Leadership

Creative Partnerships

School leaders may be reluctant to embrace the ‘creativity agenda’ because of league table and Ofsted pressure. Yet Creative Partnerships are about encouraging pupils to be innovative and to develop the ability to solve problems in all areas of the curriculum, from maths to technology.

Is creativity a skill that can be taught? Creative Partnerships are about encouraging pupils to be innovative and to develop the ability to solve problems in all areas of the curriculum, from maths to technology. Despite initial criticisms that it encourages ‘loose discipline’ or undermines the essential skills of numeracy and literacy, new research definitively proves that such partnerships change young lives for the better.

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Leadership

Creative Partnerships: Changing Young Lives

29 May 2009

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      string(5596) "ResourceCREATIVE PARTNERSHIPSOriginal DocumentCreative Partnerships: initiative and impact. The Department for Culture, Media and Sport (DCMS) set up Creative Partnerships in 2002 to give young people in disadvantaged areas across England the opportunity to develop their creativity and ambition by building partnerships between schools and creative organisations, businesses and individuals. This 24-page report evaluates the effectiveness of phase 1 Creative Partnerships initiatives.KeywordsCreative partnerships, practitioners, personal, social skillsSummaryInspectors found good creative approaches and positive attitudes by school leaders, teachers and creative practitioners including, for example, writers, environmental designers, entrepreneurs, artists and performers. Pupils benefited from working with creative practitioners, particularly in terms of their personal and social development. In the schools sampled, involvement in the initiatives helped pupils to develop good personal and social skills. Some of the attributes of creative people were also developed: an ability to improvise, take risks and collaborate with others. However, pupils were often unclear about how to apply these qualities independently to develop original ideas and outcomes.Key findings:· Most Creative Partnerships programmes were effective in developing in pupils some attributes of creative people: an ability to improvise, take risks, show resilience, and collaborate with others. However, pupils were often unclear about how they could apply these attributes independently to develop original ideas and outcomes.· Good personal and social skills were developed by most pupils involved in Creative Partnerships programmes; these included effective collaboration between pupils and maturity in their relationships with adults.· For a small but significant number of pupils a Creative Partnerships programme represented a fresh start. In particular, opportunities to work directly in the creative industries motivated pupils and inspired high aspirations for the future.· Schools offered evidence of improvement in achievement in areas such as literacy, numeracy and information and communication technology (ICT) which they associated with pupils enjoyment in learning through Creative Partnerships programmes and their aim to develop thinking skills.· Creative practitioners were very well trained and well matched to school priorities and needs. Most teachers gained an understanding about teaching that promoted pupils’ creativity and creative teaching by learning alongside pupils.· Programmes promoted good collaborative planning between subject areas in the majority of primary and secondary schools. However, in planning the programmes, pupils’ starting points were insufficiently identified and sometimes in arts subjects creativity was assumed when it was not necessarily evident.· Reasons for the selection of particular schools and individual pupils were unclear. This contributed to inadequate tracking of pupils’ progress, particularly regarding their creative development or ability to transfer the skills learned in Creative Partnerships programmes to other aspects of their work.Action· Schools should:· Identify as an integral part of school self-evaluation the specific impact of Creative Partnerships programmes on provision by evaluating how effectively the school enables all pupils to discover and deepen their creativity· Track the progress of individuals and different groups of pupils by analysing their starting points including existing creativity, by setting and sharing appropriately pitched targets, collecting evidence of creative development and showing how creative skills apply to wider achievement and fulfilment.· The DfES and DCMS should:· Work together with Arts Council England and other key stakeholders to establish a framework that aims to give more pupils the opportunity to work with a creative practitioner.· Local authorities should:· Use local knowledge strategically to help Creative Partnerships direct resources, and support and challenge specific schools where learning remains dull, underachievement stubborn, or the creative development and achievements of young people constrained.· Creative Partnerships should:· Support schools by developing a systematic approach to monitoring that clearly identifies creative achievement, defines different stages of creative development and indicates more clearly the impact of targeted intervention· Clarify the roles of those involved so that, through well informed planning and monitoring, creative practitioners’ work is well matched to pupils’ starting points.· Creative practitioners and industries should:· Seek ways to inform teachers, pupils and parents of the creative work done in programmes outside school to make clear the opportunities and challenges of involvement and employment in the creative industries· Increase the opportunities for pupils and teachers to work directly in the creative industries.NotesAuthorRaspal Chima, Questions PublishingDate CreatedOctober 2006Enquiries to:rchima@qiis.co.uk(Authoring Unit)Month / YearPage 1 of 1©Birmingham City Council"
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Leadership

Creative Partnerships

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      string(5282) "Creative Partnerships asremaining firmly focused on developing creative skills: Creativity is vitally important for young people, not only toenrich their adult lives, but also to increase their employmentopportunities in the twenty-first century. The fastest growingsector of our economy is the creative industries – which arewidely seen as giving this country its competitive edge inthe global economy. If we fail to develop creative skills inall our children, we risk losing our position as an economicpowerhouse in the world. For this reason, developing creativityis probably the single most important skill young people willneed as they face the challenges of adult life.The lessons from Creative Partnerships so far are clear.Creativity develops the capacity to imagine the worlddifferently, and creative projects need to be an integral partof the learning process if we are to equip children for theopportunities and challenges of the twenty-first century. Wendy Andrews is a communications consultantworking with Creative Partnerhips. For moreinformation about Creative Partnerships, visit thewebsite at www.creative-partnerships.com48creative partnerships   www.teachthinking.comTeaching Thinking&Creativity  Summer 2006Deansfield High School in Wolverhampton has workedwith Creative Partnerships since 2002. The schoolhas developed numerous exciting projects, and builtlong-term partnerships with companies, individualsand organisations from the public and private sector.These include an award-winning regeneration schemeinvolving pupils in the creative aspects of a major newhousing development by Persimmon Homes, locatednext to the school. Persimmon has recently recruitedYear 10 pupils to be trained in sales and marketingand Deansfield has secured Arts & Business funding todevelop coursework.A creative industries project has involved the wholeschool taking over and running Atlantis, the largestnightclub in Wolverhampton. In 2004, Deansfieldbecame a ‘lead’ school in the expansion programme forCreative Partnerships. Recent projects have included acity-centre fashion show with retailers and stylists and,after developing creative approaches to teaching andlearning with European partners, teachers and pupilsare now involved in a twinning programme with schoolsin Hungary to explore creative language teaching.Creative Partnerships is a core component of schoolimprovement at Deansfield. Since it began, GCSE resultshave risen from 19% to 52% achieving 5 A*–C. This hashelped the school rebuild a strong relationship with thecommunity through new opportunities to celebratepupils’ work and extensive regional and internationalmedia recognition. Creative Partnerships has givenpupils a renewed interest and voice in their educationand it has inspired staff and established new workingrelationships.Case study: creative approaches in WolverhamptonCase study: Joinedupdesignforschools in KentJoinedupdesignforschools is an initiative that linkspupils with the UK’s leading design practices to providesolutions for practical improvements in schools, developpupils’ life skills, and highlight the benefits of a closepartnership between the UK’s world-class designindustry and education.Ten thousand pupils in over 60 schools acrossthe UK have benefited from the programme, withnearly 700 pupils directly involved in individualprojects. In total, 150 designers have worked on theprogramme, including Richard Rogers Partnership,Thomas Heatherwick, Future Systems, Wolff Olins, WillAlsop, Marks Barfield Architects, Kevin McCloud andConran & Partners.In Kent, Hythe Community School, Ramsgate School,and Sussex Road Primary School, Tonbridge, participatedin the project through their involvement with CreativePartnerships. In each participating school, teams ofpupils identified an issue in their school that they wouldlike solved. They then created a brief and presented it toa top designer appointed to work for them. Followingthis, the pupils visited inspirational buildings andspaces, researched the problem and discussed thedesigner’s initial ideas. Once the pupils accepted a finalidea, the team and designer presented the concept tothe staff, pupils, governors and parents.The pupils had a unique educational experience aswell as an insight into the design industry. The processprovided valuable development in personal awareness,confidence, citizenship, motivation and responsibility– all life skills that are increasingly recognised asvaluable tools for young people.Don’t miss Creative Partnerships NationalConferenceBridgewater Hall, Manchester27 and 28 November 2006Creative Partnerships’ first national conference providesan important opportunity for educators, creativepractitioners and academics to discuss the progress ofCreative Partnerships and explore new ideas, research,methodologies and inspiring practice in creativeeducation.Priority booking: to register your interest in attendingthe conference please complete the Early BookingForm inserted in this issue of Teaching, Thinking &Creativity."
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Creative Teaching & Learning

Creative Partnerships

1 Jan 2005

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      string(4640) "ResourceTHE IMPACT OF CREATIVE PARTNERSHIPS ON ATTAINMENT AND ATTENDANCEOriginal DocumentThe Impact Of Creative Partnerships On Attainment And Attendance In 2008-9 And 2009-10. Creative Partnerships is the Government’s creative learning programme, designed to develop the skills of young people across England, raising their aspirations and achievements, and opening up more opportunities for their futures. This nfer research presents findings from the 2011 study to explore the evidence of the programme’s impact on young people’s attainment and attendance.KeywordsCreative Partnerships, attainment, attendance, pupils, teachers, key stagesSummaryCreative Partnerships is the Government’s creative learning programme, designed to develop the skills of young people across England, raising their aspirations and achievements, and opening up more opportunities for their futures. This research presents findings from the 2011 study to explore the evidence of the programme’s impact on young people’s attainment and attendance.This study focuses on the following groups of young people:· Pupils who sat national key stage exams or those who were assessed by teachers at the end of the 2008/09· Pupils who sat national key stage exams or those who were assessed by teachers at the end of the 2009/10.Key Findings:The study found a number of significant positive effects when comparing pupils who had taken part in Creative Partnerships with other similar pupils in the same school. The main findings were:· At key stage 1, pupils involved in Creative Partnerships activities made significantly greater progress in speaking and listening compared to other similar pupils in Creative Partnerships schools in both 2009 and 2010.· At key stage 3 and key stage 4, pupils involved in Creative Partnerships activities made significantly greater progress than other similar pupils in Creative Partnerships schools.· At key stage 3, the difference was statistically significant for pupils’ average points score, and English in 2009 and 2010.· At key stage 4, the difference was statistically significant in 2010 in pupils’ total and capped points score.· In 2009 there was some evidence to suggest reduced levels of total absence in secondary schools involved in Creative Partnerships.· In 2010 there was some evidence to suggest reduced levels of unauthorised absence in primary schools involved in Creative Partnerships.Conclusions:Creative Partnerships appears to be contributing to a degree of progress in attainment, especially for young people directly involved at key stages 3 and 4.To illustrate the amount of difference involved, pupil level analysis in 2009 revealed an effect equivalent to 13 per cent of the young people who attended Creative Partnerships activities achieving, on average, one level higher in their key stage 3 average points score than expected, given their background characteristics. In comparison to other similar pupils not attending Creative Partnerships schools (at the school level), the effect was equivalent to nine per cent of Creative Partnerships pupils achieving, on average, 1 level higher for their average key stage 3 points score than expected, given their background characteristics. The positive attainment results for pupils at key stage 3 and 4 are in line with the results from previous studies. All three studies that examined results at pupil level show improved results for pupils‟ average point score and English results at key stage 3, and improved results for the total GCSE point score at key stage 4 (with the exception of 2009).The impact of Creative Partnerships on attendance is less clear, but there is evidence of some small, positive associations for young people, particularly for secondary pupils in 2009 and primary pupils in 2010. This is also in line with previous studies, which have shown a tendency for improved attendance for Creative Partnerships schools and pupils, particularly at primary level.It can therefore be concluded that Creative Partnerships appears to be making a small but valuable contribution to improving attainment at key stages 1, 3 and 4.ActionNotesAuthorR ChimaDate CreatedOctober 2011Enquiries to:raspal.chima@yahoo.co.uk(Authoring Unit)Month / YearPage 1 of 1©Birmingham City Council"
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Leadership

Impact Of Creative Partnerships On Attainment And Attendance

6 Oct 2011