Residencies in Action
Report
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City
and County of Swansea
Residencies
in Action
“It gets
into your soul. It’s about all those things that are intangible;
about being able to make a loud noise and feeling the rhythm inside
yourself.”
(Primary School Head-teacher discussing the Samba Residency)
Introduction
Schools in the City and County of Swansea have benefited from artistic
residencies for a number of years. This evaluation project, undertaken
by a research team from the Department of Adult Continuing Education,
Swansea University, looked at residencies running from autumn 2000
until the summer of 2003. Members of the research team interviewed
teachers, artists, pupils and the wider community (such as parents,
carers and helpers) and undertook observations of artists working
with children and end showings of work. Additionally, questionnaires
were sent to all schools hosting short-term arts residencies.
The
City and County of Swansea actively promotes the arts within its schools
in line with its Policy for the arts in Education, prepared in 2000
and updated in 2005. Amongst other key aims it seeks to:
“…secure
the arts as an integral part of education, making participation
in the arts possible for all, not just through the formal education
process, but through accessible opportunities for lifelong learning”.
This commitment is reflected in the innovative and exciting residencies
offered to its schools. What follow is a summary of some of the key
themes emerging from the evaluation study, with supporting quotations
from participants.
1. Methods and Methodology
Qualitative research methods were predominantly used to analyse data,
whereby semi-structured interviews took place with artists, teachers,
school children and the wider community. In addition, more quantitative
methods were used to ascertain the effectiveness of short-term residencies
lasting two days, where written questionnaires were sent to schools.
The questionnaires had closed sections where respondents rated the
success of the residency according to a tick-box scenario; there were
also open questions concerning teachers’ experience of the residency,
where more anecdotal information was given. An inductive approach
was used to analyse transcripts of face-to-face interviews for longer-term
residencies and identify predominant themes.
Short-term residencies were measured according to completed questionnaires
received from 29 primary schools, 5 comprehensives and 1 special school.
Longer-term residencies were investigated by face-to-face interviews
undertaken in 6 primary schools and 2 comprehensives, where a total
of 12 teachers were interviewed. In addition, 7 classes of children
were interviewed to obtain their experiences of the residencies and
children’s parents took part in discussions with two of these
schools. Seven artists were interviewed to ascertain their experiences
of the residency and two co-ordinators from the City and County of
Swansea Residencies in Action team gave their views. Observations
of residencies also took place whereby members of the research team
visited 5 schools whilst the residency were taking place to help assess
the initial and mid-term impact, and 3 end-showings of work were attended
and observed.
2.
Summary and Key Findings
Outlined
below are the most predominant themes which have emerged. However,
the final report will also include secondary themes.
2.1
Arts help address gender imbalance in schools
There is a considerable concern at national level with boys’
underachievement and Ofsted now includes criteria related to success
in enhancing boys’ performance. In this evaluation gender was
frequently referred to, especially with regard to how well boys responded
to arts residencies. Many of the schools were in disadvantaged areas
and teachers and artist perceived a very ‘macho’ male
role model and a ‘down-trodden woman role, or an absence of
male role models due to the high number of lone mothers. A male artist
was therefore considered beneficial especially in primary schools,
where women traditionally out-number men.
Boys
were frequently initially less likely to participate in some residencies
such as the dance element of the samba residency unless there was
intervention by teachers to ensure boys became involved. Having gone
through this fear barrier, there were lasting benefits where some
boys went on to join groups outside of school in dance, acting and
music.
Primary teacher:
My class has been the focus group. Boys have responded in a way they
never have before – it’s been a real boon.”
Head-Teacher:
Year 6 did the dancing and out of 20 dancers, between 7 and 8 were
boys. There were a couple of very physical boys – I think it
helped that I went in and hoiked them out to dance.”
Primary School Teacher:
“…Getting boys to dance is an achievement. One boy decided
he
wouldn’t, backed up by pressure from home where it was probably
said that it was ‘pansy’. The mother had said that she’d
take him out, but by Monday he decided he could do it and it was fantastic.
By the end, all the fathers and governors said how wonderful it was
to see boys concentrating on dance.”
2.2 Residencies brought specialist and innovative expertise into schools
Teachers saw artists as people who brought in specialist expertise
and a dedicated focus and enthusiasm that was not otherwise available.
As teachers, they were expected to have a wide general knowledge but
they could not provide a true experience based upon the artist’s
own processes and techniques. As a result, children saw that artists
were real, live people and that art could lead to jobs.
The
artist’s approach was different to a teacher’s approach,
often starting from a less structured and more ‘out of control’
environment, which resulted in a few initial frustrations from teachers
but was generally celebrated as an innovative method of teaching that
eventually showed that structure and form occurred later.
Writer in Residence:
"
Teachers tend to over-complicate in getting them to write a story.
My approach is: think 'character', 'place', 'problem' - solve it."
Artists:
"Children said, 'I want to be an artist', and you realised you'd
given them that idea."
“We were told to be quiet. I needed an atmosphere of being out
of control to do a collage.”
Teachers:
"We wanted to show children that writers are alive - not dead
like Shakespeare."
"Children realise that it's a job, being a writer."
"We have to be Jack of all trades. The artist could really immerse
children in his specialist area."
“I have always found that such residencies increase the range
of expertise available to the children.”
“Planning wasn’t really his forte. It’s not his
fault; he’s not a teacher. He’s not a forward planner
but he’s very good at what he does. In a school, it has to be
structured. A routine has to be kept to.”
“It helped children gain insight into a real local artist.”
“The artists were professional, inspirational and child-centred
practitioners.”
"I feel the school has been energised by it."
2.3 Wider benefits were seen as a contribution to a community's social
capital
A stated aim of the project was to consider the impact of the residencies
on social capital. Involvement in an arts project can promote a particular
kind of ‘citizenship’ which fosters notions of responsibility
towards self, others and the wider community (Matarasso, 1997). Robert
Putnam, in his influential research into social capital, identified
factors in a successful community as the networks, norms, and social
trust that facilitate coordination and cooperation for mutual benefit.
Thus
we were interested in benefits beyond that of the formal school curriculum.
Teamwork and a pride associated with collective effort was demonstrated
in observations of work and class interviews. Many of these ‘hard
to quantify’ outcomes emerged through interviews and comments
in questionnaires. For example, during a visit to a primary school
nearly a year after their samba residency, Year 2 pupils were asked
what they remembered about the residency. The children immediately
galvanised into their respective instrumental parts, remembered the
vocal prompts and did an imaginary performance without instruments:
“You had to say, ‘chips, fish and chips’ when you
hit the agogo bells.”
“You did chips at the top, fish in the middle and chips at the
bottom”.
“I played tambourine.” (He taps out the rhythm on his
arm, saying, “I would like a cup of tea.”
“The shakers said, ‘Chaggie, chaggie, chaggie.’”
Child involved in the dance element of the performance: “I had
to remember which way to go, because they were all following me.”
“I was nervous, but I did it.”
“I liked the way we all did it together.”
Teacher:
“It was not only educational and enjoyable but it affected the
participants socially and emotionally. It was thoroughly worthwhile
and should be available to all children and more often.”
Artist:
“The success is the experience we gave them. When you see them
all playing and dancing – that’s the success – being
able to give them that experience.”
2.4
Residencies enabled children with behavioural and emotional difficulties
to participate and shine
The impact of the arts in building social capital was also evidenced
by change of attitude in children with behavioural difficulties. Feedback
on this point was mixed. Schools completing the questionnaire focussing
on taster residencies were not all convinced that the residencies
had improved pupil behaviour with under half (16) agreeing with the
suggestion. Many of the schools were undecided or did not respond
to the question. However, it might be unrealistic to expect a two-day
taster residency to have a major impact on pupil behaviour.
There
were responses to the interview questions which suggested that the
longer term residencies did have an effect on pupil behaviour to some
extent.
Samba Artist:
“One particular boy was known as a trouble maker, but during
our residency he was very interested and determined. During our focus
group, children were very chatty and I needed to tell them that the
aim was to work as a team. The next week, this boy said, ‘I
don’t know why they’re being like this, because we’re
supposed to be working in a team.’ In the final feedback he
said,’ I want to do what you do when I get older.”
“One
boy who was usually on the margins of activity, heard the artist performing
in another room, and said, ‘Oh he’s bloody good, isn’t
he?”
Primary
School Teacher:
“One child was 75% absent until the writer in residence worked
with him and he produced some very good work.”
2.5
The most successful residencies occurred when teachers and artists
worked together; the teacher made wider connections within the curriculum,
and facilitated end showings of work.
The most valuable residencies occurred when artists and teachers worked
together and the teacher made connections with other parts of the
educational curriculum. By giving a wider experience to the children,
the artist’s work was given longer-term impact. In addition,
end showings of work and follow-on pieces of work helped reinforce
the work done by the artist. There were instances where the artist
spoke about feeling isolated if their work was not integrated into
the school and they found it difficult to interrupt a teacher who
had used the opportunity to go and mark work or prepare another lesson.
However, the value of teachers becoming involved was the more dominant
experience.
Head
Teacher:
"We made a big thing of the residency. It was the most major
thing in the arts that we've done. I hope I did my bit by going in
every week and saying, 'This is brilliant.' "
Teacher:
"As part of the Christmas concert we did an end showing of the
work. Parents were amazed at the level of performance, which was also
evidenced by the standing ovation at the end."
Parents:
"It was great. The children enjoy it more if their teachers are
taking part."
Stained
glass artist:
"Schools paid £200 or so each for materials. Costs are
high with glass, but at the end of the day they had something worth
more like £1000."
"One
thing I've found is that if teachers are involved in the work, it's
a 100% better. Some teachers go on and teach another class or mark
homework. Well you're not going to get any follow-on work from that.
This teacher, when I went back, had walls and collages, writing etc.
A more experienced teacher will take it on and make cross curricula
connections. Involving teachers is vital, even if they say, 'I can't
do art, etc'. One teacher made links with mathematics, geometry -
just from the stained glass shapes."
Teacher:
"It's given us new strategies for working in this way. Children
started with a story as a first draft. Later there'll be an artist
for an anthology and the children will really be able to see and feel
what they've done."
Artist:
"Certainly there'll be a lasting impact with the older children
in Years 5 and 6. But with the younger children, if you don't reinforce
it with other writers etc., it'll go."
2.6
For a residency to be seen as widely successful it must demonstrate
long term impact
The
research team agreed that an important criterion for successful residencies
is the long term impact. It was recognised, however, that this might
not be so marked in schools which had participated in two day tasters.
Nevertheless it was noted that lasting impacts were mentioned by schools
with both taster and longer residencies.
In some cases teachers felt that it was difficult to judge the long
term impact of a residency:
“It’s
very hard to say. Certainly there’ll be an impact with the older
children in Years 5 and 6. But with the younger children, if you don’t
reinforce it with other writers etc., it’ll go. But I tend to
think with the older ones, that if they’re in a prison cell
in 20 years time, they can still think, ’I did that’.”
(Primary School Teacher)
One
teacher felt that there was a lasting impact:
“On
character, it was immense. It will be a fantastic memory.” (Primary
School Teacher)
Some Primary School children talked about their experience of Samba
after the residency was over:
Boy:
“I’ve got it on my mobile.”
3 other children: “So have I.”
Girl: Yes. I heard it in carnival. In Bristol.”
Boy: “Once, when I was on holiday with Grandpa in Brazil, I
said to my Grandpa, ‘I recognise that sound. We did it in school’.”
It was also pleasing to note that the taster residencies also reported
a long term impact in their responses to the questionnaire:
“Increased
use of our nature reserve by various classes, - a follow up residency
at the school funded by the Arts Council for Wales.” (Primary
School)
“The
pupils still talk about the project. Some Year 9 pupils went on to
take Art for GCSE. They were intrigued as to what could be made form
‘rubbish’.” (Comprehensive School)
However,
the following experience might reflect pressures on schools in terms
of the National Curriculum and pressures to produce coursework for
GCSE:
“
Unfortunately the week did not relate directly to coursework, so the
experience was fairly short-lived. Although the experience of a fresh
approach to art was enriching.” (Comprehensive School).
The value of Art in terms of boosting the self-esteem of pupils who
are low achievers was recognised by the following head-teacher:
“
We have a very poor Year 3, ability-wise, and they need this to boost
their self esteem.” (Primary School Head-Teacher)
Another
Primary School teacher felt that children’s attitude towards
the creative arts had been substantially enhanced:
“This
is the case for all children, but especially the child with special
educational needs.”
2.7 Children with special needs were offered new forms of expression
and contribution through arts activity.
The
team felt that the involvement with an arts residency might benefit
children with special needs or who have previously been underachieving
as the project can offer children alternative ways of contributing
and achieving. The research team logged several ways in which the
residencies were of particular benefit to pupils with special needs:
“
But one special needs child’s father mounted his poem on a piece
of wood. That was special” (Artist in Primary School)
“There
was one poem produced by this school’s special needs pupil,
which was so good that I told him I’d be reading it in other
schools. That was a great affirmation for him. Another child who said
he hated English, produced a fabulous poem, which amazed everyone”.
(Artist in Primary School)
“…there
was one little boy who is autistic. I was told he can’t do paint.
He came in at first and was screaming and banging his head when his
mum left, but then he started working with clay, and became really
into it. Then he worked with paint, which he’d never done before.”
(Artist in Primary School)
Data
from the questionnaires also suggested that pupils who were underachieving
benefited from the residency. Apart from one secondary school, all
schools agreed with this supposition, with over half of the schools
(18) strongly agreeing. The special school teacher had this to say
of one of the benefits to the school:
“To
staff who were able to let children play in the environment of the
beach without constantly being concerned for their safety and behaviour”
The
value of art in terms of boosting the self-esteem of pupils who are
low achievers was recognised by the following head-teacher:
“
We have a very poor Year 3, ability-wise, and they need this to boost
their self esteem.” (Primary School Head-Teacher)
3. Recommendations for Best Practice
The
recommendations that follow emerge from the Team’s research
findings:
(i)
Given that the majority of schools indicated that they would not wish
to change any aspects of the arts residencies, and noting the many
positive reaction, the team recommends that arts residencies should
be extended. Funders such as the Arts Council of Wales should look
positively at applications.
(ii) Residencies offering as wide a range of artistic activities as
possible should be offered to schools.
(iii) Ensure that any follow up activities or display materials are
distributed as soon as possible after the residency to ensure maximum
impact.
(iv) It is important that schools and artists are encouraged to meet
prior to, during and after the residency to ensure adequate support
for the artist and the widest learning experience for pupils.
(v) It is important to ensure that schools are able to afford the
residencies. For example, travel costs might lead to some children
being excluded from the residency. Possible funding applications could
include funding for additional expenses such as travel.
(vi) Schools should be encouraged to plan for dissemination after
the residencies. This could be achieved through groups of schools
working together.
(vii) It is important to ensure that, as far as possible, the residencies
integrate with National Curriculum requirements. This also reinforces
and extends the relevance of the artist’s work and makes a more
memorable experience for pupils.
viii) It is important to see the value of the arts in addressing gender
stereotyping and helping boys to achieve. Teachers should intervene
and encourage boys to participate in less traditional arts activities
such as dance.
ix) The artist’s process and method of teaching is often different
to teachers and the most successful residencies occurred when this
was appreciated.
x) An arts residency culminating in a performance develops children’s
sense of collective achievement and responsibility for self and others.
The success of a residency should also be measured in terms of its
long-term outcomes such as the contribution to a notion of social
capital.
xi) It should be appreciated that children with poor attendance or
behavioural and emotional difficulties often respond well to arts
activities.
xii) Children with special needs should be encouraged to participate
since they can often find new ways of contributing and achieving,
which helps boost their sense of self esteem.
Research Team:
Kate
D’Lima
Jane Elliott
Heini Gruffudd
Rob Humphreys
Heather Pudner
The late Anna-Marie Taylor (Evaluation Co-ordinator)
Professor Colin Trotman (Head of Department)
Department of Adult Continuing Education
Swansea University
To
obtain a copy of the finished report, please contact:
Kate D’Lima or Jane Elliott:
Department of Adult Continuing Education
University of Wales Swansea
Singleton Park
Swansea SA2 8PP
Tel: 01792 295794/295931
E.Mail: K.D’Lima@swansea.ac.uk
J.Elliott@swansea.ac.uk
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