebrate young people’s achievements in creativity.

working together working with industry professionals

PURPOSE

This was a new incentive for East Dunbartonshire and the purpose was to look at raising attainment and recognising achievement through moving image education.

The project aimed to establish the use of Moving Image in Education throughout East Dunbartonshire Council. This would increase participation in the arts, which in turn could impact on the broader curriculum.

Throughout different levels within the Curriculum for Excellence, young people had the opportunity to plan, participate and present their creativity in the expressive arts.

IMPACTS

As a result of this initiative:

  • Some schools have now begun film clubs
  • others are creating social documents on their school using moving image
  • some schools and communities have created animation films looking at recent and historical events
  • a number of schools are now using the moving image to develop film as a form of evaluation

HMIe recognised the Digital Literacy success at most of the schools in East Dunbartonshire but in particular Douglas Academy

OTHER

Partners:

  • East Dunbartonshire Council
  • Primary and Secondary Schools

Levels and Stages:

  • First
  • Second
  • Third and Fourth
  • Senior Phase

Funding:

  • Awards for All (Lottery)
  • Scottish Arts Council
  • East Dunbartonshire Council

For more information contact::

David Young, Cultural Co-ordinator on 0141 777 3092 or email david.young@eastdunbarton.gov.uk

Or view:

Links:

Arts Across Learning Festival (Aberdeen City Council)

ABOUT

learning about other cultures learning about other cultures learning about other cultures

Each year, for 6 weeks leading up to the Easter holiday, the Arts Across Learning Festival offers a wealth of artistic and creative talent free to city schools. Artists and cultural organisations work in partnership with schools, libraries, museums and other venues, meaning pupils and teachers are exposed to unrivalled creative learning opportunities.

Festival Installation 2006 Festival Installation 2007

Each storyteller, artist, theatre company and arts organisation engaged in the festival provides inspiring and imaginative ways of exploring connections across the curriculum. These provide stimuli for further learning and teaching that extend well beyond the duration of the Arts Across Learning Festival.

Associated CPD for teachers is aimed at ensuring opportunities accessed through the festival are maximised in the context of the new curriculum. The CPD is designed to give teachers the skills and confidence to use the arts imaginatively and creatively across all learning.

stories in teh art gallery

In 2010, the Arts Across Learning Festival involved:

  • – 5,800 primary school pupils
  • – 681 teachers
  • – 135 separate events in schools and venues
  • – 89 teachers accessed CDP opportunities
  • – 9 follow up conversations with teachers
  • – 47 (out of 48) primary schools
  • – 2 (out of 6) special schools
  • – 11 partner nurseries
  • – 3 independent schools
  • – 43 professional artists and arts/cultural organisations

The introductory statement in the experiences and outcomes for Expressive Arts states: ‘My learning in, through and about the expressive arts is enhanced and enriched through partnerships with professional arts companies, creative adults and cultural organisations’

The Festival is organised by the City’s Arts Education Team, who match need with opportunity in support of creative learning. The Arts Across Learning festival is the only regular programme of work the team offers.

PURPOSE

The Arts Across Learning Festival provides rich contexts for learning and teaching, as opposed to single fun experiences for children. The purpose of the festival is to expose pupils and teachers to new, relevant experiences and to encourage schools to invest time in developing and embedding creative ways of working across the curriculum.

The first festival in 1999 was programmed in response to reports that less than 9% of parents read bedtime stories to their children, and the negative impact that had on child development and learning.

In 2009, the festival had a one year break for the Arts Education Team to re-evaluate its purpose and direction in light of the new Curriculum for Excellence and 6 years of the Cultural Co-ordinators in Scottish Schools programme in Aberdeen.

Following consultation with teachers and pupils, the festival returned in 2010 as the Arts Across Learning Festival.

The festival programming in now re-focused on Curriculum for Excellence. There are extended CPD linking festival opportunities with experiences and outcomes and the principles of curriculum design across a range of curriculum areas and levels. Additional follow up interviews with teachers is a further new feature of the Arts Across Learning festival and these designed to:

  • – gather information on impacts
  • – conduct ongoing consultation and
  • – continue teachers’ engagement with creative learning
  • – support changing practice and embed new ways of working

participating in the story making shapes learning outdoors

The Arts Across Learning Festival now targets only primary schools. Proportionate and targeted opportunities are made available to the city’s secondary schools.

Achieving the Purpose

  • “The festival makes literacy come alive.”
  • “It bridged the gap between school learning and real life…..”
  • “With Curriculum for Excellence, this [the festival] is exactly what it’s calling for.”
  • “It reminded us how enthusiastic boys can actually be – given the right topic.”
  • “Children got to be part of the experience and not just observers”
  • “What really surprised the children was that the author had had another career first, and that you could choose writing as a career
  • “I felt that the ‘Pobby and Dingan’ workshops were like a CPD session for me”

feedback from CPD CPD CPD - learning ourside the classroom

CHALLENGES

Numbers of schools and pupils attending festival events has grown steadily from the first festival in 1999 with increasingly positive feedback. It reached a zenith in 2006 when the festival was in danger of becoming a victim of its own success, providing opportunities for around 12,000 pupils (c.50% of the school population in Aberdeen) at over 250 events.

On one level, success could be measured by numbers of events, participation levels and reported enjoyment, however, the challenge of how to ensure that teachers maximise opportunities beyond the festival and use festival events as a springboard for further teaching and learning, was evident to the Arts Education Team.

To address a number of interlinked challenges around this issue, the team:

  • – seconded a principle teacher of drama for 2 years to provide curriculum support and development
  • – delivered CPD events modelling practice
  • – support teachers to embed arts and cultural activities within  different curriculum areas
  • – explore with teachers how the Festival extends its reach more broadly and deeply
  • – re-designed the festival brochure with useful features for teachers
  • – produced guidelines for working with artists and arts organisations
  • –  offered ideas about follow up activities and how to organise them.
  • – arranged post festival meetings with teachers to explore next steps
  • – signpost teachers towards arts and cultural organisations with a good understanding of the new curriculum

Because the festival is programmed from the end of February through to March/April, weather can have an impact on festival events. Inclement weather can affect travel arrangements for artists and performers as well as schools. An ever responsive and creative attitude is required to address this challenge!

dancing listening

IMPACTS

Among many things, teachers reported:

  • “I got so many good ideas on how to use newspapers and magazines. My whole class joined the library!”
  • “My class loved the author – they made me ditch the class reader and buy her book!”
  • “I would say pupils are more eager to share their opinions”
  • “We’d followed it up with stories of the sea. A girl in my class, who doesn’t like usually writing at all, went home and wrote screeds and screeds……. She came in and showed it, that was quite surprising – she’d obviously been think about it afterwards.”
  • “We were able to share it with the mother and toddler group in the community centre.”
  • “Pupils were really interested to find out what we (teachers) read. They thought because we were teachers we read gig books.”
  • “We went on to ew-write scenes from Macbeth – a unique situation in Primary 3!”
  • “Storyboard (Wee Hairy Hamish) was a springboard for going on to talk about re-cycling and care of the environment.”
  • “We’ve done quite a lot of link learning now with puppets, ……. Using toys to talk to each other as well. It’s had a bigger impact than obviously just the language.”

OTHER

in the art gallery studio

Partners:

  • Aberdeen Arts Gallery and Museums
  • Aberdeen Performing Arts
  • University of Aberdeen
  • City Council Gordon Highlanders Museum
  • Blairs Museum
  • Satrosphere Science Centre
  • Puppet Animation Festival
  • Aberdeen City Library Service

Levels and Stages:

  • Early stage
  • First level
  • Second level
  • Pre-school to P 7

Funding:

  • Aberdeen City Council cultural grants
  • Scottish Arts Council (for CPD)

For more information contact the Arts Education Team at artseducation@aberdeencity.gov.uk

Or visit:

http://www.aberdeencity.gov.uk/artseducation

View the Arts Across Learning Festival Brochure 2010:

http://www.aberdeencity.gov.uk/web/files/Arts_Education/Arts_Across_Learning_Festival_2010_Brochure.pdf

And have a look at this: http://www.aberdeenquest.com

Operation Blackboard – Bringing WWII to Life

ABOUT

A normal school day was transformed into a World War II army boot camp using actors in role, activities, 1940s film footage and military vehicles. Over 1,000 pupils met Neville Chamberlain and Winston Churchill taking part in training exercises during curriculum time. Led by actors in character, French Resistance members, boffins from Militray Intelligence and Sergeant majors screaming orders, pupils participated in drill, cartography, sciences and code-breaking.

Pupils were ‘conscripted’ into the infantry, organised into sections, platoons and companies and were  issued with identity cards. They were taken through the rigours of military discipline – some were granted ranks of Corporal and Lance Corporal with responsibility for their section of troops. The rank system allowed many pupils, normally perceived as disruptive, to seize responsibility and gain confidence.WWII vehicles

Operation Blackboard involved:

  • – over 1,000 pupils
  • – from 3 academies (S1 and S2)
  • – and 13 primary schools (P6 and P7)
  • – nearly 100 teachers
  • – up to 6 artists per day of delivery

Interdisciplinary working through the arts, made coherent several curriculum areas all within the context of  Operation Blackboard. Examples include a Sergeant taking the privates through code breaking exercises, both de-cyphering and encrypting messages of their own. In costume, US paratrooper experts took a 1940 Jeep and troop carrier used in the D-Day operation to schools, explaining how the vehicles would have been used. A miliarty boffin demonstrated the workings and purpose of gas masks, discussed escape techniques and communication tools if captured. All of this and more, provided a context for developing linguistic and mathematical understanding, integtated with history, geography, PE and sciences, in ways that clearly engaged pupils:

“Doing this project made me feel more interested in World War 2 and think more about what happened back then.” (pupil)

“I learnt that the World War 2 was much more interesting that I thought.” (pupil)

English Semaphore Science

PURPOSE

The development of Operation Blackboard grew from the idea of  integrating the arts into the very heart of an educational topic. It was also an opportunity to explore an under used element of drama in learning and teaching.

One intention was that pupils became extremely familiar with historical figures (they had the opportunity to actually meet Neville Chamberlain and Winston Churchill) and learn through word of mouth, by sharing and through experiencial learning, a broad range of historical  facts and ideas.

It was intended that pupils would develop an increased interest in learning about the topic and for school life in general. Pupils were required to apply their learning in practice throughout the project.

IMPACTS

“It gives me an excellent basis for teaching the World War II topic which we are due to start next year.” (Primary Class Teacher)

“I found the decoding quite hard but I managed to solve it.” (pupil)

There was a clear sense of appropriate challenge throughout the project:

I am proud of what I did because some of it was hard.” (pupil)

And worth the effort of working differently:

“They probably learn more from this one day of hands on experience than they do from a whole year in the classroom.” (Deputy Head Teacher)

“It made me feel more confident about things I will do in the future.” (pupil)

“They remember more, and learn more if they enjoy the learning – they’ll remember this alright.” (teacher)

Teaching staff reported that the project engaged many pupils who otherwise might not have shown interest in the topic and improved attitudes towards learning generally.

Physical Training

Features of good practice: Active and experiential learning

Operation Blackboard is one of a range of interactive experiential drama and curriculum days developed by the Cultural Co-ordinator Team. It is a transition topic delivered in primary and secondary and was instrumental in the Council receiving a COSLA Bronze Excellence Award for advancing community wellbeing.

Operation Blackboard takes primary seven pupils on a World War II evacuation experience. At the same time, entire S1 year groups are taken through an army boot camp in role by actors playing Winston Churchill, Neville Chamberlain, naval officers, military intelligence officers and stereotypical sergeant majors. Pupils experienced inter-disciplinary learning within a ‘real world’ context. For example, they decipher codes and plot enemy presence on D-Day landing maps. These activities use and develop their literacy and numeracy skills. Throughout the whole experience, pupils actively learn how decisions can affect situations.

More detailed information is available at www.hmie.gov.uk

CHALLENGES and LEARNING

Ambitious partnership projects are never without challenges, cnd challenges bring learning for everyone. Below are some examples of things think about when undertaking this type of work.

Press

The local paper took great delight in having the children point the original WWII weaponry straight at the camera and then placed the image on the front page above a headline about a gun crime. When dealing with sensitive subjects, such as war and weapons, it is important to keep a very tight control on the images the press get to take. We now insist that a senior member of the team is on hand whenever the press turn up. It is important to be firm as the press will still try to get the picture they want!

Engaging staff

Different personalities will engage with the fictional world being created to different degrees, and can have an important effect on the success of the day. We used two tools to make the most of this opportunity. We provided notional costume pieces for the staff, such as a hat or a jacket, that allowed staff to look the part without needing to fully ‘dress up’. Most were more than happy to do this – one DHT even made her own costume! Secondly the pupils were instructed to address the teaching staff as Sir or Ma’am and the staff were given Officer level ranks whilst the pupils could only advance as far as Corporal. This maintained the school hierarchy (the HT was the General, staff were Captains and Colonels) which is important to discipline, and kept staff within their comfort zone by not actually changing their power relationship with the pupils.

Space

Obviously space is always an issue for these kinds of events. We engineered activities to fit into a classroom where possible, relying upon the actors to make things different. Whole group activities such as meeting Neville Chamberlain or watching the Movietone film footage allowed us to bookend the days in the assembly hall saving on spaces. The need to clear away for the lunch break was something we always had to be aware of, sometimes having to move projection equipment only to move it back. It is vital that the physical needs of the project are made clear right from the start and continually communicated – otherwise you can end up with a running activity being moved to a classroom by staff who don’t understand what is required.

OTHER

Partners

  • – Cultural Services
  • – Schools
  • – Local WWII re-creation groups
  • – Clydebank Blitz Survivors (volunteers)
  • – Clydebank Museum
  • – Loch Lomond and Trossachs national Park
  • – Their past Your Future

Levels and Stages

  • – second, third and fourth levels
  • – P6 – S2

Funding

Their Past Your Future and various lottery strands successfully applied for by Cultural Services

For more information contact:

http://www.creativelinks-wdc.org.uk/

or:

Maeve Dixon
Learning Development Officer
Clydebank Museum
Culture Section
49 Dumbarton Road
Clydebank
G81 1UE

T: 0141 562 2401/01389772148
E: maeve.dixon@west-dunbarton.gov.uk
W: http://www.wdcweb.info/arts-culture-and-libraries/cultural-services/clydebank-museum/

The Ae Project, Dumfries and Galloway

ABOUT

The Ae Project was a whole school inter-disciplinary project developed and delivered in partnership with the school and the Ae community. Pupils and teachers worked with a writer to develop new works that celebrated the school and all the work created was captured by a film-maker. Further creative collaborations included input from a dancer and resulted in a filmed performance in the forest of Ae, about a mythical Forest Queen.

A permanent teaching resource emerged from the Ae project and was created through interaction with all the previous Head Teachers of Ae Primary and the local community.

One very successful aspect of the half centenary celebrations was an inter-generational project – a professional writer and a visual artist worked with pupils, teachers and community members to reveal the stories of the past, explore ways of representing the present, and consider future aspirations. Together they created a resource for future generations of young people.  Team planning and team teaching in the classroom ensured there was a CPD element to the project where the artist, writer and teachers shared and developed skills.

Intergenerational work

Involved in The Ae project were:

  • – 10 pupils
  • – 4 teachers
  • – 1 writer
  • – 1 film-maker
  • – Former Head Teachers
  • – Parents and community members

Pupils created their own blogs to document their learning and experiences, and the project was shared with other school in Dumfries and Galloway through Glow.

PURPOSE

The school wished to use the context of the Ae school half centenary to highlight the rich history of the local community as a stimulus for learning. The project was developed to inspire new ways of working, to use the arts as a way of investigating, recording and sharing local history, memories and aspirations.

Another purpose of the project was to create teaching resources and tools throughout the process that would support future inter-disciplinary learning and teaching in the school.

Sharing memories filming in the classroom

The aims of the project were for pupils to:

  • – Gain new skills through accessing library facilities and services
  • – Gain skills and confidence by visiting national organisations such as the Museum of Childhood and the Scottish Storytelling Centre in Edinburgh
  • – Learn about developing projects
  • – Give direction to their own learning
  • – Work in partnership with artists and creative adults

IMPACTS

Head Teacher has reported that as a result of the project, there has been an increased engagement with the community, partly evidenced by the number of requests for the book and the DVD created during the project. These  are now part of the Ae library collection and are a valuable resources for people researching the village history.

Within the school the Ae Project has had the following impacts:

  • – a change in teaching practice – working more across the entire curriculumin
  • – teachers developing other projects that are as wide in scope
  • – a better and more focussed consideration of creatiivty when planning – using models from the Ae project
  • – pupils worked harder on their writing skills

successful projectOTHER

Partners;

  • – Curriculum For Excellence Team
  • – Ae Primary School
  • – The wider community

Levels and Stages:

  • – Early
  • – First adn second levels
  • – Pre-school to P 7

Funding:

  • with support from the Curriculum for Excellence Team, the school applied to Awards for All (lottery)

For more information contact:

Vanessa Morris, Development Officer (Cultural Co-ordinator) on 01387 720774 or email vanessa.morris@dumgal.gov.uk

Visit:

http://www.dgcommunity.net/dgcommunity/services.aspx?id=2465

Links:

TESS Article:   http://www.tes.co.uk/article.aspx?storycode=6046391

http://www.dgcommunity.net/dgcommunity/services.aspx?id=2465