keys to the city

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My research conversations with GCSE and A level art students from Upton Hall School FCJ quickly revealed some in depth knowledge and engagement with the galleries and public art in the centre of Liverpool. On further enquiry it was clear that this relates to an annual summer homework which invites the students to visit a specific exhibition and then choose a number of other venues and galleries to visit and to document this in their sketchbooks.For those students who have taken art through to A level, this means they will have undertaken this activity four or five times by the end of their courses.

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I looked through the documentation the students had created after their visits which varied in design and content considerably. Each journey the students had taken reflected their personal responses and affinities with particular spaces or exhibitions. Many of them used a mapping design aesthetic, adapting the materials from the galleries such as logos and directions and plotting them on the page. This gave a strong indication that the students felt a degree of ownership or connection to the key cultural institutions in their city, despite living a long bus journey outside the city centre.

 

unspecified-4I asked the students if they ever felt that the galleries were ‘not for them,’ a comment students from other schools have made in the course of the project. They strongly rejected this idea, stating that Liverpool was ‘not posh’. One student also suggested that the staff at the school had high expectations of them and this included things like visiting galleries independently as well as through school visits and projects. Others talked of the summer homework as something they did with friends, describing it as an enjoyable and memorable experience. The students talked about the art they had engaged with and how it had influenced their own work, citing different artists as well as shared experiences.

Ann Spears, Head of Art at Upton Hall School FCJ, described the rationale:

We consider familiarisation and a sense of ownership with galleries and museums to be pivotal to the success of the GCSE and A Level courses and that the pupils’ cultural development is an absolute entitlement for our pupils. Their experience outside the classroom energises learning. Our aim is to support the development of eloquent and confident students, whatever their backgrounds, who can embrace contemporary art and innovative ideas to inform their own practice. Students regularly undertake workshops with artists in residence both at the galleries and at school and benefit enormously from the interaction.

Funding can be an issue but initiatives such as the Arts Council and Curious Mind’s SLiCE Fellowship has enabled me to work collaboratively as the Lead School with Cultural Partnership organisations in Liverpool and by adopting a Systems Leadership approach has enabled 3 other schools to benefit from the enriching experience with a series of 4 workshops based on the current exhibit Open 2:Pieces of you at the Open Eye Gallery.

The key aim of this year’s research project is to measure the impact on literacy of a Pupil Premium cohort by tracking pupil progress over the academic year after their involvement in the project.

a SLICE of creativity

 

When I first arrived at St Ambrose School in Salford, it was the day after attending a seminar at the Centre for Creativity, Arts and Literacy (CRACL) led by Paul Collard of Creativity, Culture and Education. When I mentioned this to Bernie Furey, the assistant head in charge of creativity across the curriculum and research and development at the school, we quickly realised that the animation Collard had shown and some of the stories he had shared were the results of the work of St Ambrose who have focused on creativity in teaching and learning across the school for many years. No coincidence! Indeed Bernie and previous head, Marie Garside, visited Boston Arts Academy  nine years ago and later became a Creative Partnerships school. so it was very interesting to begin to understand the relationship with  Tate Liverpool in this context.

Over the last two years the school have been in a partnership with the Tate Liverpool, with Bernie in role as a SLICE (specialist leader in cultural education). This scheme is managed by Curious Minds who are a bridge organisation for the Arts Council. This enabled a partnership through which Tate Liverpool and St Ambrose considered how young people are invited to engage with art in galleries. This resulted in impact for both partners as Bernie reflected:

Tate changed their practice that year and it also made us re-evaluate how we engage with an art gallery. Years ago, when we used to go to an art gallery, we would ask the children to sit down and do a drawing of a work that they liked in the gallery but I think now that is a total waste of time. We get them to gather resources and create collages; take photographs; tweet; use social media. Because that is their language and that is how they get to learn more. It made us think about when you go to a gallery you don’t have to look at everything and you might just look at one or two pieces and that’s fine.

The partnership, now in the second year, has also led to changing practices in relation to staff planning meetings, highlighting the need for teachers to be inspired and stimulated:

 So, through working with the Tate it’s changed our way of thinking and it’s also had an impact on how we’ve had staff meetings because we realised that it’s good to get out of the school and go to a creative organisation and have our meeting there because we are more inspired and we’ve found that we get better results and that came from our discussions with the Tate.

Despite this extensive experience, it is also very clear that St Ambrose do not only reflect on their previous successes. They are currently collaborating with Bill Lucas on developing creative habits of mind and  the school has also been working with their new head, to produce a three year creative plan which they have articulated in visual form.